Providing Switzerland’s official contribution to the 11th International Cairo Biennale last month, Swiss artist duo Christina Hemauer, born in Zurich in 1973, and Roman Keller, born in Liestal in 1969, exhibited “No.1 Sun Engine”, an artwork consisting of several parts. “Switzerland contributes to the International Cairo Biennale every year,” Andreas Munch, Swiss Minister of culture and the creator of the expiation, said. “This year’s Biennale asked artists to engage in an artistic dialogue on the familiar versus the unknown and to ponder the issue of bridges and interaction between cultures, under the general theme ‘The Other’. Hemauer and Keller responded to the challenge by focusing on an episode in the history of energy which has direct links to both Cairo and our present.”
No1 Sun Engine
The two artists choose to tackle, among the factors which influenced the history of humankind, one concept which claims more of our attention: solar energy.
Their video installation “A Curiosity, a Museum Piece and an Example of a Road not Taken” makes use of the whole range of expressive means of modern art: re¬enactment as an instrument for realisation and revitalising key historical moments, performance as a method for direct inclusion of the public, as well as video, image and text for the purpose of visualisation.
In “No1 Sun Engine” Hemauer and Keller deal with a largely forgotten episode from the early history of the commercial use of solar energy. In 1913, American engineer and inventor Frank Shuman inaugurated the first large-scale solar power generator in Maadi near Cairo. Making use of a solar collector area of 1.240 m, it produced the energy for a water pump supplying elevated farmland with water from the Nile. This system was demonstrably more cost-effective than a coal-based plant of the same capacity. Despite the fact that the plant was successfully put into operation and Shuman was at the centre of international public attention for a short period, the plant was only used for one year. The First World War precipitated the worldwide predominance of oil, thereby putting a provisional end to any attempts of pursuing the development of alternative sources of energy on a large scale.
The work of Hemauer and Keller takes the form of a multi-stage project displayed at two locations. In the exhibition building of the Biennale (Palace of Arts), a reconstruction of two segments reminds visitors of the solar power station. The installation is accompanied by original pictorial documents as well as the publication “Sun of 1913”. At the former location of the power plant in Maadi, the two artists have set up an information kiosk which tells local residents and passersby about the history of the solar power station while at the same time collecting their information and stories on this episode.
Dervish
New-media artist Jennifer Steinkamp’s digital animation “Dervish” represented the United States at the 11th International Cairo Biennale which began last month (December 20, 2008). “Dervish” is inspired by the famed Sufi dancers, whose movements embody the soul’s communication with the divine. “Dervish” pays homage to the dervish spinning ritual as an inspirational, mindful and peaceful practice, surrounding viewers with large, digitally drawn trees that swing and sway to unheard rhythms generating an enchanting physical experience.
Jennifer Steinkamp is known for creating computer-generated immersive installations that are both thought-provoking and dazzling to the eye. Her digital animations use state-of-the-art technologies and employ popular culture while raising fundamental questions about perception and existence. In addition to the “Dervish” exhibit, a team of Los Angeles-based artists and curators conducted a variety of adjunct programmes, including “Animation Buffet”, a screening of international experimental animations.
Unfortunately the three artists did not receive any of the four prizes in the Biennale, these went to Egyptian, Lebanese and Algerian artists. Dan Cameron who headed the jury regretted that many pieces of art didn’t get any prizes. He added that all the candidates were incredibly talented and the competition was quite fierce.
Millennium development goals
Last month saw a number of volunteers from the Japanese International Cooperation Agency (JICA) participate in the annual campaign “Sailing the Nile for the Millennium Development Goals (MDGs)” organised by the United Nations. They performed puppet-shows entitled “Kids are our Treasure to Create Bright Future” and “Garden for all”. The shows conveyed the importance of each person’s efforts towards a better future, focusing on the education, gender, poverty and the environment. A workshop was held to recycle toys in order for children to acquire a sense of friendliness with the environment. Some 45 Japanese ordinary young and senior people engaged in JICA volunteer activities in Egypt, in which they work with Egyptian civil societies to support underprivileged people such as women in poverty, disabled children, or street-children.
MDGs, which were adopted by 188 countries in September 2000, consist of eight goals in areas such as poverty, health, education, environment and related fields.
For Better Learning
Last month the Embassy of Japan in Cairo and the New Fustat Association celebrated the accomplishment of a project for the refurbishment of four schools in Old Cairo. Pupils in the area had classes under unsuitable conditions in dangerous and unhygienic school facilities. The Japanese Government extended an $88,158 grant for the project in order for them to obtain a better learning environment.
Through the project, decrepit buildings, broken windows, fallen walls, dirty toilets were totally renovated and approximately 4,300 diligent pupils now enjoy classes in refreshing classrooms.
Back to Iraq
Last Sunday Egypt’s antiquities chief unveiled a bronze statue of what he described as an ancient Mesopotamian goddess that had been looted from Iraq. Zahi Hawwas said an Egyptian man working in Jordan was caught at Nuweiba port trying to smuggle the statue into the country. Hawwas handed over the 10 centimetre tall statue to the Iraqi Chargé d’Affaires Abdel Hadi Ahmed. “When the invasion of Iraq began in 2003, we wrote to the British and American governments asking them to protect Iraq’s heritage and museums,” said Hawwas. “But that didn’t happen.” Hawwas said that since then his office has been tracking stolen Iraqi artifacts and has recovered some 5,000 items. Hawwas said the smuggler now faces between three to five years in jail, but this could change to 25 years if a new law is approved in parliament next month. Iraqi diplomat Ahmed told reporters that 24,000 stolen artifacts have been returned to Iraq as of July 2008. According to UNESCO, between 3,000 to 7,000 pieces are still believed missing, including about 40 to 50 that are considered to be of great historic importance. The smuggling of stolen antiquities from Iraq’s rich cultural heritage is allegedly helping finance Iraqi extremist groups, according to the US investigator who led the initial probe into the looting of Baghdad’s National Museum.