Cyprus: Return to Petrofani with Ali Cherri & Vicky Pericleous

Sergeant Bulut (Halil Ersev Gökçek) in Ali Cherri's "The Watchman," 2023 (courtesy of Ali Cherri).

8 JANUARY 2024 • By Arie Amaya-Akkermans
In a divided country/divided island, the ruins of memory inspire artists to contemplate the temporal reality of life in an age of violent conflict.

 

Arie Amaya-Akkermans

 

“There’s no such a thing as a good war” is what an elderly woman tells Turkish Cypriot soldier Bulut, in Lebanese artist Ali Cherri’s short film The Watchman (2023) — a statement that certainly doesn’t need more evidence today. She’s invited him indoors for a coffee during his daily patrol, and recounts the events of how she named a son after a fallen martyr, whose name appeared in the local newspaper. Afterwards, she became afraid that her son would be killed as well, and decided not to send him to the army.

We don’t know what happened to her son, or what his name was, but the real story underlying this fictional plot is one of Europe’s most protracted conflicts. The Cyprus question goes back to the political struggles for hegemony in the region between Britain and the Ottoman Empire at the end of the 19th century, but more specifically refers to the crisis of 1963-1964 and the 1974 Cypriot coup d’état, sponsored by the Greek military, followed by the Turkish invasion. The island remains divided between the Republic of Cyprus and the Turkish-controlled area on the northern part of the island.

Ali Cherri, still from The Watchman, 2023-2 (courtesy of Ali Cherri).

Today Nicosia is arguably the world’s last divided capital. The thin green line drawn in pencil by British General Peter Young in 1963 from one end of the Venetian walls to the other, at best a dozen meters, in order to stop fighting between the Cypriot Greek and Turkish communities, was extended to cover the entire island after the Turkish invasion in 1974, and is now about 180 kilometers long. In a double exodus, Greek Cypriots were forced out of Kyrenia, Famagusta, and other now occupied areas, towards the south, while Turkish Cypriots were displaced to the self-proclaimed Turkish Republic of North Cyprus, to this day recognized only by Turkey.

In the year 2024, when the Cyprus question will reach half a century since the final fragmentation of the island, ethnic conflict, occupation and displacement are hardly political innovations — Nagorno-Karabakh and the latest carnage in Gaza are only the most recent examples in an incredibly violent decade.

What is striking about Cyprus is not conflict but rather the lasting persistence of the afterlives of violence and the way in which these historical events become political, and ultimately human conditions. Since 1974, there hasn’t been one inch of progress in negotiations between Greek and Turkish Cypriots other than the re-opening of the checkpoints in 2003, allowing Cypriots from both sides to visit other parts of the island, in spite of several rounds of negotiations up to a freeze in talks since 2020. It is estimated that a third of the residents of either side have never crossed the dividing line.

Ali Cherri told The Markaz Review about his work around geographies of violence that began in his native Lebanon but that has now extended to the wider region: “The Watchman is a part of this long project, including my films The Disquiet (2013), The Digger (2015) and The Dam (2022), looking at how socio-economic and political violence disseminate into the landscape, and on people’s bodies.”

Cyprus has never been too far from the historical imagination of Lebanon and the wider Mediterranean region, since the Bronze Age kingdom of Alashiya rose on the island in the 16th century BCE, as a major source of copper for Ancient Egypt and Ugarit. In the near present, Cyprus has been an “echo-chamber” of Lebanon, with conflicts in the region often resonating on the island: The civil war in Lebanon led to an influx of refugees in Cyprus that transformed the economy of the island, and even today, recently displaced peoples from the Middle East continue to shape its demography. There are also other parallels between Cyprus and Lebanon: Unrecognized borders, occupations, division lines, and the conditions they have helped create.

Cherri’s The Watchman is not a documentary about the conflict but rather, a many-layered visual essay — dialogues are sparse — on the condition of the border itself and the figure of the guard; this male subject, militarily constructed, perpetually waiting, waiting for an enemy, often imaginary, that might or might not arrive. As a part of Cherri’s solo exhibition Dreamless Night at GAMeC, in Bergamo, curated by Alessandro Rabottini and Leonardo Bigazzi, the film is set in the village of Louroujina, known as Akıncılar in Turkish, located within a salient that marks the southernmost pocket of occupied Northern Cyprus, separated from the Greek Cypriot village of Lympia, only by the UN Buffer Zone, casting light on the difficulties of erecting a physical border where none existed, amongst heterogeneous populations.

The artist told TMR about the process of creating the film in Cyprus: “When I decided to start working in Cyprus I didn’t have an exact idea for the film, which is how I usually work. I decide a location, a geography, a landscape, and I try to get inspired from my visit and the time I spend there. When I went to Northern Cyprus I knew I just wanted to go along the border and it was upon my arrival to Louroujina that I knew this is where the film should take place, because of the geopolitical situation, but also because of the village being almost completely deserted, except for a few elderly people still living there.”

The protagonist of the film is a young Turkish Cypriot soldier, Sergeant Bulut (played by first-time actor Halil Ersev Gökçek), stationed at a watchtower in Akıncılar, guarding the border of the unrecognized republic, looking out for the enemy. He seems hypnotized by the barren landscape that is apparently pregnant with danger; his gaze fixed and his eyes bloodshot. Yet as the film tells us, there hasn’t been any significant change in the dividing line since 1974. The landscape that Bulut is surveying in the film, however, in reality, is neither in Akıncılar nor in Lympia. It is rather the nearby village of Petrofani, known as Esendağ in Turkish, inhabited by Turkish Cypriots until 1974, and now completely abandoned, near the Greek Cypriot village of Atheniou. Louroujina and Petrofani indeed share a past: In December 1963, Turkish Cypriots evacuated the village and sought refuge in Louroujina, but returned in 1964. After August 1974, the majority of Petrofani’s Turkish Cypriots fled to the north of the island and settled in Düzova.

