Cet ouvrage explore un moment clef du developpement de l'art moderne egyptien, lorsque sont definis les fondements d'une nouvelle pratique artistique au debut du 20eme siecle. Base sur un important travail de terrain mene en Egypte et sur des documents d'archives jusqu'ici inexplores, il se centre sur une generation de peintres et de sculpteurs appeles les pionniers (al-ruwwad). Formes dans des institutions telles que l'Ecole des Beaux-Arts du Caire, leur production s'inscrit dans un mouvement de renaissance artistique et reflete les multiples interactions transculturelles entre l'Egypte et l'Europe. Cette etude offre ainsi un regard nouveau sur ces artistes qui ont pose les jalons du modernisme egyptien et met en lumiere une production jusqu'ici peu etudiee. Tandis que l'on aborde aujourd'hui l'histoire de l'art dans une perspective globale a la lumiere de circulations, d'echanges et de reseaux, elle offre un point d'ancrage permettant de mieux apprehender les dynamiques et les enjeux actuels de l'art contemporain au Moyen-Orient. In this book, Nadia Radwan explores a key moment of the development of modern Egyptian art, when the foundations of a new artistic practice are defined in the early 20th century. Based on field work and unexplored archival material, this work focuses on a generation of painters and sculptors commonly referred to as the pioneers (al-ruwwad). Trained in institutions, such as the School of Fine Arts in Cairo, their production is inscribed in a project of artistic renaissance and reflects multiple transcultural interactions between Egypt and Europe. This publication thus re-evaluates these artists that opened the path to Egyptian modernism and sheds light their yet understudied production. While art history is now approached in the perspective of circulations, exchange and networks, this book offers a background to a better comprehend the dynamics and stakes of contemporary art in the Middle East and intends to contribute to the cartographic constellation of a world art history.

An incisive examination of the intersection of global art and political resistance. NO Rhetoric(s) examines a subject intensely debated during the last three decades but rarely a topic of its own: art as an agent of resistance, whether as a rhetorical stance or critical strategy. In the face of today’s discourse on revolt and insurrection, it is necessary to ask whether the gesture of “negation� still has an emancipatory potential. NO Rhetoric(s) contributes a deeper understanding of the different logics of resistance at play between art and politics. Showcasing a diverse array of voices, this volume presents contributions on topics as varied as sexual dissidence, ecology, and geopolitics in the digital age. Through this interdisciplinary show of force, the collected authors, artists, and scholars shed light on how art approaches the most urgent issues facing today’s society.