Wharfage : Sharjah Creek (2008-2009) / a project by CAMP ; curated by Tarek Abou el Fetouh
Material type: TextSeries: UAE Exhibition - Sharjah Art FoundationPublication details: [Sharjah, United Arab Emirates : Sharjah Art Foundation, 201-] Description: 1 volume (unpaged) : ill. ; 22 cmSubject(s): Art fairs -- United Arab Emirates -- Shāriqah -- Exhibitions | Wharves -- In art -- Exhibitions | Cargo ships -- In art -- Exhibitions | Photography of ships -- ExhibitionsLOC classification: N6496.3.U5 | S53 2009Item type | Current library | Call number | Copy number | Status | Date due | Barcode |
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Books | Jameel Library | N6496.3.U5 S53 2009 (Browse shelf(Opens below)) | 1 | Available | 11508 |
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N6496.3.U5 R59 2021 رواق الفن في جامعة نيويورك أبوظبي 2014-2020 / | N6496.3.U5 S29 2000z Bayn = | N6496.3.U5 S46 2013 Senior Exhibition 2013 : | N6496.3.U5 S53 2009 Wharfage : Sharjah Creek (2008-2009) / | N6496.3.U5 S53 2011 Sharjah Biennial 10 : Plot For A Biennial. | N6496.3.U5 S53 2011B Manual for Treason : Manual for conspiracy / | N6496.3 U5 S53 2015 Sharjah Biennial 12 : the past, the present, the possible / |
"CAMP was founded in November 2007 by Shaina Anand, Sanjay Bhangar and Ashok Sukumaran. CAMP is not an 'artists collective' but rather a studio, in which ideas and energies gather and become interests and forms. In this process we try to move beyond binaries of art vs. non-art, commodity markets vs. 'free culture', or individual vs. institutional will to think and to build what is possible, equitable, and interesting, for the future" --from the CAMP website, https://studio.camp/about/ last viewed 20190426.
"A project on the creek in Sharjah, from where a large number of dhows leave for ‘Somalia’. Somalia, a collection of semistate entities, is also thereby a kind of 'free trade zone'. This arrow of trade -- in which the ship is not an escape from but an entry into, an engagement with, the space of conflict -- is our subject. It may offer a few ways to think about how 'business' and the spectral lives of these commodities and traders, point to life beyond war or 'global capital'. With pirates up ahead and economic crisis at their tail, these mountains of goods and their sailors may trace old trade routes, but map out something new: a contemporary landscape of used things, 'break-in-bulk' trade, diasporas, and giant wooden ships being built in Salaya, Gujarat. The project consists of two parallel pieces: a book, and a radio transmission from the port."
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