6 x 6 x 6 cm
Game (Six Pieces) by Erbossyn Meldibekov is inspired by the popular Rubik’s cube puzzle and is composed of three colors (red, green and white) instead of six, referencing the colors of the Afghan flag. The work provides a revisionist interpretation of the legacy of The Great Game (the original 19th-century standoff between Russian and British empires over Afghanistan), and Afghanistan’s position as a centerpiece of the longstanding War on Terror, (the military campaign led by the United States and their allies against organizations and regimes they identified as terrorists after 9/11). Game (Six Pieces) mobilizes dark humor and irony to illustrate the complex and unstable relationships between communism, Islam, and American and British imperialism.
Through drawing, installation, painting, photography, and video, Erbossyn Meldibekov’s practice examines architecture, monumentality, and value systems in the public domain. Meldibekov’s work critiques the role of visual culture in the dissemination of power in Post-Soviet Central Asia, following the region’s independence from Russian imperialism in 1991. His practice reveals the region’s complex position, which exists at the intersection of Stalin’s totalitarian regime, the shadow of its epic past, and the ongoing legacy of The Great Game, implicating neighboring Afghanistan’s historical and current role in the stability of the region.
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Activists Attack Diego Velázquez’s Venus at London's National Gallery | Art & Object Skip to main content Subscribe to our free e-letter! Webform Your Email Address Role Art Collector/Enthusiast Artist Art World Professional Academic Country USA Afghanistan Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua & Barbuda Argentina Armenia Aruba Ascension Island Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia & Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Canary Islands Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Ceuta & Melilla Chad Chile China Christmas Island Clipperton Island Cocos (Keeling) Islands Colombia Comoros Congo - Brazzaville Congo - Kinshasa Cook Islands Costa Rica Croatia Cuba Curaçao Cyprus Czechia Côte d’Ivoire Denmark Diego Garcia Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Eswatini Ethiopia Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard & McDonald Islands Honduras Hong Kong SAR China Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macao SAR China Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands North Korea North Macedonia Norway Oman Outlying Oceania Pakistan Palau Palestinian Territories Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Romania Russia Rwanda Réunion Samoa San Marino Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & South Sandwich Islands South Korea South Sudan Spain Sri Lanka St...
Criticism and Tears: The Emotional is Political in the Marcos State | ArtsEquator Skip to content When a film taps on emotions to distort historical facts, criticism that uses a rational, adversarial voice, above the work and the audiences who enjoy it may fail to dislodge the emotive power of the work’s narrative...
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Construire — Corrélations entre le dessin et la céramique — Espace d’art contemporain Camille Lambert — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Construire — Corrélations entre le dessin et la céramique — Espace d’art contemporain Camille Lambert — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Construire — Corrélations entre le dessin et la céramique Exposition Céramique, dessin, techniques mixtes, vidéo Derniers Jours Hélène Mougin, La dune, 2023 Grès et faïence émaillés et photo résinée, 20 × 32 × 23 cm Hélène Mougin Construire Corrélations entre le dessin et la céramique Encore 5 jours : 7 octobre → 16 décembre 2023 Une idée se conçoit, se développe et devient projet construit...
Art deco density: what we learned from Australia’s first apartment boom | Housing | The Guardian Skip to main content Skip to navigation Skip to navigation ‘Invading suburbs which for years have been the pride of peaceful home-lovers,’ … Art deco apartment blocks on Campbell Parade, Bondi Beach in Sydney...
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Agony of the New Bed by Sheelasha Rajbhandari brings out the familiar yet often ignored reality of gender discrimination and taboos built within the construct of marriage...