Picture Book

Table of Content

Page 2 –20 Introduction Pieces from street to white cube and back // pictorials and visualizations of attempts

Page 21 – 66 Hello, ismi thawra Hello, my name is revolution major Picture Book // a narrative string of loose associations Page 67 - 81 Fading Out

Page 83 - 85 Glossary English Page 88 - 90 Glossary Arabic

Page 92 Names and Places

dѢϾβоX

f [Ě‡ŃƒÎ?ÎąŃƒ Ď˛Í…ŕŽ™ŕ˛—ÍŒy ϲͅӝӒҏѳ͒ [۾۰ẏŕŹ?ŢŚ ŃśĐ&#x;Ě¤ĐľĚ‡ÍŒy ѧ‍܏‏২۸۰X ̜̤Đ&#x;ླۊX ཚཌྷV jḃŇ?ĐľX ŃˆŃƒ

f ZbŇŹÍ• Ňťŕź…ŕťśV ?̇;Ď?‍ Ý?Ý&#x;‏ ϲя̇βѹμ Ň–ÍŒXyŕŹ†ŕŤľX ŃˆŃƒ ϲͅ`ŕŽ™ŕąş ŕş˜ŕş?ŇŒĐťŇ ŕŽŞŕ˛…ŕłŽŕ˛˘ŕŹ†ŕŤľX bҏѳоX vҏ;оT

f ŕŽŞŕą˝ŕ¤ľŕ¤°Í’ f ŕĄ•ŕ ŽĐťŕŹ“ŕŻŹŰ´Ű°X [Ě‡ŕą¨ĐťŇœŃłŰ­ŰŠX Ń€Ď˘Ě¤Ńƒ { f ཿ༬Ѣ̤еX [Ě‡ŕą¨ĐťŇœŃłŰ­ŰŠX Ń€Ď˘Ě¤Ńƒ f Đ?Ě‡ŃƒTy RĚ‡ŕź…ŕťśT Ńˆ

Since revolutions are not linear, each story follows it’s own structures and ideas. A (beautiful) rhizome that endlessly mushrooms and springs from everywhere towards everywhere. This idea inspired me and made it necessary for me to use technological possibilities to cross boundaries of perception and expression.

My search could have been more radical, but due to the lack of proper financing, the glossary had to be taken away from the images and pages it refers to.

Not a convenient choice: no scrolling over a page/pic as it leads to another window opening, providing information on content, date, place – the glossary’s comments.

Yet, the generous gesture of being able to add (countless) pages was the most intriguing; up-to-the-second on-line links that provide a sense of completeness are a delusion and no claim at all. Something had to find an ending that is ongoing. Here, one level is offered that hints at endless entangled strings, twists of layers within layers where each picture/page has its own universe.

On-line links are provided opening spaces, attempting to share more stories and interlinked pieces of puzzles and people.

The possibility to flip through pages of a book/magazine one by one electronically on a visual level making it almost a three dimensional event is highly appreciated **!!*** overview in pdf-format of story line, go to: view > sidebar > contact sheet This on-line publication places itself in the tradition of freely-accessible contextual media that shares information and creates avenues of thoughts.

This is an open and ongoing platform.

To be continued.

bΏ౛ ṫ͸ϳ ຘຐαͻҌۭ۩X ̇ϳbญ෦ΥTy ḟ‫ݯ‬ԕX ̇ϵෘ෦ͮϳ ̇ࢂࡾ ϲѳΤ จබ ̇ࢿࢭჳy ?Xΐ౗Xy XḃҌу ̖͵೛ಲ ۵۰ [XbҬ;еX

ཹཫV ୐ଶͻ̤Υ`y ୐ଶͻцࢂࡾT ୐ହеXZࡹ࡞βеX ཹ཯ ႖ႂ͒ [̇ϳ̇ଓ௯۵۰X ̖ͮ໲໤ ཹཙ jѢβܹৡy zҬѱ̝ จ෦ࠛࠁ Ҭ੢੐ਝ Яͮ໲໤

ࡗ࠮͵̤ͻеXy рϵβеX ૬૕XҬύ ҵҜϝͻе ຘຊẏଏަ ཹཙ ཹཫ ϲ౗̇ͻۭ۩X ϲͮϑҬеҬ͸ПͻеX [̇‫ܬ‬৫ญ෦у۴۰X vΐ౧ͻҁX wX

Яѳβ͌ ̩໲໕ `bXҬۭ۩X ѩα͏ ̶ೕ࠘ࠁ шПഡy ?̇αц̤͒ ࡗ࠾ЍT wҬПͅ wT ୐଼Ϟ͵е шПцۭ۩X шу wญබ

uԒԀ‫ݰ‬ԕX ЯѱΥT Ҭϳ XΏϳ шПͅ ࿂ྕ ̇၌ူеV [Xḃ҄X zҬଏ௯ ୐ହеX [̇౨βѳеXy bҬѳеX ш̝ [̇౨лҜѳۭ۩X [̇уԒԀ̤у zӻӟ wT yT ϲα͌̇ҁ ZbҬѮ ϲ౨βѮ uवरౖ шу ϲ౨βѮ ཹཫV Яѳ͒ wT ̇ઌ੧༅༄ ΐ̤ͅ ࿂ྕ ̫ͮύ [̇αͮл̤ͻеX шу ‫׏ױ‬Ѡۭ۩X TѢα͒ wT yT ŵ wญ෦ۭ۩Xy ̩ΤҬеXy zҬͻञजघX ш̝ ϲͮΥ̇ѬX

‫ݐݟ‬T Ҭϳy ཹ༢̇၌ထ ۵۰ [̇౨βѳеX шу ̇ͮΥ̇ѬV X`ΐౕ Κͮѱ͏ ẘ͌ ryѢқеX ̩Ϟ༅໶ ΐαΥ XΏϳ ̖уy

`Ҭ͏ ۵۰ u̇цͻЍ۵۰̇͌ ̇β͂Xc ̇ҁ̇ҌύX ҵҜ̤͒ ̇у Xࡗ࠮;Ѝ ϲ‫ܬ‬৫۹۰X ϲ‫ܬ‬৫yࡗ࠻Пഡ۵۰X [वरѮҬеX wT ̫ͮύ ?̖ͅ‫ זױ‬ bҬҙ ཹཙ uXc ̇у Rத౽ จ෦Υ ?ϲ͸̤ͮу ϲ̇ͅ၌ထ ϲҜα͏ ‫׏ױ‬ΐ౨ͻе ຘຊẏଏަ zT waV ṫ͸ϳ ̩Ҍ೎е Ϯуΐα͏ wT

ṙҏПͻҁX ‫ౕژڤ‬y ൉ഽွ೘ಲ ۵۰ Zࡗ࠮;Ѝ hҬͮό ϲ̤͌̇ͻу ‫ ౕژڤ‬ϻ;ଏ௢ xXӻӟ ̇у จබ w̆Υ XΏ၌ဎy ߐ޴ҬПͻеX

̇ϳΐଓ௯ rҬҁ ୐ହеX ϲ‫ܬ‬৫yࡗ࠻Пഡ۵۰X [वरѮҬеX ḟ‫ݯ‬ԕX ̇ϵۭ۩ౕ̇ ̇ࢂࡾ ZbҬѳеX ϲ౨βѳеX шу Z`ΐ̤ͻу [̇α͵ҙ Z‫׏ױ‬ΐ౛ [̇ͮѳ଎ࣅy Ѡ̟ၞၘX шу z૮ૐX ̖ҜΤy ࡗ࠾ЍT ѩѳΤ ࿂ྦΐαͻе ຘຊẏଏަ ཹ཯ ϲ౗Ҭͻβу ѓҙ̇͸у ཹཙ

ཹ༯yࡗ࠻ПഡX Ҭଏ௬ ‫ ౕژڤ‬ϲΤby ΐ̤͌ ϲΤby ຘຐढजघX Ẏએ੧еX XΏϳ [̇౨βѮ ̶лα͒ ऎࣸഡ ϲ‫ܬ‬৫ญ෦уX waV ṫ͸ϳ

̇ѱͅT ṫ͸ϳy ̤̇ͻ༅༄ Ϯ͏yΐଓ௯ wT ҬϑbT ‫ݐݟ‬T Ҭϳy ?`̤̇͌۸۰X ཹ༵वर͕ wҬПͅ `ญ෦ͅ zஙಗ͌ จ෦ࠛࠁy ཹཙ ཹ༢Xyଆ૵X ЯҌлҌ೛еX Ѷβ͏ ດຊ PDF จ෦҄ ‫ ౕژڤ‬Яц̤еX ϲͅUଆ૵ ϲ‫ܬ‬৫ญ෦уX

ViewŶsidebarŶcontact sheet

ϲҏΤ̇͸уy [̇уԒԀ̤ۭ۩X u`̇͵೛ಬ ֌սϵۭ۩Xy ̖ͮц՗ՎՈ ^̇ͻۭ۩X Ѣ‫ݰ‬ԕX vवरౕ۵۰X ࿂ྕౕ̇ ཹཫV ̩ࢿࢰ ϲͮ໲໕ଆ૵X ϲౕҬ͵Ҝۭ۩X xΏϳ ࡗ࠮ПβͻеXy ̫Ϟ͵ၞၘ ZѢцͻҌуy ϲ౗Ҭͻβу ϲѳ͸у Ҭϳ waV ̇ܶৡຟຊ ̇у ࡹ࡞βеX u̇໲໑ჳy ṡͮҌеX

̖͵೛ಥ ‫׏ױ‬Ѡۭ۩X

not only in regions with high illiteracy images are prevailing. we live in an image-producing world. the amount of documents broadcasted and streamed by (civilian) journalists, compiled by activists, and a huge creative outlet paved the way for a closer look on images produced in 2011 and beyond. the puzzled stroll through a contextualised

imagery does not claim any completeness. it rather pursues the random, step by step.

the linguistic matrix of any language bears references to the image: to put someone in the picture, to imagine, to make yourself a picture, the image of a nation and the image of a prophet. you picture it. whether you lost one eye, two eyes, the third eye or still have all of them.