Strange things happen to Bulut at this watchtower, overlooking Petrofani: He begins to see lights flickering in the distance at night, and as these maddening visions become an obsession, we begin to doubt his sanity. But it is not only us: In the film, his superiors instruct him to stop reporting these uncertain appearances.

The Watchman was not the first artistic gaze at Petrofani: Cypriot artist Vicky Pericleous began researching Petrofani over a decade ago, when she accidentally came across the site while driving around the island. In her later work, the installation A Minimum of a Visible World (2018), she reconstructed the remains of Petrofani in collaboration with architect Eleni Loizou and ceramic artist Vassos Demitriou, himself a refugee from Ammochostos in 1974, using archival material such as photographs, videos and architectural drawings. Footage of the village environs recorded by CCTV cameras were projected onto the walls of the exhibition space, producing the feeling of a space that is impermanent and subjective, and ultimately constructed by the viewer.

In the exhibition The Presence of Absence, or the Catastrophe Theory (2018), curated by Cathryn Drake at NiMAC in Nicosia, where Pericleous’ installation was first presented, artists from the fragmented region surrounding Cyprus reflected on the limits of European cosmopolitanism and the Enlightenment concept of universalism, from the perspective of modern states formerly united under the Ottoman Empire, and now the set of diverse scenarios of ethnic strife, rupture and conflict. In these new national states, formed largely by freshly assembled myths, traumatic events of the past continue to lurk in the background, and are either instrumentalized and then monumentalized as the unreachable historical past, or simply erased from public view in an attempt to transform collective memory to match the straight lines of modern maps and define modern citizenship as the sole arbiter of personal identity.

During the previous decade, Pericleous was working on expanding the visual field of Cyprus’ political geography, especially following the reopening of the checkpoints in 2003, in a series of collages that rearranged fragments of the topography and architecture of the island into chaotic temporalities, as in the exhibition Nowhere and Elsewhere (2012) at Omicron Gallery, giving the impression that different elements were out of balance and on the verge of collapse. There’s an uncanny but discrete similarity here with Cherri’s The Watchman in its attempt to unearth invisible traces of violence that have become embedded in the landscape: They both produce liminal spaces in the imagination that transgress reality and often supersede it. The crucial image here is not one of immediate catastrophe or violent destruction, but something far more poisonous. It is about traces of violence that remain not fully present, often latent, and that have completely disfigured the landscape and its inhabitants. This trace is a sign that the violence hasn’t disappeared but rather entered a dormant stage, while still operational, slowly eroding places and populations, and it could potentially reemerge.

Map of contemporary Cyprus (courtesy Nations Online Project).

A car journey I took from Larnaca to Petrofani with Vicky Pericleous, at the end of 2023, revealed the geographical opaqueness of this borderland around the irregular UN Buffer Zone: The lack of road signage and street lights leading to the village, a nondescript site that could be anywhere or anything; an archaeological site, an abandoned village, an unfinished construction site, or the site of a violent expulsion. The closeness of the separation fence shapeshifting around the landscape like a snake, sometimes only a few meters from the road and sometimes remote in the distance, the combination of overgrown nature and emptiness, they are always symbols not only of abandonment but of latent danger. These potent symbols make the visitor to this no man’s land aware of a void that has been emptied out not only of people, but also of memory and shut off into a state of permanent interruption.

Petrofani has been either progressively demolished or simply left to collapse, in order to make space for cattle whose muffled sounds reverberate in nearby barns, since Pericleous first visited over a decade ago. The situation seems to have worsened in recent months, even since Cherri’s film was shot at the location. Perhaps it will disappear completely, and in the absence of public memory for the heritage of Turkish Cypriots in Cyprus (a situation that is reciprocated with the heritage of Greek Cypriots in the north), not even a sign will stand in its place. Perhaps Pericleous’ architectural models and Cherri’s videography will become its only public memory, which will then acquire a ghostly quality.

In our conversation, Pericleous worried that these erasures have become a recurring pattern in Cyprus and that in fact it is a phenomenon happening on a wider scale all over the global south: “These erasures, which in many cases remain invisible or go unnoticed, might seem irrelevant, but could provide us with an understanding of the spatial manifestations of new forms of colonialism,” she said. Pericleous refers not simply to an abandoned village in the Cypriot hinterland, but to a major development spree all over Cyprus and the wider region, reorganizing urban and rural spaces that witnessed conflict into luxury towns, displacing entire communities and erasing painful memories.

At the end of Cherri’s The Watchman, we are confronted with the imaginary ghosts of Petrofani that emerge out of this political void: Obsessed with the possibility of an enemy attack, Bulut musters up courage to investigate the phenomenon of the appearances now turned into human-like shadows (we don’t know whether the vision is real or not), and finds himself face to face with an army of ghost soldiers whose eyes have been shut forever — and who speak in an incomprehensible tongue. It is as if these revenants have fallen into an eternal sleep, and have come to either lure or warn Bulut. He responds to them: “And what would happen to me if I followed you? Will I ever come back?” The film ends without resolution, and it is left for us to imagine whether the ghost is a metaphor for the unwanted foreign enemy, or a memory of the soldiers that died at the now sterile border, or whether it is Bulut who becomes a revenant himself.

