Art, Power and Knowledge: Claiming Public Space in Tunisia
In: Middle East Law and GovernanceSearch for other papers by Charles Tripp in
Current site
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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.
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Neil Smith and Setha Low, ‘Introduction: the Imperative of Public Space’, in The Politics of Public Space, ed. Setha Low and Neil Smith (London: Routledge, 2006) 3–16.
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3
Kaveh Ehsani, “Radical Democratic Politics and Public Space,” International Journal of Middle Eastern Studies 46 (2014): 159–61.
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10
Amanda Rogers, “For a Leaderless Revolution, a Monument with No Curator: a Walk through Imed Trabelsi’s Looted Villa,” Mideast Art, 12 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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14
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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16
Rachida Triki, “Enjeux Sociopolitiques des Arts Contemporains en Tunisie,” Archivio Anthropologico Mediterraneo 15, no. 1 (2013): 26.
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17
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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18
Rachel Shabi, “In Tunis: The Arab Spring Began in Tunisia and Now Its Artists and Dancers are Keeping the Flame of Protest Alive,” Aeon, May 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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20
Bechir Abdelmoumen, “Kef: Sauvés des Griffes des Salafistes, 19 Artistes Comparaissent devant le Procureur,” Webdo, July 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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21
Imen Blioua, “Street Theater Performance Against Death Penalty and Suicide,” Tunisialive, January 15, 2015, www.tunisia-live.net/2015/01/15.
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22
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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28
Henda Chennaoui, “Décision de Fermeture d’un Autre Espace Culturel à Tunis,” Nawaat – culture, May 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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30
Hannah Arendt, The Human Condition (Chicago: University of Chicago Press, 1998), 198–99.
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37
Anthony Downey, “For the Common Good – Artistic Practices, Collective Action and Civil Society in Tunisia,” Ibraaz, February 2013, 5–6, www.ibraaz.org/essays/55.
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38
Rachida Triki, “Freedom to Express: the Abdellia Affair,” Ibraaz, August 23 2012, www.ibraaz.org/news/30.
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39
Priscille Lafitte, “Une Exposition d’Art Contemporain à l’Origine des Heurts à Tunis?” France24 – culture, June 14, 2012, http://www.france24.com/fr/20120612-tunisie-heurts-tunis-exposition-art-contemporain-printemps-marsa-salafistes.
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45
Selima Karoui, “Danseurs Citoyens – Entretien avec Bahri Ben Yahmed: la Résistance, par la Danse, Comme une Lute Contre Tout Forme d’Obscurantisme,” Nawaat – culture, March 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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48
Dream City, “L’Artiste Face aux Libertés ou Paradise Now,” Zone Artistique Temporaire 2 (2011): 60.
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51
Association l’Art Rue, Dream City 2012 – l’artiste face aux libertés (Tunis: n.p., 2012), 40; Interview with Sofiane Ouissi and Dhouha Bokri, April 18, 2014.
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56
Lea Ypi, “Public Spaces and the End of Art,” Philosophy and Social Criticism 38, no. 8 (2012): 850–56.
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Art, Power and Knowledge: Claiming Public Space in Tunisia
In: Middle East Law and GovernanceSearch for other papers by Charles Tripp in
Current site
Google Scholar
PubMed
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.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 738 | 111 | 20 |
| Full Text Views | 498 | 7 | 1 |
| PDF Views & Downloads | 209 | 23 | 3 |