3rd December 2011

‫أهمية الصور لا تقتصر على المناطق التى ترتفع فيها نسبة الأمية فحسب إذ أن طبيعة عالمنا‬ .‫اليوم تجعله ينتج الصور باستمرار‬ )‫هناك كم هائل من الوثائق التى يتم بثها وتحميلها على الانترنت من قبل الصحفيين (المدنيين‬ ‫وغيرهم من النشطاء وقد أدى هذا التوسع الهائل فى الابداع إلى تمهيد الطريق لفهم معمق‬ ‫ لا نقدم هنا اطارا كاملا للمسار الذى اتخذته تلك‬.‫ وما بعدها‬2011 ‫للصور التى تم انتاجها فى‬ ‫ وإنما ننتقى بعضها من هنا وهناك عسى أن تكتمل الرؤية فى أذهاننا مع كل خطوة‬،‫الصور‬

‫ تتحدث دائما عن‬،‫ وهذا ينطبق على كل لغات العالم‬،‫اللغة التى نستخدمها فى حياتنا اليومية‬ :‫ خذ عندك‬،‫الصورة‬ ‫ لو‬.‫ الخ‬،‫ سوف احافظ على صورة البلد‬،‫ سوف أتصور‬،‫سوف أضع (شخصا ما) فى الصورة‬ ‫فقدت عينا وعينين ثم عينا ثالثة فأنت ما زلت مبصرا‬ 2011 ‫ ديسمبر‬3

http://suzeeinthecity.wordpress.com/2011/12/03/the-revolution-continues-and-so-does-graffiti/ the images compiled here speak for themselves with a lingering loose chain of associations. the idea, that it will go away when you do not see it, fails and reality transcends imagination supposedly one year, here go decades, centuries. aspirations of generations, their rights and mushrooming networks seen from Umm i Dunia, the mother of the world in Cairo, Egypt there is a simple, echoing question: how many pictures of atrocities have to be documented, processed and looked at, before there is no more reality of such things being generated

‫الصور التى نقدمها لكم هنا تتحدث عن نفسها من خلال سلسلة من الأفكار التى تخطر على‬ .‫الذهن وتبعث على الترقب‬ ‫لم يعد من الممكن أن يتخيل المرء عالما يخلو من تكنولوجيا المعلومات ولم يعد من الممكن‬ ‫أن يغلق المرء عينيه عن كل تلك الصور التى تحيط به والتى تؤكد لنا دائما أن الحقيقة أوسع‬ .‫مجالا من الخيال‬ ‫مرت سنة بأكملها وقد تمر بعدها عقود وقرون ولن تزول آمال الأجيال ولن تختفى مطالبهم‬ .‫ فى أم الدنيا‬،‫ فى مصر‬،‫ تلك هى الصورة كما رأيناها فى القاهرة‬.‫ولا قدرتهم على الاتصال‬ ‫ كم من صور المذابح يجب أن تؤخذ وترسل وينظر‬:‫هناك سؤال بسيط يتردد فى الأذهان‬ ‫الناس إليها قبل أن يتغير الواقع الذى أدى إلى سفك الدماء؟‬

The usage of pictorial symbols for candidates running in Egyptian elections was first introduced in 1956. For those who cannot read and write the names of the candidates are catchy and easy to be memorized. Beyond the gesture of recognizing illiteracy, concurrently embracing a huge group of potential voters that would be out of reach otherwise, this image system also tells the stories of affiliations and associations aspired by the candidates. The legibility of the symbols challenge the overall understanding and reading of images.

The message merges with the means.

In the first elections after the downfall of Hosni Mubarak which started in December 2011 a lot more candidates then ever before ran for independent and party seats, consequently demanding the invention of more symbolic signs.

According to the order of their applications, new pictorial symbols made their ways into election posters reflecting standards and desires of contemporary times: crocodiles, banana, blender, diamond ring, scale, wardrobe, lamp, fan, refrigerator, Mobile phone, toothbrush, tractor, grapes, nail, umbrella, cactus, ambulance, wale, tank, onion, book, guitar, water tap, fire extinguisher, traffic lights, oven, meter, computer, tongs, chair, jumper, apple, camera, football, light bulb, business building, tennis racket, envelope, circle, basket, peacock, piano, ambulance, tie, crane, water heater, money purse, circle, leaf, flower, candle, tire pump, raptor, bus, watch, plug, rocket, sailing boat, guitar, motor circle, water bottle ‌..

Here is a basketball with Mostafa Mahmoudy running in Zeitun and other 3 adjunct districts in North Cairo. For years he was the unofficial first hand of then NDP/Mubarak Party district king. In the neighbourhoods Mostafa was very well known for his influential relations and his illegal businesses. All people knew that he was now to be installed as one of the old guys’ extended hands. The poster was everywhere, in all streets and corners.

And so was he. Dressed with a heavy dark blue winter coat, the street lights revealed his southern roots in contrast to the light complexion on the posters.

Mostafa handed out the in white and blue designed business card of his real estate company. Later, after the polling stations, housed in neglected school buildings, had opened, his name and his symbol, the basket ball, had magically disappeared from the election list.

wԒԀϵଓ௢ ેફ͵ό̇͸еX шу ࡗ࠮;ПഡX wญබ vౕ̇ ஙಗу ཹཙ ેફଏࣅѢॅႬၘ ϲ‫ܬ‬২̇ঙঊफ़۵۰X cҬуଆ૵X vXΐ౧ͻҁX T‫זױ‬

࣏࣪‫ לװ‬р၌ူлౕ ԾԭПͅ wญබ ?ેફଏࣅѢۭ۩X Ṙ༅໶T ZRXѢΤ р၌်у ̶лҜͅ wT шу ۵۰‫זױ‬y ϲ͌̇એ੧еXy ZRXѢαеX

р၌နXҬѮ̊͌ XҬе‫ ׏ױ‬wT рϵ̤ҁy ཹཙ шПͅ ࿂ྕ ?ϲᾳѢҜеX ႖ႂ͒ vXΐ౧ͻҁX wy‫ זױ‬рࢂࡾ ϲ‫ܬ‬২̇ঙঊफ़۵۰X cҬуଆ૵X

ѩѳΤ ẇͮύ۸۰X ѧ̤͌ ཹཙ ̇ࢂࡾ ਁ৫ญබ Я͌ ?Z`Ѣଓަ ̇ࢿࢠX` шП͒ ࿂ྕ cҬуଆ૵X шПഡy [̇͌̇ঙঊफ़۵۰X ཹཙ

ЯѮy ϲαл౗ cҬуଆ૵X ࡗ࠵ͻ̤͏ wT ̇͸͸Пࢿࢣ Xພຊ ̇ࢂࡾ wҬϑyӻӒ ୐ହеX bญ෦Υ۸۰Xy ેફଏࣅѢۭ۩̇͌ ϲͮҌβ͏ [̇ҙ̇ܳ৮bXy

ຘຊ̇ҁଆ૵Xy ຘຐͮҁҬеX ેફ͌ ?рϵβеXy u̇ͮ‫ݯ‬ԕX ેફ͌

`ΐౕ wญබ ? ࡗ࠵ц࠘ߺ` ཹཙ [T‫୐ זױ‬ହеXy ?tḃ͵у ୐ଶҌύ Ѷ೎ಢଆ૵X ̖лౖ ̩л͒ [̇͌̇ঙঊफ़X uyT ཹཙ

࿂྅ vXΐ౧ͻҁX zbyஙಕеX шу μ͵ѮTy ?ϲ̟̇ͅၞၘ Xࡗ࠮͵Ѝ ેફлαͻҌۭ۩Xy YX૬૑۸۰X ΐౕ̇αу ‫ે ౕژڤ‬ફଏࣅѢۭ۩X