There are a number of sculptural metaphors omnipresent in Cherri’s exhibition Dreamless Night, that connect the film with the geographical, political and ideological constitution of violence. The oversized clay warriors in a lonely embrace with their rifles, in “Wake Up Soldiers, Open Your Eyes” (2023), in reference to a sentence carved in wood on the inside of Bulut’s watchtower, recall here his recent exhibition Humble and Quiet and Soothing as Mud, at the Swiss Institute in New York, drawing on mud as a primeval material in creation myths and foundational narratives.

Cherri spoke about the double symbolism in his use of mud in Dreamless Night: “The use of mud of course started out from my research about archaeology; its capacity for conservation and something that encapsulates the memory of the past. It’s the materiality of the imagination, how from mud we have created all these mythological creatures and our founding mythologies. In the case of the soldiers, the mythological figure of the soldier is a construct built out of ideology, a symbol of force and strength that should give you a feeling of security. But a soldier of mud is a way to show the fragility of the concept, something that you feel could just collapse in front of you.” The soldiers here are at the same time fragile ephemeral earth and sempiternal ghosts, without a specific face or identity, trapped in a never ending wait, outside of the borders of time.

This fragility and risk of collapse that Ali Cherri describes through the figure of the mud soldier, is echoed closely by Vicky Pericleous’ reflections about architecture and landscapes in Cyprus, after a decade of engagement with Petrofani: “At first sight, everything seems to maintain a spatial coherence. But as the viewer gets closer, all the diverse layers, fragments and spatiotemporal crossings, become exposed. These new geographies that move from the actual to the imaginary, surpass spatial and temporal hierarchies which suggest the idea of a continuous spatial becoming. But one which could easily collapse. Most of the places I’ve been documenting and that re-appeared in those collages and sculptural models in my work have either changed over the years or disappeared.”

Cherri’s waiting soldier, constantly watching out, is accordingly not only a temporal but a spatial experience, therefore redefining the afterlives of violence not simply as events but also as a kind of inertia that has acquired a physical presence and grown into an interruption that bends the continuity between places, memories and our experience of time. This interruption, the void, is neither empty nor solid, but a viscous substance that oozes out and contaminates all the multiple pasts and presents of a locale, which in my mind, is the political experience of the colonial present as a system, rather than a period in time. The colonial present in Cyprus is a presence embodied not only in the 180km division line between north and south, but constitutes a pluridimensional grid that fragments the island temporally and spatially from all directions: Checkpoints, British sovereign areas, buffer zones, fenced abandoned villages side by side with the new settlements of its former dwellers, or a seaside casino overlooking a ghost town.

But as Cherri and Pericleous know, these fragmented spaces are not absolute and remain porous to the unpredictable return not only of violence, but also of memory. In a remote location like Petrofani, we can witness the latency of memory: “It moves at a very slow pace, in relation to other cultural ecosystems, while collapsing and being taken over by nature,” Pericleous says. “At the same time, it has become a shelter for birds and a farming site. Here lies the paradox. The site, though silenced and very distant from the interests of the public, voices out different, unheard and suppressed narratives about structures of power, contested territories, and economic exploitation; it has developed into a dynamic ecosystem of human and non-human activities.” Accordingly, Pericleous placed a replica of a 1960s purpose-built pigeon house found in Paphos among the miniature ruins of Petrofani, in her A Minimum of a Visible World (2018), given that parts of the village became an avian habitat, foregrounding a tension between modernist ideals and the agency of a ruin.

With the ongoing disappearance of the village ruins, the birds have begun to flock elsewhere, not being restricted by fences or UN maps. There’s a soothing avian symbolism in Cherri’s The Watchman, that connects his fictional plot set in Louroujina and Petrofani, with this agency of a ruin and the non-human ecologies of an abandoned site. Birds become in the film a device for measuring time, as Sergeant Bulut keeps a toll of dead robins that accidentally smash into the watchtower’s glass, and he carefully buries one of the colorful birds, wrapped in paper. Cherri explains his intention: “I wanted this watchtower to be something that in a way obstructs nature, something that birds hit during their flight, a kind of artificial obstruction. Nature is present and it also starts to take over.” The condition of the border affects not only peoples, but also landscapes, buildings and all living beings. It affects everything.

One of the main questions asked by the exhibition The Presence of Absence, or the Catastrophe Theory back in 2018 in Nicosia, was whether conflict causes the formation of borders, or is it the other way around? The border itself is a form of violence. Ali Cherri’s observer gaze, with the privileged vantage point of otherness and grounded in postcolonial conflicts, might appear sometimes obvious or redundant to a Cypriot audience, often inured to this violent reality by the sheer force of habit. But this distance also uncovers the temporal depth of the border; a violence that continues to be operational even long after force is no longer present.

The division lines erected between north and south can often appear imaginary from the perspective of Nicosia’s continuous architecture and the rather innocuous demilitarized checkpoints, and in fact Cypriot citizens can cross back and forth at will (even if many never have). But zooming out to the hinterland rapidly reveals the vast empty spaces that divide a country still scarred, kilometers of interruption, continuous displacement and the impossibility of lasting peace under conditions of permanent military vigilance of the other. The fiction of the enemy is often stronger and more monumental than the tenuous border itself. Ali Cherri’s The Watchman is a film not necessarily about Cyprus, but rather about our global moment of increasing hostility and heightened borders that might in fact produce a violence more lasting than any conflict: “What we’re seeing today really illustrates this idea, how we capture and take in all this violence that we’re seeing into our bodies and we also take it onto the earth and the landscape, so it’s a way of retracing these histories of violence through observation of their material manifestations on the land and on people.”

