Fritz Lang's Der Tiger von Eschnapur (Le tigre du Bengale / The Tiger of Eschnapur), & Das indische Grambal (Le tombeau hindou / The Indian Tomb, or Journey to the Lost City), 1959, Germany/France/Italy, at Institut du monde arabe, Paris, June 14, 2
Jardins d'Orient: De l'Alhambra au Taj Mahal at the Institut du monde arabe, Paris, Apr 19-Sept 25, 2016
Orientalist works in 'Painting with Light: Art and Photography from the Pre-Raphaelites to the modern age,' Tate Britain, London, May 11-Sept 25, 2016
Frederick Goodall, R.A., The Song of the Nubian Slave 1863, Diploma Work, accepted 1863, Oil on canvas, 71.20 x 92.0 x 2.30 cm. Photo credit: © Royal Academy of Arts, London; Photographer: John Hammond. From tate.org.uk.
Roger Fenton, The Water Carrier, 1858, Albumen Print, Wilson Center for Photography. From tate.org.uk.
Araya Rasdjarmrearnsook's 'Village and Elsewhere: Artemisia Gentileschi’s Judith Beheading Holofernes, Jeff Koons’ Untitled, and Thai Villagers,' 2011, in 'In and Out of Context: Asia Society Celebrates the Collections at 60,' March 8, 2016-Jan 8, 20
Araya Rasdjarmrearnsook (b. 1957 in Trad, Thailand; lives and works in Chiang Mai). Village and Elsewhere: Artemisia Gentileschi’s Judith Beheading Holofernes, Jeff Koons’ Untitled, and Thai Villagers, 2011. Single-channel video with sound. Duration: 19 minutes, 40 seconds. Asia Society, New York: Gift of Anne and Joel Ehrenkranz, 2015.7. Image courtesy of the artist and Tyler Rollins Fine Art. From asiasociety.org.
Description from the Asia Society website:
'As museum visitors in the United States, we have become accustomed to viewing objects created for temples, personal devotion, or specific decorative purposes as works of art that can be appreciated outside of their original contexts ... Araya Rasdjarmrearnsook (born 1957) invited a group of children from the Thai countryside to a local Buddhist temple for a lecture by one of the residing monks about the two western paintings noted in the title. In this unusual context the works take on entirely different meanings as the monk uses the reproductions as visual aids for a lesson on Buddhist teachings. The ensuing dialogue reveals a myriad of cultural nuances and assumptions between East and West, and among social classes. It opens up the possibility for alternative modes of art appreciation outside a conventional western museological structure.'
Description from the UN website:
'Did you know that India and Africa have a shared history in music, religion, trade, arts and architecture? When we think of the African Diaspora, most of us turn our attention to the array of images, cultures and histories of black men and women in the Atlantic world. However, many Africans travelled to India as traders and slaves, and then settled down to play an important role in India's vibrant history.
Some of them, like Malik Ambar in Ahmadnagar (in western India), went on to become important rulers and military strategists. Ambar was known for taking on the powerful Mughal rulers of northern India. Abyssinians, also known as Habshis in India, mostly came from the Horn of Africa to the subcontinent.
...The exhibit, which is on display until 30 March 2016, was organized by the Department of Public Information’s Remember Slavery Programme and presented in partnership with the Permanent Mission of India to the United Nations.'
Archaeological dig for plaster film-set sphinxes in CA desert--from Cecil B. DeMille’s The Ten Commandments, 1923
Lawrence After Arabia, Hampstead Theatre, London, starring Jack Laskey as T.E. Lawrence, Jeff Rawle as George Bernard Shaw, Geraldine James as Charlotte Shaw, April 28-June 4, 2016
Description from the Hampstead Theatre website:
"Howard Brenton’s new play, commissioned to mark the centenary of the start of the Arab revolt, finds Lawrence trapped in his love/hate relationship with the limelight, tormented by ghosts and haunted by broken promises."
Richard Danielpour, Preludes, Book 2, "The Enchanted Garden:" No. 1. Persepolis, performed by Xiayin Wang for whom the piece was commissioned in 2009 (premiered at Alice Tully Hall, NYC, May 18, 2009)
Danielpour describes the piece:
"Persepolis refers to my memories of being in Iran for a year in 1963 with my family. I remember as a child seeing the ruins of Persepolis and imagining it as it once might have been. This Prelude is dedicated to my sister."
Nikoo Paydar has a PhD in art history from the Courtauld Institute, London.