[̇౗ҬцҜеXy bญ෦Υ۸۰X ѧ̤͌ ཹཫV [Xḃ҄V cҬуଆ૵X ႖ႂ͒ ̩͸цѱ͒ ϲ‫ܬ‬২̇ঙঊफ़۵۰X cҬуଆ૵X шу Я͂̇ϳ ?wXࡕ࠮у ?࿂ླౖ̇ ?hवरౖ ?cҬу ? ^̇Ҍࢿࢰ ϲͮе̇ͻеX ຘຐ;у۸۰X ཹཙ zӻӟ ฺ่บ ཹཫ̇‫ݰ‬ԕX ̇͏ஙಗ̤͌ ϲҜܳ৮Ѣۭ۩X ?ḃцҌу ?̶͸̝ ?bX૮૕ ?ẇ͸ҁX ϲ҄ѢΥ ?uҬ໲ࢆࢄ wҬβͮл͒ ?ϲ౛वर͕ ?ϲ౗y‫? ݐݟ‬ϲ͵ۭ۩ ?Y۵۰y`

Zḃ҄X ?ѓͅ૮૑ ϲ̇ͅβҙ ?bҬ͵೘Ѯ ?ḃͻͮϑ?Ẏۘ‫? ڰ‬ຘຐѳ͌ ?ϲ͌̇͌` ?[Ҭύ ?ṙ̤ҁX ϲ͌‫? ̝ݟ‬ϲͮҌ༅໹

Z࣏࣪ ?Xࡗ࠮уญබ ?Zḃͮҁ [XḃҙX ?^̇β͒ ?ѢΥԒԀ͌ ?த౺࣏࣪ ?ḣαлу ?ӻӟҬͮ͵໲ຽ ?ḋͮαу ?wѢΥ?by‫ݐݟ‬

?Ҭ͏̇‫ܬ‬২ ?dyẏҙ ?̩ೕҁ ?ZӻӏX` ?rѢҘ ?Ѷ೘ಲ Yஙಕу ?zbX`X ୐ଶ͵у ?^̇͵ѳу ?ḃ͵Ѯ ?vΐΤ

?ϲҏ೎Υ ? ϲౕ̇ҁ ?Ѷ೎ಬ Ҭ͒X ?_̇β͸у ?ϲ̤༅໹ ?Z`by ?Ѣଓࣅ ϲΤby ?ϲқβଏަ ?ẇ଎ࣂ ?೯୯y ?ϲͻΥX࣏࣪ ඎԕX ?ẋͮу ϲ౛̇౛c ?จ෦ͮҁҬ͒Ҭу ?ḃͻͮϑ ?ཹཨXங౽ YḃΤ ?_yḃѮ

u̇༅໹ ཹཙ z૮ૐX ӻӏXy` ϲ͕वर͕y wҬܹৡ଄૵X ཹཙ హ‫ޠ‬Ѣۭ۩X z`Ҭ໲ࢆࢄ ԾԭҜѳу ̖у ຘຐҁ Z࣏࣪ ΐଓ௯ ̇͸ϳ

୐ଶҌύ шуc ཹཙ ࿂྅̇‫ݰ‬ԕX ҵҙXѢαࢿࢣຟຊX ୐ଶҙҬеX YѠ‫ݰ‬ԕX ϲуΐౖ ཹཙ [XҬ͸Ҍе ԾԭҜѳу Я໲໑ ZѢϳ̇αеX wญබ Xພຊ ϲуҬϵβۭ۩X ࡗ࠮౐ ϲͅḃ౬ͻеX Ϯ͒̇ҙ̇ࠛࠄy ZӻӢҟۭ۩X Ϯ͒̇Τवर̤͌ ϮͻαҜ͸у ཹཙ Ѣ၌ွࠛߺ wญබy ?tḃ͵у

ѓѳлۭ۩X ࿂ྦΐαеX v̇қ͸еX u̇౛b aҬβ͸е X`XΐͻуX wҬПͮҁ Ϯ͏T Ҭϳ ḋ͸еX ેફ͌ ̖͂̇ҏеX `̇αͻ̝۵۰X

Ѣϵқͅ ̇ѱͅT ԾԭҜѳу wญබy ?[̇ΤѢҜеXy jbXҬҏеX ཹཙ ࡗ࠮͵Ѝ ΐ౗ ཹཫV ஙಈ೛ಯX ѓΥѢۭ۩X ཹ༯वरౕ۵۰X

ѧ̤͌ μͻΥX ਁ৫ญබ ZbҬѳеX ཹཙ Ϯ͒ஙஆ୬ wT ѧ̤͵еX ҕύ۵۰y ?Яͮα͕ ‫ݰژڤ‬ඤ ҬҜе̇͌ ̇ͅ‫? ݐݟלױ‬Ϯѳϝࠛࠁ ๹๕ங౽ [y࣏࣪ ̖ͅcҬܹ২ ϲ‫ܬ‬২̇ঙঊफ़۵۰X Ϯͻл໲໠ ṘܶৱT ཹཙ ԾԭҜѳу v̇Τ ϲ̤ͮ͵ҜеX ‫ ౕژڤ‬Ϯ͒ஙஆ୬ шу RதಈеX

jXࡗ࠻Τ۵۰X ࣏ࣨX‫̩ ݐݟ‬ϞͻΥ ̇уΐ͸̝y sbc۸۰Xy ѧ‫ܬ‬২۸۰X ેફ͏ԒԀе̇͌ ̩̤͵ҙ ୐ହеXy Ϯ͌ ϲѮ̇‫ݯ‬ԕX [Xḃα̤еX шу ̇у̇ࢿࢰ ̇ͮβͻόX ΐΤ ?ຘຐҌеX Z࣏࣪ ?x‫ݐݝ‬by ԾԭҜѳу ೵౺X wญබ ຘຐц၌ካ ϲͮҁbΐу ẇ͵у ཹཙ ̇၌ဎXҬ͌T

Ẏঙঊफ़۵۰X ࿂ྣXҬΤ

waiting forbidden an enamelled plate by Mona Hatoum reads the Arabic word intizar >> English translation: waiting

ḃқܚ্۾۰X jŇŹÍ¸ŕź…ŕź„ vŇŹŇœĎ? ŕ­?ŕŹśŃƒ ?Ď˛ÍŽĐťŇœŃƒ Ď˛ŇœÎĽĚ‡Í… ŕ­?ŕŹśĚ¤Í’ Ď˛Í…ŕĄ•ŕ ŽĐťŕŹ“ŕŻŹŰ´Ű°X waiting Ď˛ŕĽ…ŕˇžŕśś Ď˛â€ŤÜŹâ€Źŕ§¨Ń˘Ě¤ĐľĚ‡ÍŒ Ĺźḃқܚ্XĹ˝

http://en.wikipedia.org/wiki/Mona_Hatoum

ÎšŇœŃłÍ’ ?Ě‡ŕ˘‚ŕĄžĚ‡ŕť˛ŕť‘T Ě‡á Œá€°ÎĽ vŇŹŇœĎ? ŕ­?ŕŹśŃƒ ̊я‍ Ě?Ý&#x;‏zພຊX ?dẏϳ wẏ͝оX zŕĄ—ŕ ŽĐľĚ‡ŕą› YŃ˘ÎąÍŒ ‍ً̇ٹڎ‏๛ jḃ҄ ཚཙ ϲͅḃ๏͝оX [Ě‡ÍťÎĽŕ¤ľá ¤á ˜X ̖͸ѳͅ ŕŤŽŕŤ•Ě‡ÍťŰ­ŰŠX á‚–á‚‚Í’ Î?ŕą—T RĚ‡ÍŒŃ˘ĎľĐ&#x;ŕ´ĄX [Ě‡ŃƒŃ ĐťÍťŇŒŰ­ŰŠ Я‍ Ř?آؤ‏TÎ?ܳৎ ŕ­?ହеXy ZŕĄ—ŕ ŽĚ&#x;ѳоX ŕŤŽŕŤ•Ě‡ÍťŰ­ŰŠX ̖͎ೕಲ ZT‍Ý?Ý&#x;‏X ṫ͸ϳ ?ϲю̇͸оX ‍ ŕą•Ú˜Ú¤â€ŹĎ˛ÍŽŃŹĚ‡Í…ŕŹ†ŕŤľX ϲͅÎ?๗۸۰X jXŇŹÍ?T ιлͻମަ ̖͎ೕ಼ Ń˘Ď˘ÍťŃƒ ώ͎Нͅy ?Ě‡Í¸ÍŽŰ­ŰŠĚ‡ÍŒ ZŇŹŇŒĐ&#x;ླۊX ŃˆŃƒ j̇ܳ৥ ĚŤÍŽĎ? ?wŕ¸?ࡌۭۊX ཚཙ ]cĚ‡ŇœĐľX ŕĄ•ŕ ľâ€ŤÝŻâ€ŹÔ•X ϲŕŹ?ŕŻ&#x;Xb á‚–á‚‚ÍľÎąÍťŕ ˜ŕ ‡ Î?ιμ ҕ‍ݰ‏ԕX tÎ?Ě¤Ň T ŇŹĐľy ?dTŕŹ†ŕŤľX ĐŻÍ…`Ě‡Í¸Ńƒ Î?ŕąŹŇŒŰ­ŰŠX Ď˛ŕą—Ě‡Ň ĎŽŕą›XŇŹÍ’ ϲ͎о̇๖ Ď˛Ě¤ÎąÍŒ ཚཙ gb۸۰X ‍ ŕą•Ú˜Ú¤â€ŹĎ˛Í¸Ň?Ńƒ

in a little alleyway in close proximity to Townhouse Gallery, Cairo, where Mona Hatoum’s exhibition took place, small shops align. next to the electric shop the porcelain enamel sign shop sells plates. next to it, all brands of sport shoes can be purchased. in a small corner, a woman sells handkerchiefs and sometimes, if you come in the right time, you are embraced with the smell of warm fresh bread, being sold straight from the floor before the space extends into an expanded Mosque.