 

Ali Cherri’s Dreamless Night is on view at GAMeC, Bergamo, through Jan. 14, 2024, and will be on view at FRAC Bretagne, from Feb. 10 through May 19, 2024. His exhibition Humble and Quiet and Soothing as Mud was on view at the Swiss Institute, New York, from Sept. 13, 2023 through Jan. 7, 2024. The exhibition The Presence of Absence, or the Catastrophe Theory, featuring Vicky Pericleous’ work was on show at NiMAC, Nicosia, from Jan. 16-April 14, 2018.

 

Arie Amaya-Akkermans

Arie Amaya-Akkermans is an art critic and senior writer for The Markaz Review, based in the broader Middle East since 2003. His work is primarily concerned with the relationship between archaeology, heritage, art, and politics in the Eastern Mediterranean, with a special... Read more

is an art critic and senior writer for The Markaz Review, based in the broader Middle East since 2003. His work is primarily concerned with the relationship between archaeology, heritage, art, and politics in the Eastern Mediterranean, with a special interest in displaced communities. His byline has appeared previously on Hyperallergic, San Francisco Arts Quarterly, Quotidien de l'Art, Al-Monitor, and DAWN Journal. Previously, he has been a guest editor of Arte East Quarterly, a moderator in the talks program of Art Basel, and a recipient of fellowships at IASPIS, UNIDEE, and Kone Foundation.

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3 DECEMBER 2023 • By Joumana Haddad
“I, Hanan”—a Gazan tale of survival by Joumana Haddad
Art

Hanan Eshaq

3 DECEMBER 2023 • By Hanan Eshaq
Hanan Eshaq
Book Reviews

First Kurdish Sci-Fi Collection is Rooted in the Past

28 NOVEMBER 2023 • By Matthew Broomfield
First Kurdish Sci-Fi Collection is Rooted in the Past
Art & Photography

Palestinian Artists & Anti-War Supporters of Gaza Cancelled

27 NOVEMBER 2023 • By Nada Ghosn
Palestinian Artists & Anti-War Supporters of Gaza Cancelled
Opinion

Beautiful October 7th Art Belies the Horrors of War

13 NOVEMBER 2023 • By Mark LeVine
Beautiful October 7th Art Belies the Horrors of War
Opinion

Palestine’s Pen against Israel’s Swords of Injustice

6 NOVEMBER 2023 • By Mai Al-Nakib
Palestine’s Pen against Israel’s Swords of Injustice
Books

Domicide—War on the City

5 NOVEMBER 2023 • By Ammar Azzouz
<em>Domicide</em>—War on the City
Essays

Rebuilding After the Quake: a Walk Down Memory Lane in Southeast Anatolia

5 NOVEMBER 2023 • By Sevinç Ünal
Rebuilding After the Quake: a Walk Down Memory Lane in Southeast Anatolia
Essays

On Fathers, Daughters and the Genocide in Gaza 

30 OCTOBER 2023 • By Deema K Shehabi
On Fathers, Daughters and the Genocide in Gaza 
Islam

October 7 and the First Days of the War

23 OCTOBER 2023 • By Robin Yassin-Kassab
October 7 and the First Days of the War
Editorial

Palestine and the Unspeakable

16 OCTOBER 2023 • By Lina Mounzer
Palestine and the Unspeakable
Book Reviews

A Day in the Life of Abed Salama: A Palestine Story

16 OCTOBER 2023 • By Dalia Hatuqa
<em>A Day in the Life of Abed Salama</em>: A Palestine Story
Essays

Forging Peace for Artsakh—The Debacle of Nagorno Karabagh

16 OCTOBER 2023 • By Seta Kabranian-Melkonian
Forging Peace for Artsakh—The Debacle of Nagorno Karabagh
Art & Photography

Adel Abidin, October 2023

1 OCTOBER 2023 • By TMR
Adel Abidin, October 2023
Art & Photography

Art Curators as Public Intellectuals

1 OCTOBER 2023 • By Naima Morelli
Art Curators as Public Intellectuals
Interviews

Illegitimate Literature—Interview with Novelist Ebru Ojen

18 SEPTEMBER 2023 • By Nazlı Koca
Illegitimate Literature—Interview with Novelist Ebru Ojen
Book Reviews

Kurdish Novel Explores Nightmarish Isolation in Eastern Anatolia

18 SEPTEMBER 2023 • By Kaya Genç
Kurdish Novel Explores Nightmarish Isolation in Eastern Anatolia
Art

Memory Art: Water and Islands in the Work of Hera Büyüktaşçıyan

18 SEPTEMBER 2023 • By Arie Amaya-Akkermans
Memory Art: Water and Islands in the Work of Hera Büyüktaşçıyan
Art

Anatolian Journey: a Writer Travels to Sultan Han to Witness a Postmodern Installation

18 SEPTEMBER 2023 • By Matt Hanson
Anatolian Journey: a Writer Travels to Sultan Han to Witness a Postmodern Installation
Art

