Art, Power and Knowledge: Claiming Public Space in Tunisia

in Middle East Law and Governance
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Charles Tripp argues that through artistic interventions – graffiti, visual street art, performances, demonstrations, banners, slogans – citizens have appropriated the public sphere. Despite the monitoring of political dissent through persuasion or coercion, an activist public has created highly visible public spaces, assisted and encouraged by citizen artists. They have generated debates and have helped to give substance to competing visions of the republic.

Art, Power and Knowledge: Claiming Public Space in Tunisia

in Middle East Law and Governance

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References

2

Neil Smith and Setha Low‘Introduction: the Imperative of Public Space’ in The Politics of Public Spaceed. Setha Low and Neil Smith (London: Routledge2006) 3–16.

3

Kaveh Ehsani“Radical Democratic Politics and Public Space,” International Journal of Middle Eastern Studies 46 (2014): 159–61.

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Amanda Rogers“For a Leaderless Revolution, a Monument with No Curator: a Walk through Imed Trabelsi’s Looted Villa,” Mideast Art12 July 2012 http://www.aslanmedia.com/arts-culture/mideast-art/7267-for-a-leaderless-revolution-a-monument-with-no-curator-a-walk-through-imed-trabelsi-s-looted-villa.

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Korody“The Revolutionary Art” 27; Dounia Georgeon ‘Revolutionary Graffiti: Street Art and Revolution in Tunisia” Wasafiri 27 no. 4 (2012): 75.

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Rachida Triki“Enjeux Sociopolitiques des Arts Contemporains en Tunisie,” Archivio Anthropologico Mediterraneo 15 no. 1 (2013): 26.

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Aurélie Machghoul“Tunisie: l’Art en Espace Public, Révélateur des Enjeux d’une Société,” Archivio Anthropologico Mediterraneo 15 no. 1 (2013) 32; Selima Karoui “La Place de l’Art dans l’Espace Public Tunisien (I)” Nawaat March 3 2014 https://nawaat.org/portail/2014/03/03la-place-de-lart-dans-lespace-public-tunisien-1/.

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Rachel Shabi“In Tunis: The Arab Spring Began in Tunisia and Now Its Artists and Dancers are Keeping the Flame of Protest Alive,” AeonMay 9 2013 https://aeon.co/essays/first-came-revolution-then-rappers-graffiti-and-streetdance.

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Frida Dahmani“Tunisie: la Danse, Art du Combat,” Jeune Afrique February 27 2013. www.jeuneafrique.com/138214/culture/; Machghoul “Tunisie: l’Art en Espace Public” 33.

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Bechir Abdelmoumen“Kef: Sauvés des Griffes des Salafistes, 19 Artistes Comparaissent devant le Procureur,” WebdoJuly 7 2013 http://www.webdo.tn/2013/07/07/les-fanni-anni-se-reproduisent-a-gettar-tebourba-gafsa-et-se-font-arreter-au-kef/.

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Selim Ben Cheikh“Quelle Place et Quelle Role pour l’Art Contemporain en Tunisie,” Archivio Anthropologico Mediterraneo 15 no. 1 (2013): 90; Abdelmoumen “Kef.”

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Henda Chennaoui“Décision de Fermeture d’un Autre Espace Culturel à Tunis,” Nawaat – cultureMay 26 2015 http://nawaat.org/portail/2015/05/26/decision-de-fermeture-espace-culturel-tunis-whatever-saloon/; Henda Chennaoui “Mass’ Art: un Espace Culturel Alternative Menacé de Fermeture” Nawaat - culture March 10 2015 http://nawaat.org/portail/2015/03/10/massart-un-espace-culturel-alternatif-menace-de-fermeture/.

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Hannah ArendtThe Human Condition (Chicago: University of Chicago Press1998) 198–99.

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Anthony Downey“For the Common Good – Artistic Practices, Collective Action and Civil Society in Tunisia,” IbraazFebruary 2013 5–6 www.ibraaz.org/essays/55.

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Rachida Triki“Freedom to Express: the Abdellia Affair,” IbraazAugust 23 2012 www.ibraaz.org/news/30.

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Priscille Lafitte“Une Exposition d’Art Contemporain à l’Origine des Heurts à Tunis?” France24 – cultureJune 14 2012 http://www.france24.com/fr/20120612-tunisie-heurts-tunis-exposition-art-contemporain-printemps-marsa-salafistes.

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Selima Karoui“Danseurs Citoyens – Entretien avec Bahri Ben Yahmed: la Résistance, par la Danse, Comme une Lute Contre Tout Forme d’Obscurantisme,” Nawaat – cultureMarch 31 2014 http://nawaat.org/portail/2014/03/31/danseurs-citoyens-entretien-avec-bahri-ben-yahmed-la-resistance-par-la-danse-comme-une-lutte-contre-toute-forme-dobscurantisme/.

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Triki“Arts Contemporains en Tunisie” 26.

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Lea Ypi“Public Spaces and the End of Art,” Philosophy and Social Criticism 38 no. 8 (2012): 850–56.

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