Яю۸۰X ZѢϳ̇ιоX ŕş˜ŕş?ŇŒĐťŇ ?vŇŹŇœĎ? ŕ­?ŕŹśŃƒ ŕłľŕąş x ŕłľŕąş Ď˛ŃŽŇŹÍŒ ཚཙ Ď˛ŃŽŇŹÍŒ `Ě‡Ě¤ÍŒŰ¸Ű°X wÎ?Ě¤Ńƒ ‍̇ ŕą•Ú˜Ú¤â€ŹÍ¸ÍŽŃƒ

original: Mona Hatoum, Cairo series 2006 enamel on steel , h: 11.6 x w: 15.8 in / h: 29.5 x w: 40.1 cm

see page 17

ϲ౨βѮ Ѣқ͏X

dḃу ཹཙ żϲуXࡹ࡞ഡXŽ ϲβͮଏ଍

“Mubarak’s referendum is illegitamite” - Egyptian Al Karama, 23 March 2007

Nadia Kaabi-Link used wax, ink, and silk paper to take imprints of the writings she collected on Tunisian walls. the demands were reimposed on white cube gallery walls for the Alexandria Biennale 17thDecember 2009 - 31st January 2010

̖цŇ?ĐľX ϝ͸͎о ŕ­?ଳ̤Đ? ̇ͅ`̇Í? ĚŠŃƒÎ?ŕą§ÍťŇ X [Ě‡ÍŒĚ‡ŕŞ?੧еX ÎťŇŒŕł˜ŕ˛˛ ऎࣸഥ Zâ€Ť×–×ąâ€ŹŕŹ„ŕŤľX sbyy ŕĄ—ŕ ľâ€ŤÝ°â€ŹÔ•Xy ೏୯ҏ͒ Ň–Í‚XŇŹĎ? ŃˆŃƒ Ě‡á Œá€˝Ě¤ŕť˛ŕť¤ ŕ­?ହеX Ň–Í‚XŇŹĎ? ‍̇ ŕą•Ú˜Ú¤â€Źá Œá€ˇÍŽĐ?ÓťÓ&#x; ŕż‚ŕžł Ě‡á Œá€˝Ě¤ŕť˛ŕť¤ ŕ­?ହеX ÎťŇŒŕł˜ĐľX ཚཌྷ̇͸͎೎ಏ ཚཙ ŕĄ•ŕ ŽĎľĎ˘ÍťĐ? ̊я‍Ě?Ý&#x;‏y Ṙѹ‍܏‏২ ϲͅbÎ?͸Đ&#x;Ň ŰľŰ°X ӝӒ̇ܜ৥ Ĺľ ŕĄ—ŕ ľŃ†ŕ ˜ßş`

please don’t throw away your garbage. don’t throw your garbage here, stupid! a broken hand and foot to those who throw dreck respect your neighbours, don’t throw garbage here! no dumpling! (forbidden to throw any kind of waste) God will have no mercy for those who tip there waste here those who throw the garbage here, will neither be blessed nor they will find graciousness

http://www.alexbiennale.gov.eg/ http://www.nadiakaabilinke.com/

ĎŽŇœÎąŕ ˜ŕ ‡ŰľŰ° ೏୯ҏ͒ ϝ͸͎о ŕ­?ଳ̤Đ? ̇ͅ`̇Í? ϲͅbÎ?͸Đ&#x;Ň ŰľŰ°X ཚཌྷ̇͸͎೎ಏ ཚཙ {ŕĄ•ŕ ŽĎľŕŹ“ŕŻŻ ĐŻŕť˛ŕť‘ ӝӒ̇ܜ৥ Ĺľ ŕĄ—ŕ ľŃ†ŕ ˜ßş`

Don’t drop it, Nadia Kaabi-Link, Tunisia Installation for Alexandria Biennale 17thDecember 2009 - 31st January 2010

the documentary footage of the performance was shot on 14th December 2009. it shows casual labourers and artists crawling through the traffic in Champollion Street, Downtown Cairo. orchestrated by Amal Kenawy, she screened the video of the performance on the occasion of the 12th Biennale in Cairo, 12th December 2010 till 12th February 2011. at the opening Amal Kenawy cooked for everyone. her video was awarded the Biennale Grand Prize.

XÎ?Ďł ŃˆŃƒ Ď˛ÍŽĐťÍŽĎ˘ŇŒŕł›ĐľX [Ě‡ŇœÎąá žá ˜X ӝӒҏѳ͒ ŕż‚ŕžł ཚ཯y ŕĄ—ŕ ľŃ†ŕ ˜ßş` ཚཙ ཹ༢X`Ű´Ű°X Яц̤оX ‍ ŕą•Ú˜Ú¤â€ŹwҏβĎ?ÓšÓ’ ŕŤ‡ŕŞŤÍ?̇͸μy Ď˛ŃƒyĚ‡ÍŽŃƒ uĚ‡ŕť˛ŕť‘ ѢϾқ͒ wŇŹÍŽĐťÍľŕź…ŕťš jḃ҄ ཚཙ [XbĚ‡ÍŽŇŒĐľX ŕŤ‡ŕŞŤÍŒ gb۸۰X uĚ‡ŃƒS ÖŒŐ°Ń†ŃłÍ’ ŃˆŃƒ Яц̤оX ZѢϳ̇ιоX Ň–Ň y ཚཙ ZѢϳ̇ιоX ཚཌྷ̇͸͎೎ಏ ཚཙ ϲÍ?̇͸βоX ĎŽÍťŃƒÎ?Τy zẏ͸Τ ŕĄ—ŕ ŽŃ†ŕ ˜ßş` ŃˆŃƒ Î?ÎąĚ? zພຊX ŕŽ™ŕ˛ˆĚ? ŕ˝šŕźŻĚ‡ÍžĐľX ÓťÓ’XŕĄ—ŕ ľÎĽ ཚཌྷV ϲ;ϑy ŇŹĎľŇœÍŒ ^̇͝͝μ۾۰X ཚཙ zẏ͸Τ uĚ‡ŃƒS ĚŠŃƒĚ‡Î¤ Ě‡á Œá€Ž ḟ‍ݯ‏ԕX ŇŹÍ…Î?͎βоX ĐŻŃłĎ?y Ě–ÍŽŃ†Ő—ŐŽŐˆ v̤̇ҙ ཚཌྷy۸۰X ཚཌྷ̇͸͎೎;оX ZÓšÓ?̇๛ â€Ťŕą•Ú˜Ú¤â€Ź

wार‍܀܅ܕ‏X ĚŠŕź…ŕźƒ ZѢϳ̇ιоX {ẏ͸ιоX uĚ‡ŃƒS

http://www.cairobiennale.gov.eg/ http://www.amalkenawy.com/

silence of the sheep, Amal Kenawy, Cairo late 2010

ten months later, the reference to lambs appeared again, this time in connection with the regime’ s crackdown on Syrian protesters since 26th January 2011

ཚཌྷV Zḃ҄۴۰X [`Î?ŕŹ“ŕŻŻ ?bŇŹá Žŕą˝ ZŕŽ™ŕ˛ˆĚ¤ÍŒ ̇ϳÎ?Ě¤ÍŒ zພຊX ̖цιоX wĚŠŕ ›ŕ ZѢۭۊX xÎ?Ďł ?ϲ‍܏‏্͕̇ wार‍܀܅ܕ‏X Î?Í¸Ńƒ ß?޴Ѣϳ̇қۭ͝ۊX ‍ ŕą•Ú˜Ú¤â€ŹzbŇŹŇŒĐľX v̇қ͸оX ĎŽŇ bĚ‡Ńƒ ӝӒ̇ܜ৥ ŃˆŃƒ

?v Ď˛ŕą•Ě‡ŇŒĐľX ϲ̤‍܀܉ܕ‏X Ě‡á Œá€°Đťŕą• bҏ̤͞оX ŕż‚ŕžł http www egyptindependent com node Ě–Î¤ŇŹŃƒ â€Ťŕą•Ú˜Ú¤â€Ź v̇Ň?Ďł Î?ŕť˛ŕ˘†ŕ˘„ ŃˆŃƒ ZbҏѳоX

found Fri, 30/03/2012 - 20:46 on http://www.egyptindependent.com/node/742756 photographed by Mohamed Hesham

ZŃ˘ĎłĚ‡ÎąĐľĚ‡ÍŒ ŕ˝šŕ˝˜ŕş&#x;ຊX ཚཙ ϲͅbŇŹŇŒĐľX ZbĚ‡Î˛ŇŒĐľX YŃ˘ÎąÍŒ ÔžÔ­ŇœŃłŃƒ# ? ÓťÓ’ŇŹÍťĐ?X

found near Syrian Embassy, Dokki, Cairo 28th October 2011 by @mostafa

following the protests against the anti-Iraq-war since March 2003 in Egypt, Kefaya (Arabic: enough) movement emerged in 2004. since then its members and affiliates were seen during countless protest stages and marches all over the country. Kefaya and the anticipating Nasserists, Anti-Globalisation people, Brother Hoods, journalists, judges, NGOs, individuals were fuelling for the bigger picture to take place on 25th January 2011 and onwards. the reimposed emergency law following the assassination of Anwar el Sadat in 1981 and its brutal implementations did not hinder viral resistance and outcry against attempts to silence concerned and angry voices. nevertheless it was astounding to see such outspoken messages on the front pages of local newspapers in March 2006 and March 2007.