Special World Picks Sept 15-26 on TMR’s Third Anniversary

14 SEPTEMBER 2023 • By TMR
Special World Picks Sept 15-26 on TMR’s Third Anniversary
Book Reviews

Traveling Through Turkey With Gertrude Bell and Pat Yale

28 AUGUST 2023 • By Arie Amaya-Akkermans
Traveling Through Turkey With Gertrude Bell and Pat Yale
Opinion

The Middle East is Once Again West Asia

14 AUGUST 2023 • By Chas Freeman, Jr.
The Middle East is Once Again West Asia
Book Reviews

Ilan Pappé on Tahrir Hamdi’s Imagining Palestine

7 AUGUST 2023 • By Ilan Pappé
Ilan Pappé on Tahrir Hamdi’s <em> Imagining Palestine</em>
Poetry

Three Poems from Pantea Amin Tofangchi’s Glazed With War

3 AUGUST 2023 • By Pantea Amin Tofangchi
Three Poems from Pantea Amin Tofangchi’s <em>Glazed With War</em>
Book Reviews

Can the Kurdish Women’s Movement Transform the Middle East?

31 JULY 2023 • By Matthew Broomfield
Can the Kurdish Women’s Movement Transform the Middle East?
Book Reviews

Literature Takes Courage: on Ahmet Altan’s Lady Life

24 JULY 2023 • By Kaya Genç
Literature Takes Courage: on Ahmet Altan’s <em>Lady Life</em>
Interviews

Musical Artists at Work: Naïssam Jalal, Fazil Say & Azu Tiwaline

17 JULY 2023 • By Jordan Elgrably
Musical Artists at Work: Naïssam Jalal, Fazil Say & Azu Tiwaline
Book Reviews

Why Isn’t Ghaith Abdul-Ahad a Household Name?

10 JULY 2023 • By Iason Athanasiadis
Why Isn’t Ghaith Abdul-Ahad a Household Name?
Opinion

The End of the Palestinian State? Jenin Is Only the Beginning

10 JULY 2023 • By Yousef M. Aljamal
The End of the Palestinian State? Jenin Is Only the Beginning
Essays

“My Mother is a Tree”—a story by Aliyeh Ataei

2 JULY 2023 • By Aliyeh Ataei, Siavash Saadlou
“My Mother is a Tree”—a story by Aliyeh Ataei
Fiction

“The Burden of Inheritance”—fiction from Mai Al-Nakib

2 JULY 2023 • By Mai Al-Nakib
“The Burden of Inheritance”—fiction from Mai Al-Nakib
Art & Photography

The Ghost of Gezi Park—Turkey 10 Years On

19 JUNE 2023 • By Arie Amaya-Akkermans
The Ghost of Gezi Park—Turkey 10 Years On
Art & Photography

Deniz Goran’s New Novel Contrasts Art and the Gezi Park Protests

19 JUNE 2023 • By Arie Amaya-Akkermans
Deniz Goran’s New Novel Contrasts Art and the Gezi Park Protests
Book Reviews

Niki, Prize-Winning Greek Novel, Captures the Country’s Civil War

12 JUNE 2023 • By Nektaria Anastasiadou
<em>Niki</em>, Prize-Winning Greek Novel, Captures the Country’s Civil War
Editorial

EARTH: Our Only Home

4 JUNE 2023 • By Jordan Elgrably
EARTH: Our Only Home
Essays

Turkey’s Earthquake as a Generational Disaster

4 JUNE 2023 • By Sanem Su Avci
Turkey’s Earthquake as a Generational Disaster
Arabic

Arab Theatre Grapples With Climate Change, Borders, War & Love

4 JUNE 2023 • By Hassan Abdulrazzak
Arab Theatre Grapples With Climate Change, Borders, War & Love
Art & Photography

Earth Strikes Back

4 JUNE 2023 • By Malu Halasa
Earth Strikes Back
Poetry Markaz

Zara Houshmand, Moon and Sun

4 JUNE 2023 • By Zara Houshmand
Zara Houshmand, <em>Moon and Sun</em>
Film

The Refugees by the Lake, a Greek Migrant Story

8 MAY 2023 • By Iason Athanasiadis
The Refugees by the Lake, a Greek Migrant Story
Essays

The Invisible Walls, a Meditation on Work and Being

1 MAY 2023 • By Nashwa Nasreldin
The Invisible Walls, a Meditation on Work and Being
Opinion

Nurredin Amro’s Epic Battle to Save His Home From Demolition

24 APRIL 2023 • By Nora Lester Murad
Nurredin Amro’s Epic Battle to Save His Home From Demolition
Essays

When a Country is not a Country—the Chimera of Borders

17 APRIL 2023 • By Ara Oshagan
When a Country is not a Country—the Chimera of Borders
Essays

Artsakh and the Truth About the Legend of Monte Melkonian

17 APRIL 2023 • By Seta Kabranian-Melkonian
Artsakh and the Truth About the Legend of Monte Melkonian
Art

Doha Street Artist Mubarak Al-Malik’s Fabulous Journey

2 APRIL 2023 • By Christina Paschyn
Doha Street Artist Mubarak Al-Malik’s Fabulous Journey
Art

The Skinny on Qatar’s National Museum

2 APRIL 2023 • By TMR
The Skinny on Qatar’s National Museum
Essays

Beautiful Ghosts, or We’ll Always Have Istanbul

27 MARCH 2023 • By Alicia Kismet Eler
Beautiful Ghosts, or We’ll Always Have Istanbul
Beirut

Tel Aviv-Beirut, a Film on War, Love & Borders

20 MARCH 2023 • By Karim Goury
<em>Tel Aviv-Beirut</em>, a Film on War, Love & Borders
Beirut

Interview with Michale Boganim, Director of Tel Aviv-Beirut

20 MARCH 2023 • By Karim Goury
Interview with Michale Boganim, Director of <em>Tel Aviv-Beirut</em>
Cities

For Those Who Dwell in Tents, Home is Temporal—Or Is It?

