Difference between revisions of "Wasim 1995"
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|image_size = 250px | |image_size = 250px | ||
|language = [[language::Arabic]] | |language = [[language::Arabic]] | ||
− | |publisher = self-published | + | |publisher = self-published (free) |
|pub_city = Barcelona | |pub_city = Barcelona | ||
|pub_date = [[pub_date::2014]] | |pub_date = [[pub_date::2014]] | ||
|pages = 32 | |pages = 32 | ||
− | |format = 29.7 x 21 cm | + | |format = 29.7 cm x 21 cm |
|fabrication = Offset | |fabrication = Offset | ||
− | |ebook = [[Media:Ruiz Francesc Wasim 1995 2014.pdf|PDF]] | + | |ebook = [[Media:Ruiz Francesc Wasim 1995 2014.pdf|PDF]] (33 mb) |
}} | }} | ||
In collaboration with Salah Malouli, ''Wasim 1995'' was presented as an installation in MACBA's exhibition ''Justo delante de nosotros, Otras cartografías del Rif''. Its printed version is a collection of thirty-two covers and has all the likes of a children's magazine in Arabic. The covers represent different moments from Morocco's recent history, commemorations and events from the official and religious calendars, such as the Ramadan, the Green March and celebrations of Pan-Arabism, as well as announcements of international contemporary events such as the Mexico Mundial. Although comics and children's literature press coming from France or Belgium were widely read and distributed circa 2005 in Morocco, there was no official or national equivalent to them. By pointing to this little known historical fact and drawing its inspiration from its Franco-Belgian counterparts, ''Wasim 1995'' is a speculative exercise in what Moroccan children’s literature would look like. Ruiz walks a contentious line in mimicking the very violence of capital's market segmentation for the young public and with a sensitive eye, both estranges and provincializes what is taken for granted in western children’s literature. | In collaboration with Salah Malouli, ''Wasim 1995'' was presented as an installation in MACBA's exhibition ''Justo delante de nosotros, Otras cartografías del Rif''. Its printed version is a collection of thirty-two covers and has all the likes of a children's magazine in Arabic. The covers represent different moments from Morocco's recent history, commemorations and events from the official and religious calendars, such as the Ramadan, the Green March and celebrations of Pan-Arabism, as well as announcements of international contemporary events such as the Mexico Mundial. Although comics and children's literature press coming from France or Belgium were widely read and distributed circa 2005 in Morocco, there was no official or national equivalent to them. By pointing to this little known historical fact and drawing its inspiration from its Franco-Belgian counterparts, ''Wasim 1995'' is a speculative exercise in what Moroccan children’s literature would look like. Ruiz walks a contentious line in mimicking the very violence of capital's market segmentation for the young public and with a sensitive eye, both estranges and provincializes what is taken for granted in western children’s literature. |
Revision as of 09:21, 10 October 2020
Author | Francesc Ruiz |
---|---|
Language | Arabic |
Publisher | self-published (free) |
City | Barcelona |
Date | 2014 |
Pages | 32 |
Format | 29.7 cm x 21 cm |
Fabrication | Offset |
E-book | PDF (33 mb) |
In collaboration with Salah Malouli, Wasim 1995 was presented as an installation in MACBA's exhibition Justo delante de nosotros, Otras cartografías del Rif. Its printed version is a collection of thirty-two covers and has all the likes of a children's magazine in Arabic. The covers represent different moments from Morocco's recent history, commemorations and events from the official and religious calendars, such as the Ramadan, the Green March and celebrations of Pan-Arabism, as well as announcements of international contemporary events such as the Mexico Mundial. Although comics and children's literature press coming from France or Belgium were widely read and distributed circa 2005 in Morocco, there was no official or national equivalent to them. By pointing to this little known historical fact and drawing its inspiration from its Franco-Belgian counterparts, Wasim 1995 is a speculative exercise in what Moroccan children’s literature would look like. Ruiz walks a contentious line in mimicking the very violence of capital's market segmentation for the young public and with a sensitive eye, both estranges and provincializes what is taken for granted in western children’s literature.
Commentary: Juan Canela (South as a State of Mind, 2015, EN, [1]).