Egyptian newspaper El Karama, 23 March 2007 >> see page 13

ẎιĚ?T ཚཙ şϲ̇ͅβĐ?Ĺ˝ ŕššŕš•ŕŤŽŕŤ‘ ĐŻŕŞ‚ŕŠ§ŕ ›ŕ ‡ ŕż‚ŕžł ཚཙ sXѢ̤оX ‍ ŕą•Ú˜Ú¤â€ŹYŃ˘Ő“ŐŽŐˆ ϲяḃ̤ۭۊX [XѢϳ̇қۭۊX ŕššŕš•Ń˘â€ŤÝ°â€ŹÔ•X ḃѳÍ?X v̇Τy ŕŽ™ŕ˛—Ńƒ ཚཙ dbĚ‡Ńƒ ÖŒŐ°Ň›Üśŕ§Žy [XŃ˘ĎłĚ‡Ň›Ńƒ ཚཙ ]yŃ˘â€ŤÝŻâ€ŹÔ•Ě‡ÍŒ Î?Í¸Ńƒ Ě‡á Žŕ˛?‍Ě?Ý&#x;‏y `ार;оX uŇŹŇœÍŒ ϲ͎ϑ̇๏͝Ď?X [̇βΤy wŇŹÍ…ŕŽ™ŕ˛’Ě‡Í¸ĐľX Ě‡ĎľĚ¤Ńƒy şϲ̇ͅβĐ?Ĺ˝ ŕššŕš•ŕŤŽŕŤ‘ ĚŠŃƒĚ‡Î¤ wҏ͎βϞѳоXy wXŇŹĎŒŰľŰ°Xy ϲۭۊҏ̤оX ŇŹŃŹbĚ‡Ě¤Ńƒy Ń€Ě?‍ ×–×ąâ€ŹĎ˛ÍŽŃƒŇŹĐ&#x;‍ݰ‏ԕX ŕĄ—ŕ Žŕą? [͎̤̇‍܀܉ܕ‏Xy ŻѹιоXy ŕĄ—ŕ ŽÍľĐ&#x;ŕ´ĄX uŇŹĎžÍťá žá ˜ Î?á ŒáŠŤ zພຊX ϲяḃ̤ۭۊX hĚ‡ŕ ›ŕ „ ώ;ιĚ?T Ě‡Ńƒy ӝӒ̇ܜ৥ ཚཙ ẋܜ৥Tb zພຊX ϲͅbĚ‡Ň ŕ¨ ŕ§Ťŕ¸?ŕśś ŕ­?ହеX zbXŇŹŇœĐľX ŕŤ‡ŕŞŤÍ?XҏΤ [Ń ŕľ§ŕŁł ŃˆĚ? ཚཙ [X`Ě‡ŇŒĐľX bŇŹÍ?T uĚ‡ÍŽÍťĚ˜X Î?Í¸Ńƒ ϲ͎Ň?Ď?ŇŹĐľX [Ě‡Ň ḃцۭۊX ĚŠĐťŇ?ÎĽy Ď˛ŃƒẏιۭۊX ΚΤy ŃˆŃƒ wŕ¸?ŕśśy ϲ;я̇Ě&#x;ĐľX [Xҏю۸۰X [ŕ¸?ŕˇŚŇ X ŃˆĚ? ϲ‍܊‏৥Ѣ‍ݴ‏ԕX ĐŻÍ‚Ě‡Ň ŕŹ†ŕŤľX á‚–á‚‚Í’ RѢۭۊX zÓťÓ’ wT њϳÎ?Ű­ŰŠX Ď˛ÍŽĐťŕ¤žŕ¤œŕ¤˜X ΚϞѳоX ŃˆŃƒ ཚཌྷy۾۰X [̇๨βѳоX ཚཙ

dbĚ‡Ńƒ ? `Î?̤оX ?ĹźĎ˛ŃƒŰ¸Ű°X [ŇŹŃŽĹ˝ ϲβ͎ŕŹ?ŕŹ?

Egyptian weekly SOUT ELOMMA, No 276, 13 March 2006

dbĚ‡Ńƒ ཚཙ ĹźĎ˛ŃƒXग़फ़ഥXĹ˝ ϲβ͎ŕŹ?ŕŹ? ϲ๨βю ѢқÍ?X

ŕĄ—ŕ ľŃ†Íťŕł•Ň y ŃśŇœŇŒĚ˜Ty ҏ͎оҏͅ ?ZѢϳ̇ιоX ?ӝӒѢϞ͝оX wXÎ?ÍŽŃƒ ŃˆŃƒ Î?á Žŕ˛ˆŃƒ ŕŽ™ŕ˛—Ńƒ ?ŕłŹŕ­ĽŇŹŇŒĐľX ϲқμ̇ŕŹ?ŢŚ ÓƒŇżŕą• Ńˆŕ˘żŕ˘ŁŰ¸Ű°X ŃˆĐ?ŕŹ†ŕŤľX ཚཙ

seen on Tahrir Square, Cairo, July, August, September 2011 in the right top corner: the flag of Suez Governorate, Egypt

it is not only a copyright concern, why this photo is not displayed. presumably this picture is one of THE images etched on the canon of documentary photography, archived in the collective memory

YĚ‡ÍľŇ Ű¸Ű° ϲ;Ď?̇ѳۭۊX ZbҏѳоX Ď˛ÍŽŇœĚ&#x;Í’ ̊ࢿࢰ ?ŕŽ™ŕ˛ˆŕł˜ĐľX sŇŹÎąŕŹ?ொ Җιμ ‍ܚ̤ޓޙ‏ৎ ۾۰ ϲ͎Ě?̇‍܀܉ܕ‏X Z࣪ŕŁ?XພຊX Ě‡á Œá€”ŕş&#x;ŕş?ŕą– ZbŇŹŃŽ ཚ཯y Ԟԏ͕͂̇ҏоX ӝӒҏѳ͝оX ŕż‚ŕž•Ě‡ŕą• ཚཙ X‍Ý?Ý?‏b ̊Ϟ;юTy

in the image / photography : naked girl, Phan Thi Kim Phuc (center) and other children, framed by soldiers, flee from the scene where South Vietnamese planes have mistakenly dropped napalm

ϲ͎μXâ€ŤĚ˜Ý&#x;‏ҏ͒ҏμ Ď˛ŇœÎąĐľ ZbҏѳоX ཚཙ Ѣβ͒ Κѳ͝͸ۭۊX tŇŹÎĽ ÖŒŐ°Đ? ཹ༲ ẇμ Ż͝βоX ̖ΤҏۭۊX ŃˆŃƒ ϲͅḃ๕ ĐŻÍŒĚ‡Í¸Î¤ ϲ‍܏‏২ҏ͸‍ݴ‏ԕX v̇͸೛͎μ [XÓťÓ?̇ҙ ṘιоX Î?Ě¤ÍŒ ĚŠŇœâ€ŤÝŻâ€ŹÔ•X ѓͅѢҙ ŃˆĚ? ŕż‚ŕž•Ě‡ÍŒĚ‡Í?

dÓťÓ™Î?ÍťÍŽŕłŽŇ„ŇŹŇ Ű¸Ű°X ?v̇͸೛͎μ ?ß?Ţ´ŇŹĎł Ě‡ŕŹ“ŕŻŹŇŹĐ? [yX ϝ‍܏‏্ bҏѳۭۊX ҏ‍܏‏্ҏͅ ?ϲ‍܏‏২ҏ͸‍ݴ‏ԕX v̇͸͝೎͎μ?ŕ°˝ŕŻƒĚ‡ÍľŕŹ“ŕŻŹXÓťÓ&#x;

Photographer: Nick Ut Cong Huynh, Vietnam, The Associated Press.

Trangbang, South Vietnam, 8 June 1972

h ello, ismi thawra h ello, ismi thawra h h

Egypt's Uprising: State of Play 2011-02-10 (Copyright: Issandr El Amrani / www.arabist.net)

O cial federation of trade unions Coptic Orthodox Church leadership

Ambiguous / undecided

National Democratic Party

52 +29)510)17 %1( -1?uential

Refuses negotiations until Mubarak steps down

Al-Azhar leadership

Some %/%>st Islamists

Notes: (1) Some groups are represented both under the National Association for Change and individually in direct negotiations with the +29)510)17 552:6 -1(-'%7) -1?uence.