5 MARCH 2023 • By Arie Amaya-Akkermans
For Those Who Dwell in Tents, Home is Temporal—Or Is It?
Essays

Home Under Siege: a Palestine Photo Essay

5 MARCH 2023 • By Anam Raheem
Home Under Siege: a Palestine Photo Essay
Columns

Letter From Turkey—Solidarity, Grief, Anger and Fear

27 FEBRUARY 2023 • By Jennifer Hattam
Letter From Turkey—Solidarity, Grief, Anger and Fear
Fiction

“Holy Land”—short fiction from Asim Rizki

27 FEBRUARY 2023 • By Asim Rizki
“Holy Land”—short fiction from Asim Rizki
Columns

Letter From Turkey—Antioch is Finished

20 FEBRUARY 2023 • By Arie Amaya-Akkermans
Letter From Turkey—Antioch is Finished
Book Reviews

Yemen War Survivors Speak in What Have You Left Behind?

20 FEBRUARY 2023 • By Saliha Haddad
Yemen War Survivors Speak in <em>What Have You Left Behind?</em>
Art

Displacement, Migration are at the Heart of Istanbul Exhibit

13 FEBRUARY 2023 • By Jennifer Hattam
Displacement, Migration are at the Heart of Istanbul Exhibit
Beirut

Arab Women’s War Stories, Oral Histories from Lebanon

13 FEBRUARY 2023 • By Evelyne Accad
Arab Women’s War Stories, Oral Histories from Lebanon
Book Reviews

Mohamed Makhzangi Despairs at Man’s Cruelty to Animals

26 DECEMBER 2022 • By Saliha Haddad
Mohamed Makhzangi Despairs at Man’s Cruelty to Animals
Fiction

Beautiful Freedom For Sale, a short story

15 DECEMBER 2022 • By Nektaria Anastasiadou, Anonymous
<em> Beautiful Freedom</em> For Sale, a short story
Featured article

The Greek Panopticon, Where Politicians Spy on Democracy

15 DECEMBER 2022 • By Iason Athanasiadis
The Greek Panopticon, Where Politicians Spy on Democracy
Film

The Swimmers and the Mardini Sisters: a True Liberation Tale

15 DECEMBER 2022 • By Rana Haddad
<em>The Swimmers</em> and the Mardini Sisters: a True Liberation Tale
Art

Art World Picks: Albraehe, Kerem Yavuz, Zeghidour, Amer & Tatah

12 DECEMBER 2022 • By TMR
Art

Museums in Exile—MO.CO’s show for Chile, Sarajevo & Palestine

12 DECEMBER 2022 • By Jordan Elgrably
Museums in Exile—MO.CO’s show for Chile, Sarajevo & Palestine
Art

Where is the Palestinian National Museum of Modern and Contemporary Art?

12 DECEMBER 2022 • By Nora Ounnas Leroy
Where is the Palestinian National Museum of Modern and Contemporary Art?
Fiction

“Eleazar”—a short story by Karim Kattan

15 NOVEMBER 2022 • By Karim Kattan
“Eleazar”—a short story by Karim Kattan
Art

Abu Dhabi Shows Noura Ali-Ramahi’s “Allow Me Not to Explain”