Accepts negotiations while Mubarak in place Doctors Journalists

8> Associations

Evangelical Churches

Tribal Associations

Engineers Professional syndicates Pharmacists Judges

"1()'-()( &87 -1?uential

Group of the Wise (Naguib Sawiris, Kamal Aboul Magd, Nabil al-Arabi, Yehia al-Gammal)

Al Ghad (Ayman Nour)

Workers at public entreprises

Democratic Front (Osama al-Ghazali Harb)

Lawyers

Wafd (Al-Sayyid Badawi)

Opposition groups Tagammu (Rifaat Said)

Muslim Brotherhood (Mohamed Beltagui)

Democratic Front Youth Justice and Freedom

Minor legal parties

National Association for Change (Mohamed ElBaradei)

Muslim Brotherhood Youth

Nasserists (Sameh Ashour)

Tahrir coordinating groups April 6 / Khaled Said

National Association for Change Youth

Nasserists

Independent trade unions

Independent Islamists (Gamaa Islamiya, %/%>sts)

Radical left

Human rights organizations

Una liated anti-Mubarak groups

March 9 Professors' movement

Democratic Front (Osama al-Ghazali Harb) Kifaya (George Ishaq / Abdel Halim Qandil)

Muslim Brotherhood (Saad Katatni)

National Association for Change (Mohamed ElBaradei)

al-Ghad (Ayman Nour)

Karama Movement (Hamdeen Sabahi) al-Wasat (Abu Ela Madi)

TV Palestine

aish life bread

Tunesia,

Egypt,

Yemen,

Jordan, Bahrain,

Libya,

Gaza,

Syria,

Greece

,

for youforforyou you forfor youyou for you

die gazelle zittert der löwe brüllt die hyäne wittert doch die kunst erfüllt

the gazelle trembles as the lion roars the hyena shambles but art gives more

ǗűǍƸŽ ȲȚǎưŽȚ ȴȘ ȤȖǎƸŽ NjŴLjȚ ȴȘȶ ǏƱƶƄƸŽ ǕƃƬŽȚ ȴȘȶ NjƁǎƓȚ ǠƭƯƸź ǜƱŽȚ ƾžȖ kurt schwitters, 1947

25th March 2012 ... ongoing there is no end to it. ongoing, on rolling. along walls, around them, above them, moving walls. the best is, you see for yourself. go there. the map depicts walls and fences in Downtown, Cairo – from (the) people for (the) people. sometime after 19th November 2011, when clashes between protesters and Egypt’s Security Forces in Mohammed Mahmoud Street started, the first of 8 to come concrete walls in a Downtown street was erected. pictures on walls beyond walls, in process http://www.flickr.com/photos/drumzo/ more writings on walls, ongoing https://www.facebook.com/GraffitiOfEgypt/ photos costs of concrete, 9th March 2012 http://english.ahram.org.eg/News/36349.aspx SCAF’ s concrete barricades, 9th February 2012 http://english.ahram.org.eg/ NewsContent/1/0/33929/Egypt/0/Walled-inSCAFs-concrete-barricades-.aspx on walls - the seven wonders of the revolution, 22nd March 2012 http://www.jadaliyya.com/pages/index/4776/ the-seven-wonders-of-the-revolution behind a red velvet curtain walls between Mexico and US, walls around Palestines, good old East German wall, barbed iron walls securing Embassies, worldwide, walls and fences devide Cyprus Greek and Turkish, walls in heads, the Chinese wall

ϲͅḃ๛ uXÓšÓ&#x; ۾۰ dbĚ‡Ńƒ wXbÎ?‍ݴ‏ԕX ŕ¨Žŕ§ŤĚ‡ŕŹ“ŕŻŠ ΚΤҏܚৎ ۾۰ Ě‡á Œá€˝Đ?ŕŤŽŕŤ‘ Ď˛Í…Ě‡á Œá€‘ ̇ࢂफ़ Î?๛ҏ͒ ۾۰ ϝ͸Đ&#x;ࢿࢣ á Źá ˜a ŃˆŃƒ ŕĄ—ŕ žĐ?۸۰Xy tѢহ঩ॡ wXbÎ?‍ݴ‏ԕX ̇ࢂफ़ҏĎ?y ĎťŇŒÎ˛Üśŕ§¨ ṫ͸ϳ ̜ϳ‍̇ ×œ×°â€ŹŃƒÎ?͸Ě? ĎťŇŒÎ˛Üśŕ§¨ Ě‡á Œá€˝Í…Ub ཿཙ ŕş&#x;ŕş?;оX Ň–Ň y ཿཙ ŕŤŹŕŤ•XŇŹĎ?y |̇Í?XbÎ?ŕą› ϲҙḃ‍ݯ‏ԕX bҏѳ͒ Ṙܜ২ T‍̤̜ ז׹‏Ň?ĐľX ŕ˝šŕ˝Ťáƒły ̜̤Ň?ĐľX ŃˆŃƒ ZѢϳ̇ιоX ZŕĄ—ŕ ťÎ˛ĐľX ཿཙ ŕş&#x;ŕş?;оX Ň–Ň y jbXŇŹŇ„ ཿཙ Ď˛â€ŤÜŹâ€Źŕ§ŤĚ‡Ň Ń˘â€ŤÝŻâ€ŹÔ•X wXbÎ?‍ݴ‏ԕX [ŕ¸?ŕśśĚ‡Íľŕł›Ň„ŰľŰ°X [T‍̇ ×–×ąâ€ŹŃƒÎ?͸Ě? ŕĄ—ŕ ľŕť˛ŕť–ŇŹÍ? ŃˆŃƒ Î?Ě¤ÍŒ Ě‡Ńƒ ŕŤ‡ŕŞŤÍŒ [ŕ¸?ŕśśĚ‡Íľŕł›Ň„X Ńˆŕź…ŕź ŃˆŃƒ ཚཌྷy۸۰X ਠ্ŕ¸?ŕśś Î?ŕť˛ŕ˘†ŕ˘„ jḃ҄ ཿཙ Ď˛Í…ŕŽ™ŕ˛—Ű­ŰŠX ŃˆŃƒŰ¸Ű°X [XҏΤy ß?޴Ѣϳ̇қۭ͝ۊX `ŇŹŕť˛ŕ˘†ŕ˘„ Яц̤оX uXÓšÓ’ ۾۰ ?wXbÎ?‍ݴ‏ԕX RXby Ě‡Ńƒ wXbÎ?ŕą› ‍ ŕą•Ú˜Ú¤â€ŹbŇŹŃŽ | ̇ͅḃ๛ {ḃ๛ ?wXbÎ?‍ݴ‏ԕX â€ŤĚ‡ÍŒĚ‡[ ŕą•Ú˜Ú¤â€ŹŕŞ?੧еX ŃˆŃƒ ‍×?×ąâ€ŹŃ Ű­ŰŠX

dbĚ‡Ńƒ ?ϲÍ?Ě‡Ň Ń˘â€ŤÝŻâ€ŹÔ•X Ď˛Î˛ŕˇ˜ŕśś ÓťÓ’XŕĄ—ŕ ľÎĽ ?Ď˛â€ŤÜŹâ€Źŕ§ŤĚ‡Ň Ń˘â€ŤÝŻâ€ŹÔ•X rŕ¸?ŕˇŚŇ ŕŤŹŕŤ•XŇŹĎ?

dbĚ‡Ńƒ ?Ě–ÍľŇŒĐľX Zbҏ͞оX ਎৞̇ྦྷࣳ ?wXbÎ?‍ݴ‏ԕX â€Ťŕą•Ú˜Ú¤â€Ź

ĎťÍŽŇŒĐ&#x;ླۊX ŕŤ‡ŕŞŤÍŒ Ě‡Ńƒ ϲ̤ΤXŇŹĐľX RXѢ‍܀܅ܕ‏X ϲ͎Нцŕ¤?ŕ¤œŕ¤˜X ÓťÓ?Ě‡ÍťŇŒĐľX ΚН๖ bŇŹŇ ?ŕŤ‡ŕŞŤŇœŇŒĐťÎĽ uŇŹĎ? wXbÎ?ŕą› ?ZÎ?๨ۭ͝ۊX [̇ͅ۾۰ҏоXy tŕ¤ľŕ¤°Ň Ű¸Ű°X ŃˆŃƒ bXŇŹŇ ĚŠÍŒ ϲҙ̇ŕŹ?ŢŚ [XbĚ‡Î˛Ň ?Ď˛ÍŽÎ¤ŕŽ™ŕ˛ˆĐľX ϲ‍܏‏্ۭ̇ۊT ?ϲюḃ;ιоX tXÓťÓ&#x;۸۰Xy ẇÍ?ŇŹÍŽĐľX ೾ಅι͒ wXbÎ?ŕą› ?ŕššŕš§Í‚Ě‡Ň?ĐľX ŕŤ‡ŕŞŤŃłĐľX bŇŹŇ ?dyUŕŹ†ŕŤľX ཿཙ wXbÎ?ŕą›

| ̇ͅḃ౛ Яц̤еX uXӹӒ ۵۰ ?wXbΐ‫ݴ‬ԕX RXby ̇у wXbΐ౛ ‫ ౕژڤ‬bҬѮ pictures on walls beyond walls, in process http://www.flickr.com/photos/drumzo/

{ḃ౛ ?wXbΐ‫ݴ‬ԕX ‫̇͌̇[ ౕژڤ‬એ੧еX шу ‫׏ױ‬Ѡۭ۩X

more writings on walls, ongoing https://www.facebook.com/GraffitiOfEgypt/photos

dḃу ?ϲ͏̇ҁѢ‫ݯ‬ԕX ϲβෘබ

costs of concrete, 9th March 2012 http://english.ahram.org.eg/News/36349.aspx

ӻӒXࡗ࠵Υ ?ϲ‫ܬ‬৫̇ҁѢ‫ݯ‬ԕX rญ෦ҁ ૬૕XҬύ

SCAF’ s concrete barricades, 9th February 2012 http://english.ahram.org.eg/NewsContent/1/0/33929/Egypt/0/ Walled-in-SCAFs-concrete-barricades-.aspx

dḃу ?̖͵ҌеX ZbҬ;еX ਎৞̇൧ࣳ ?wXbΐ‫ݴ‬ԕX ‫ౕژڤ‬

on walls - the seven wonders of the revolution, 22nd March 2012 http://www.jadaliyya.com/pages/index/4776/the-seven-wonders-ofthe-revolution

Neither images nor texts can truly convey what is going on.

Facts are there; plus an atmosphere in which unwritten and written social laws have been exposed. The atmosphere questions your perception every day: Is it me feeling this way, or is it real? Sometimes it overlaps.

At the end of the day, this thinking distracts people from the fundamentals: food, housing, education, health. the imagination of people is boundless. so are their lives. listen here to two people’s continued stories:

‫ ث׽ܻ؞ۋ‬ቒሲ ‫܎ڋܻ݇ۋ‬X ‫؞݊נ‬Ty ?‫נ‬ਏ಺ᅸᅣ Z`‫߮੉ڊנ؛ܬ ܜޅڪޅ‬X \٩༰ ‫נ‬஘ஃ ‫بנ‬ର଎෧່ wT ‫یנ‬٩༰y ‫נ‬ጥጓ۸஘୼ ৎ৉ f‫܎ّ݌ޅ‬Xy b‫܎݌ޅ‬X b‫ܜޅ‬৑৉X ‫נ‬ጥዧ zߔ޵ ษฒ܎X ‫܎ݵܻ؞ڊۋ‬X ‫ ׶ܡ‬uR‫ྴݥנ‬ྈ ‫ܜנ‬٩ّ‫ ׶‬X٨‫\ ی‬٩෨ົ ‫ٔޅإۋ‬۸၌ূX ରଇ༩y ‫ٔޅإۋ‬۸၌ূX ‫ڪٔܟנ׶هۋ‬ৎ৉X ච඄‫ب‬X‫܎ڊޅ‬X ဢဘ๜่ ٩‫بנ پڊ‬bღႿ‫پ‬T ‫ٔܔݯ‬෧່ ‫ܜנ‬٩ّ‫ ׶‬P‫נ‬ጥዝXby ‫ܜّۋ‬ღႿ܎X ‫߮੉ڊهڊۋ‬Xy ‫נ‬ਏೇ‫נ‬༮‫بݵَנ‬X ච඄‫ إ‬sb‫܎ڋנ‬X ‫܎هޅܜهۋ ܜנ یޅ‬X ‫נ‬ਏೇ‫ ڦهנ‬ቒሲ ‫ۋ‬ཁ‫܎݌‬Xy ࡥࡉ‫܎ٔ׽ܔ‬Xy ‫ܡ‬۸‫܎ݥ‬Xy v‫܎ݵ׽נ‬X ‫ݚנݚهۋ? ܜٗ܈‬৑৉X b‫ܜޅ‬৑৉X ‫׶ܡ‬ `y٩༰ ‫נ‬୛ୗ ‫ ܎ྦྷݏ‬઩ઍ෇ඩ৒৉X Z‫؞݊נ ڦهנ‬Ty ?`y٩༰ ‫נ‬୛ୗ ‫ ܎ྦྷݏ‬઩ઍ෇ඩ৒৉X Z‫ه܈ ڦهנ‬෧່ ॽॱ༮ ‫נ‬ਏೇb٩‫ٽ‬ ‫بۇ‬ৎ৉‫ܟנ ܜנ ؞ڊޅ‬ጥዠᅸᅣ ච඄ਏೊX ቒቄV waV ‫܎ྱݥٔܟׯ‬

ษฒ܎X ߒޫܹ‫܎׽‬X ٩َ‫ܟۋ ׶‬૱૚y ?٩‫ྱٔۇ إ׽‬ྋ ኛቮy Zܻ‫܎ڊנی‬X ቒሲ v‫נ‬༮ [T࣊ࢯ ษฒ܎X Zb‫܎ٗޅ‬X ‫؞ۋ‬Xyb ݂‫ ثڊ‬Yਸ਼‫ݝנ ׶‬b Rasha Azab narrates a progressive revolution, here since 2003, Cairo, Egypt, z෇ඩX uX‫ٽޅ‬T ‫נ‬ጥዠᅸᅣ ‫܎׽ّٳ‬X‫נ؞נ‬෨෤ ‫ ثףیه܈‬Z`‫נ‬༮্৉ ኛቿ٩ّ܎X ுநਸ਩ ቒሲ ‫ث׽ܟ܈‬ and a portrait of Basma Abdel Aziz, working at El Nadeem Center for http://alnadeem.org/ar/node/23 Rehabilitation of Victims of Violence:

http://www.youtube.com/watch?v=NamUZHWJem0&feature=player_embedded http://english.al-akhbar.com/content/basma-abdul-aziz-ever-ready-egyptian-rebel

Picture Book glossary : P 2 - 19

Introduction pages

P 21 Ismi Thawra - My Name is Revolution In Jenin, lives a young Palestinian woman; her name is Thawra (revolution). In Ramallah, a young man is named Tahrir (liberation). In Palestine children carry names of lost places, Haifa, Aqsa, Shatilla, Yafa. In Damascus lives a Kurdish woman without legal papers. Her name is Guevara.

P 22 Anonymous Photo: Sarah Carr P 23 Poster by Ghada Wali 31 January, or 1 February pic found on http://totallycoolpix. com/2011/01/the-egypt-protests/ 2nd February: production during an exchange program at the art school F+F in Zurich, Switzerland, Jan/Feb 2011

P 29 Poster: by Zan Studio, Ramallah, Palestine “Wedding Ground” “Drinks are on Egypt!”

P 41

by Hossam Shukrallah Alexandria, 6thJune 2010 poem by Amal Donqol, 1979, La Tosaleh (Do not reconcile)

P 30 7th February 2011 in Neue Zürcher Zeitung, Swiss daily newspaper, 2 press photos: © H.Hanschke © Jens Meyer A man sleeping on the wheels of a tank Hillary Clinton + Angela Merkel, Munich, Feb 2011

“Will my blood become water between your eyes Would you forget my blood-drenched shirt”

P 31 I` .HUaLLY KLZPNULY .YHMÄ[P THU arrested 26th May for this poster, lifted his anonymity “NEW!” “Freedom Mask” Greetings from the Supreme Council of the Armed Forces to the beloved people. Now available in the market for an unlimited time

Portrait of Khaled Said, who died of brutal police murder in Alexandria, Egypt, 2010 photo: Sarah Carr

P 32 by http://yrakha.wordpress.com/ Midan: : I am Tahrir / Square: I am liberation

Grendizer comes for rescue ¸.YLUKPaLY ¶ :WHJL (K]LU[\YLZ H 1HWHULZL HUPTH[PVU ÄST 1976, has also gained a wide fanbase in the Arabic part of the Middle East during the 1980s and 1990s and still airs on several Arabic networks to this very day.

Photo: Sarah Carr

P 42 Anonymous ‘In the voice of Grendizer’: Corruptors Be Ware!

P 24 Photo: Charles Onians, 29th January, Midan Tahrir, Cairo, 2:34:53am

P 33

by El Teneen photo Sarah Carr

P 25 Photo: Charles Onians, 1st February, towards Midan Talat Harb, 7:41:28pm

P 34

by Tarek Abdel Kawi “I love the army”

P 43 www.arabist.com, 10th February “….who stands where in Egypt’s political crisis.

Yup, it’s a mess….”