7 NOVEMBER 2022 • By Rana Asfour
Abu Dhabi Shows Noura Ali-Ramahi’s “Allow Me Not to Explain”
Columns

Sudden Journeys: Israel’s Intimate Separations—Part 2

31 OCTOBER 2022 • By Jenine Abboushi
Sudden Journeys: Israel’s Intimate Separations—Part 2
Poetry

We Say Salt from To Speak in Salt

15 OCTOBER 2022 • By Becky Thompson
We Say Salt from <em>To Speak in Salt</em>
Editorial

You Don’t Have to Be A Super Hero to Be a Heroine

15 OCTOBER 2022 • By TMR
You Don’t Have to Be A Super Hero to Be a Heroine
Art

#MahsaAmini—Art by Rachid Bouhamidi, Los Angeles

15 OCTOBER 2022 • By Rachid Bouhamidi
#MahsaAmini—Art by Rachid Bouhamidi, Los Angeles
Art

Defiance—an essay from Sara Mokhavat

15 OCTOBER 2022 • By Sara Mokhavat, Salar Abdoh
Defiance—an essay from Sara Mokhavat
Art

Marrakesh Artist Mo Baala Returns to Galerie 127 with Collage

3 OCTOBER 2022 • By El Habib Louai
Marrakesh Artist Mo Baala Returns to Galerie 127 with Collage
Columns

Sudden Journeys: Israel’s Intimate Separations—Part 1

26 SEPTEMBER 2022 • By Jenine Abboushi
Sudden Journeys: Israel’s Intimate Separations—Part 1
Film

Ziad Kalthoum: Trajectory of a Syrian Filmmaker

15 SEPTEMBER 2022 • By Viola Shafik
Ziad Kalthoum: Trajectory of a Syrian Filmmaker
Columns

Phoneless in Filthy Berlin

15 SEPTEMBER 2022 • By Maisan Hamdan, Rana Asfour
Phoneless in Filthy Berlin
Art & Photography

In Tunis, Art Reinvents and Liberates the City

29 AUGUST 2022 • By Sarah Ben Hamadi
In Tunis, Art Reinvents and Liberates the City
Opinion

Attack on Salman Rushdie is Shocking Tip of the Iceberg

15 AUGUST 2022 • By Jordan Elgrably
Attack on Salman Rushdie is Shocking Tip of the Iceberg
Music Reviews

Hot Summer Playlist: “Diaspora Dreams” Drops

8 AUGUST 2022 • By Mischa Geracoulis
Hot Summer Playlist: “Diaspora Dreams” Drops
Columns

Tunisia’s Imed Alibi Crosses Borders in new “Frigya” Electronica Album

18 JULY 2022 • By Melissa Chemam
Tunisia’s Imed Alibi Crosses Borders in new “Frigya” Electronica Album
Art

Abundant Middle Eastern Talent at the ’22 Avignon Theatre Fest

18 JULY 2022 • By Nada Ghosn
Abundant Middle Eastern Talent at the ’22 Avignon Theatre Fest
Film Reviews

War and Trauma in Yemen: Asim Abdulaziz’s “1941”

15 JULY 2022 • By Farah Abdessamad
War and Trauma in Yemen: Asim Abdulaziz’s “1941”
Fiction

“The Peacock” — a story by Sahar Mustafah

4 JULY 2022 • By Sahar Mustafah
“The Peacock” — a story by Sahar Mustafah
Columns

World Refugee Day — What We Owe Each Other

20 JUNE 2022 • By Jordan Elgrably
World Refugee Day — What We Owe Each Other
Fiction

Nektaria Anastasiadou: “Gold in Taksim Square”

15 JUNE 2022 • By Nektaria Anastasiadou
Nektaria Anastasiadou: “Gold in Taksim Square”
Art & Photography

Steve Sabella: Excerpts from “The Parachute Paradox”

15 JUNE 2022 • By Steve Sabella
Steve Sabella: Excerpts from “The Parachute Paradox”
Art

Lisa Teasley: “Death is Beautiful”

15 JUNE 2022 • By Lisa Teasley
Lisa Teasley: “Death is Beautiful”
Film Reviews

2022 Webby Honoree Documents Queer Turkish Icon

23 MAY 2022 • By Ilker Hepkaner
2022 Webby Honoree Documents Queer Turkish Icon
Book Reviews

In East Jerusalem, Palestinian Youth Struggle for Freedom

15 MAY 2022 • By Mischa Geracoulis
Film

Art Film Depicts the Landlocked Drama of Nagorno-Karabakh

2 MAY 2022 • By Taline Voskeritchian
Art Film Depicts the Landlocked Drama of Nagorno-Karabakh
Art

The Scandal of Ronit Baranga’s “All Things Sweet and Painful”

15 APRIL 2022 • By David Capps
The Scandal of Ronit Baranga’s “All Things Sweet and Painful”
Book Reviews

Mohamed Metwalli’s “A Song by the Aegean Sea” Reviewed

28 MARCH 2022 • By Sherine Elbanhawy
Mohamed Metwalli’s “A Song by the Aegean Sea” Reviewed
Film Reviews

Palestine in Pieces: Hany Abu-Assad’s Huda’s Salon

21 MARCH 2022 • By Jordan Elgrably
Palestine in Pieces: Hany Abu-Assad’s <em>Huda’s Salon</em>
Opinion

U.S. Sanctions Russia for its Invasion of Ukraine; Now Sanction Israel for its Occupation of Palestine

21 MARCH 2022 • By Yossi Khen, Jeff Warner
U.S. Sanctions Russia for its Invasion of Ukraine; Now Sanction Israel for its Occupation of Palestine
Columns

Nowruz and The Sins of the New Day

21 MARCH 2022 • By Maha Tourbah
Nowruz and The Sins of the New Day
Art

Hand-Written Love Letters and Words of the Great Arab Poets

15 MARCH 2022 • By Reem Mouasher
Hand-Written Love Letters and Words of the Great Arab Poets
Art

Fiction: “Skin Calluses” by Khalil Younes

15 MARCH 2022 • By Khalil Younes
Fiction: “Skin Calluses” by Khalil Younes
Art & Photography

On “True Love Leaves No Traces”

15 MARCH 2022 • By Arie Amaya-Akkermans
On “True Love Leaves No Traces”
Columns

“There’s Nothing Worse Than War”

24 FEBRUARY 2022 • By Jordan Elgrably
“There’s Nothing Worse Than War”
Fiction

Fiction from “Free Fall”: I fled the city as a murderer whose crime had just been uncovered

15 JANUARY 2022 • By Abeer Esber, Nouha Homad
Fiction from “Free Fall”: I fled the city as a murderer whose crime had just been uncovered
Art & Photography

Children in Search of Refuge: a Photographic Essay

15 JANUARY 2022 • By Iason Athanasiadis
Children in Search of Refuge: a Photographic Essay
Columns

Getting to the Other Side: a Kurdish Migrant Story

15 JANUARY 2022 • By Iason Athanasiadis
Getting to the Other Side: a Kurdish Migrant Story
Book Reviews

Temptations of the Imagination: how Jana Elhassan and Samar Yazbek transmogrify the world

10 JANUARY 2022 • By Rana Asfour
Temptations of the Imagination: how Jana Elhassan and Samar Yazbek transmogrify the world
Beirut

Sudden Journeys: The Villa Salameh Bequest

29 NOVEMBER 2021 • By Jenine Abboushi
Sudden Journeys: The Villa Salameh Bequest
Columns

Burning Forests, Burning Nations

15 NOVEMBER 2021 • By Hadani Ditmars
Burning Forests, Burning Nations
Centerpiece

Climate Disasters Hasten the Advent of a World Refugee Crisis

15 NOVEMBER 2021 • By Omar El Akkad
Climate Disasters Hasten the Advent of a World Refugee Crisis
Featured article

Killing Olive Trees Fails to Push Palestinians Out

15 NOVEMBER 2021 • By Basil Al-Adraa
Killing Olive Trees Fails to Push Palestinians Out
Columns

Day of the Imprisoned Writer — November 15, 2021

8 NOVEMBER 2021 • By TMR
Day of the Imprisoned Writer — November 15, 2021
Columns

Refugees Detained in Thessonaliki’s Diavata Camp Await Asylum

1 NOVEMBER 2021 • By Iason Athanasiadis
Refugees Detained in Thessonaliki’s Diavata Camp Await Asylum
Fiction

“The Passion of Evangelina”—fiction from Anthoney Dimos

15 OCTOBER 2021 • By Anthoney Dimos
“The Passion of Evangelina”—fiction from Anthoney Dimos
Book Reviews

Poetry: Mohammed El-Kurd’s Rifqa Reviewed

15 OCTOBER 2021 • By India Hixon Radfar
Poetry: Mohammed El-Kurd’s <em>Rifqa</em> Reviewed
Columns

Kurdish Poet and Writer Meral Şimşek Merits Her Freedom

4 OCTOBER 2021 • By Jordan Elgrably
Kurdish Poet and Writer Meral Şimşek Merits Her Freedom
Art & Photography

Displaced: From Beirut to Los Angeles to Beirut

15 SEPTEMBER 2021 • By Ara Oshagan
Displaced: From Beirut to Los Angeles to Beirut
Essays

Why Resistance Is Foundational to Kurdish Literature

15 SEPTEMBER 2021 • By Ava Homa
Why Resistance Is Foundational to Kurdish Literature
Latest Reviews

The Limits of Empathy in Rabih Alameddine’s Refugee Saga

15 SEPTEMBER 2021 • By Dima Alzayat
The Limits of Empathy in Rabih Alameddine’s Refugee Saga
Latest Reviews

Women Comic Artists, from Afghanistan to Morocco

15 AUGUST 2021 • By Sherine Hamdy
Women Comic Artists, from Afghanistan to Morocco
Latest Reviews

An Anthropologist Tells of 1970s Upheaval in “Turkish Kaleidoscope”

15 AUGUST 2021 • By Jenny White
An Anthropologist Tells of 1970s Upheaval in “Turkish Kaleidoscope”
Weekly

World Picks: August 2021

12 AUGUST 2021 • By Lawrence Joffe
World Picks: August 2021
Weekly

Summer of ‘21 Reading—Notes from the Editors

25 JULY 2021 • By TMR
Summer of ‘21 Reading—Notes from the Editors
Art

Malak Mattar — Gaza Artist and Survivor

14 JULY 2021 • By Jordan Elgrably
Malak Mattar — Gaza Artist and Survivor
Columns

The Semantics of Gaza, War and Truth

14 JULY 2021 • By Mischa Geracoulis
The Semantics of Gaza, War and Truth
Essays

Sailing to Gaza to Break the Siege

14 JULY 2021 • By Greta Berlin
Sailing to Gaza to Break the Siege
Book Reviews

ISIS and the Absurdity of War in the Age of Twitter

4 JULY 2021 • By Jessica Proett
ISIS and the Absurdity of War in the Age of Twitter
Weekly

World Picks: July 2021

3 JULY 2021 • By TMR
World Picks: July 2021
Editorial

Why WALLS?

14 MAY 2021 • By Jordan Elgrably
Why WALLS?
Art

The Murals of Yemen’s Haifa Subay

14 MAY 2021 • By Farah Abdessamad
The Murals of Yemen’s Haifa Subay
Essays

We Are All at the Border Now

14 MAY 2021 • By Todd Miller
We Are All at the Border Now
Fiction

A Home Across the Azure Sea

14 MAY 2021 • By Aida Y. Haddad
A Home Across the Azure Sea
Essays

Is Tel Aviv’s Neve Tzedek, Too, Occupied Territory?

14 MAY 2021 • By Taylor Miller, TMR
Is Tel Aviv’s Neve Tzedek, Too, Occupied Territory?
Essays

Between Thorns and Thistles in Bil’in

14 MAY 2021 • By Francisco Letelier
Between Thorns and Thistles in Bil’in
Essays

Panopticon of Kashmir

14 MAY 2021 • By Ifat Gazia
Panopticon of Kashmir
Interviews

The Hidden World of Istanbul’s Rums

21 FEBRUARY 2021 • By Rana Haddad
The Hidden World of Istanbul’s Rums
TMR 5 • Water

The Sea Remembers

14 JANUARY 2021 • By TMR
The Sea Remembers
Weekly

Academics, Signatories, and Putschists

20 DECEMBER 2020 • By Selim Temo
Academics, Signatories, and Putschists
Weekly

Breathing in a Plague

27 NOVEMBER 2020 • By TMR
Breathing in a Plague
Centerpiece

The Road to Jerusalem, Then and Now

15 NOVEMBER 2020 • By Raja Shehadeh
The Road to Jerusalem, Then and Now

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