P 26 Photo: Charles Onians, 31st January, Mogamma on Midan Tahrir, 9:06:03am

P 35/36 Photo Charles Onians, 4th February, near Hotel Marriott, Zamalek, 2:27:08pm

P 44/45 Photo Chales Onians, 1st February, Midan Talat Harb, 7:43:38pm

P 27 Photo: Charles Onians, 4th February, Midan Tahrir facing Ramsis Hotel and the Egyptian Museum, 1:06:32pm

P 37/38 Photo Charles Onians, 1st February, street near Souk El ;H^ÄRH`H +V^U[V^U *HPYV ! ! WT

P 46-48 Photo: Rayelle Niemann, 5th February, Helvetia Square, Zurich, Switzerland

P 28 Map1 by http://www.arabist.net/blog/2011/3/21/mapping-egyptsreferendum.html map of Egypt after the referendum, Egypt, March 21st Map2 map of Egypt around1450 BC, source web // unknown

P 39 Photo Charles Onians, 1st February, Mohendessin, 10:17:12pm

P 49 Tughra by Youssef Rakha

P 40 Anonymous “RAGE” Photo: Sarah Carr

P 50 Photo: Rayelle Niemann, 11th February, Zurich, CH

P51 Anonymous Photo: Sarah Carr P 52

by Amer Shomali, Ramallah, Palestine/London, GB P 53 www.mahjoob.com, Jordan, 23rd February 4\HTTHY .HKKOHÄ OHZ [OL (YHIPJ ^VYK MVY 3PI`H between his teeth P 54 Anonymous “God, bestow upon us our daily need of bread and save us from [Asad]” Photo: Sarah Carr P 55 Various media pics from the internet, January – April 2011 “People in different places carry bread /with writing on it – to mark a sign against poverty and bad living conditions.

The Arab word “Aish” means life and bread.

P 56 Photos: Charles Onians, 4th February, around Midan Tahrir between 1:10:07pm and 1:53:48pm P 57 Anonymous Photo: Sarah Carr Midan Tahiri, 12th February 2012 P 58 a page for you P 59 Poem: Kurt Schwitters, 1946 exiled German artist, 1887 - 1948

P 62 Anonymous “I’m going to the Demo .. July 8th” Photo: Sarah Carr P 63 Anonymous ¸>OLU ÄNO[PUN ILJVTLZ TVUZ[YVZP[` IL JHYLM\S UV[ [V become one yourself.”

Photo: Sarah Carr P 64

by Sherif Adel “Fuel of the Revolution” ;OL ÅHN VM :\La .V]LYUVYH[L! H IS\L ÅHN ^P[O H ^OP[L JVN ^OLLS 9LK ÅHTL PU JLU[LY! used as a switch on a kerosene lamp.

P 65

by KiMoCoBALT Seen on Midan Tahrir, 20th July, 11:43:12pm “An illustration depicting the Nile river listing all the cities at its shores. The words Muslim, Christian and Egypt in Arabic (muslim, m’sihi, masr) shape the river with Cairo at the center. “ P 66 Photo: Sarah Carr Midan Tahrir, July 2011 P 67

by Mohammed Gaber NoSCAF _ Supreme Council of the Armed Forces (Egypt) No Military P 68-73 .YHMÄ[P HUK Z[LUJPSZ VU ^HSSZ PU *HPYV Mohamed Mahmoud Street and others November 2011 - January 2012

P 60 Light chimes in Beate’s apartment in Cairo, June 2008

by Anonymous everywhere

P 61 Photo: Charles Onians, 4th February, Midan Tahrir, 1:37:42pm

+ P 68 Avatar: Alaa Abdel Fatah, by Mostafa Hussein “They said the army is protecting the revolution”: LIARS!!

Resist the Oppressor Who’s is the master of Justice?

Freedom Down with military rule Silence is not for us Our revolution is peaceful + P 69 Workers of Egypt, where are you?

Wake up, Country!

The best of girls (An illustration of a TV): Danger to your Brain.

(Gas mask): Be afraid of us, government. + P 70 “Be a man and come down with us. They stole your revolution.” --Detained Revolutionaries Association, protest 18/11 “The revolution will inevitably prevail.” -- Al-Baradei We’re getting out to realize the dreams of our martyrs.

Where is my right? (scribble on the side): We’re turning our backs on the revolution... + P 71 left side: Alia Al-Mahdi: 20 y/o exposed her body voluntarily to be received with unprecedented interest from the public and the media: approx 3 million people saw h er pictures and no less than 50 articles written on the subject in addition to numerous TV programs. right side: Samira Ibrahim: 25 y/o was stripped naked by force and ^LU[ [OVYV\NO H ]PYNPUP[` [LZ[ PU M\SS ]PL^ VM HYT` VMÄJLYZ :OL vowed to avenge her honor in an Egyptian court of law. No public interest .. no media coverage .. utter apathy + P 72 (Snake over the state tv building) Poison occupy by El Teneen photo: brain washing: Lilian Wagdy

+ P 73 Anonymous communal ambulance P 74 photos: The Big Pharao Mohamed Mahmoud Street, Cairo, 1st February 2012 Martyrs of Stadium masscre in Port Said P 75/76 photo: Jonathan Rashad Mohamed Mahmoud Street, Cairo, 6th + 13th March 2012 Martyrs of Stadium masscre in Port Said January 25th, Where is: bread, freedom and social justice P 77 Mohamed Mahmoud Street, Cairo, 4th February 2012 outer YPNO[ JVYULY! :*(- ZLUKPUN ÄYL^VYRZ PU[V [OL KPYLJ[PVU VM [OL YLZPZ[HUJL ÄNO[LYZ SLM[ MYVT YPNO[! `V\UN THU ^P[O H NHZ THZR on the edge of the pedestrian walk. @ image source all: twitter, 4th February 2012 P 74 - 77 Mohamed Mahmoud -, Mansour -, Nubar Street, Falaky ..... ….

On 1st February 2012 in the early evening hours 74 young men were killed in Port Said Football Stadium. Neither was the governor present as usual nor did security forces secure the stadium outside and inside.

Host team Al Masry won the match. Fans of the visiting Al Ahly team from Cairo were killed in attacks with knives, brutal physical violence and stampede. Al Masry team swears, that it was not their people responsible for this massacre.

They claim seeing a lot of unknown faces in the stadium that day. Once again, an unknown force came upon us, SLHKPUN [V ÄLYJL Z[YLL[ ÄNO[PUN IL[^LLU :*(- WVSPJL HUK very angry young men. Plain-cloth informants, thugs, expired teargas, birdshots, rubber bullets, live ammunition, newly erected walls made from concrete blocks are answers to humble, basic demands for dignity, freedom and bread.

The Ultras White Knights, dedicated Ahly fans, loud, noisy, young and beautiful, defended protesters on Midan Tahrir on 2nd February 2011 during the atrocious camel attack.

They embraced the revolution and repositioned their place within Egyptian society. Football, the very last safe heaven in any society, a place beyond generations, class and religion, always crucial in Egypt, has been severely injured.

P 78 painting on the concrete wall at Sheikh Rihan Street + a wall painting with Handala, a Palestinian cartoon hero Cairo, early 2012 P 79/80 mapping concrete walls in Downtown Cairo P 81 mapping people P 83- 85 Glossary English P 88 - 90 Glossary Arabic P 92 Names and Places P 82, 86, 87, 91, 93, 94 wall paintings in Mohammed Mahmoud Street and around to be continued

© All Rights Reserved to the Contributors Cover: Ghada Wali Translation glossary + exterritorial support: Ala` Diab Translation text: Nabil Shawkat selected, processed, text fragments by Rayelle Niemann January/February – July 2011, January 2012

powered by Ruth Schläpfer + Mara Züst, Zurich, Switzerland

names and places http://www.aladiab.com/

Ala`Diab

https://www.facebook.com/amer.shomali#!/amer.shomali?sk=photos everywhere http://www.bigpharaoh.org/

Amer Shomali Anonymous

KiMoCoBALT Lilian Wagdy

https://www.facebook.com/kimocbalt http://www.flickr.com/photos/lilianwagdy/

Mohammed Gaber

http://gaberism.net/

Blogger since 2004

Mostafa Hussein

http://moftasa.net/

Charlie Onians

Rayelle Niemann

http://www.citysharing.ch

http://www.flickr.com/photos/abcharlie/ http://www.almasryalyoum.com/en/node/478663

El Teneen

http://www.mahjoob.com

Emmad Hajjai

http://ganzeer.com/

Ganzeer

http://www.page-online.de/emag/ kreation/artikel/generation_revolution_erster_teil

Ghada Wali

Sarah Carr

http://inanities.org/

Sherif Adel

http://www.chubbystudio.com/

Tarek Abdel-Kawi

http://doublebarel.tumblr.com/

dedicated Graffiti Blog

http://suzeeinthecity.wordpress.com/

http://weekly.ahram.org.eg/2011/1051/eg61.htm

Hossam Shukralla

Youssef Rakha

http://yrakha.wordpresscom/

http://www.arabist.net/

Issandr El Amrani

ZAN Studio

http://www.zanstudio.com/

http://www.flickr.com/photos/drumzo/ http://jr-p.com/ Zeitun, Cairo, Egypt http://www.amirifont.org/

http://www.marxists.org/archive/reed/1919/10days/10days/

Jonathan Rashad Salwa Arabic Font

Egyptian Determination

http://mosireen.org/

All contributers Cairo, Egypt, Africa + Middle East Ten Days That Shook The World by John Reed, 1919 foreword by Vladimir Ilyich Lenin

Š 2011 / 2012