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Art from the Middle East is outgrowing its "Orientalist" straitjacket.

a major exhibition in London's British Museum called Inspired by the East, that explores the significant - yet often unacknowledged - influence of Eastern culture on the West

"People might forget that there has been an exchange between East and West for centuries, much longer than we think and while, of course, some of that has been warfare, a lot of it has been diplomatic relations and artistic exchange. "Looking at this through an artistic medium and showing how there has been this interest in the 'other' from both directions over the years shows that there has been an ongoing dialogue."

Sicily has a centuries-long history of complex negotiations with its African heritage (it was ruled, among others, by the Phoenicians, Aghlabids, and Fatimids), and it continuously reexamines its role as a locus of cross-cultural encounters and imperialistic fantasies. Moreover, the island is now at the center of anti-immigration rhetorics, with episodes of xenophobia and racism directed against migrants from Africa and the eastern Mediterranean

there is a direct line of continuity between teste di moro and the head-shaped vases produced in ancient Greece and Italy, which often depicted Black African youths. In the late Middle Ages, large and elaborate flower vases in polychrome majolica (called albahaquero from the Spanish word for “basil,” albahaca) became very popular in Spain and Morocco. Further into the early modern period, Europeans’ interest in the Ottoman Empire generated a robust demand for commodities that would allow for the consumption of a culture that inspired fear and fascination. Portraits of Ottoman men and women (whether authentic or based on European subjects dressed in Ottoman garb) were sought after in Venice, Florence, and elsewhere in Italy, including Sicily: majolica vases such as this one from early modern Palermo are a close antecedent to teste di moro.

the early modern popularity of the testa di moro capitalized on the European fascination with the male Black body as a symbol of dominance over the Mediterranean

Picasso-Mediterranee, a two-year project involving a range of museums, galleries and art centers to explore Picasso's relation to the Mediterranean, which served as his home and as inspiration. Picasso, undeniably Mediterranean, drew inspiration from both the northern and southern shores of the sea. The culture and myths of ancient Greece as well as the Middle Eastern were of great interest to him. In version L of “Women of Algiers,” a series of 15 paintings and hundreds of sketches paying tribute to the French orientalist painter Eugene Delacroix, he drew a single woman with a hookah, an image inspired by the ancient Middle Eastern goddess Astarte. Picasso-Mediterranee presented more than forty-five exhibitions in Mediterranean cities during 2017-2019. At the press conference for the Izmir opening, Laurent Le Bon, president of the Paris-based Picasso National Museum, remarked, “Monographic, thematic or exploring the relationship between Picasso and other artists, all provide an innovative approach to Picasso’s works as seen through the prism of the Mediterranean world.” The Paris museum oversaw the project.

There is good reason for Picasso to continue to inspire the Mediterranean world nearly half a century after his death and at a time when populations around the region are in flux. “Picasso himself was a migrant,” Le Bon recalled in Izmir. “Though he spent most of his life in France, when he applied for nationality [in 1940], he was denied.” The themes Picasso dealt with — among them poverty, inequality, social protests, and, as depicted in his most famous work, “Guernica,” civil war and destruction — still dominate the lands surrounding the sea.

a sweeping historical recalibration that centers on the importance of 14th-century trade routes that crossed the Sahara Desert and drove the movement of people, goods, and culture. As one flyer exclaims: “Weaving stories about interconnected histories, the exhibition showcases objects and ideas that connected at the crossroads of the medieval Sahara and celebrates West Africa’s historic and underrecognized global significance.” This is ambitious. The show doesn’t aim for less than decentering the idea that the medieval epoch should only be envisioned through a European lens, which are typically stories of feudalism, war, chivalry, and the Bubonic plague. These European sagas are the ones I grew up with, saw dramatized on television, and valorized in film. Caravans of Gold also seeks to put Islam at this reconstructed world’s fulcrum and regard it as a force which impelled cultural advance, rather than to associate it with iconoclastic destruction of historical patrimony — stories we know too well. Even more, it subtly raises up the entire African continent, which becomes through this retelling, a force of profound socioeconomic change at the global level. As their handout highlights: “Journey to a medieval world with Africa at its center.”

“Between the eight and the 16th century, an epoch that corresponds with the medieval period, the Saharan region was the site of world-shaping events.”

Partnering with institutions and researchers in Mali, Morocco, and Nigeria was the only way that Berzock could, in the first instance, begin to understand the significance of scattered bits and pieces of commercially traded items left centuries ago in those once thriving cities and towns encompassed by the Saharan trade networks

Arabpop the magazine found a home in the Neapolitan indie publishing house Tamu — the Italian South has always been more ready to embrace its Arab culture, often being mocked by right-wing Italian politicians and their supporters, who openly dream about dividing Italy into North and South and often refer to the South as ‘Africa’, ‘Morocco’ or something along those lines.

While the team of editors is fully Italian, some contributing journalists are Italians with an Arab background while most of the writers are Arabs.

By curating and translating the work of contemporary Arab poets, writers, visual artists and journalists based around a specific theme, Arabpop aims to fill a gap in accessibility to Arab stories specifically catering to people who are interested in what goes on in the Arab world beyond the daily headlines.

Glasgow’s Dr Campbell Price is British TV’s go-to guy when it comes to ancient Egypt. But the study is riddled with racism and he wants to drag the world of mummies into the 21st century … and he doesn’t care if you call him ‘woke’.

Price is at the forefront of the fight to ‘decolonise’ the study of Ancient Egypt and drag it into the 21st century. He wants the discipline to confront its history of racism and empire, and he’s not shy about apportioning a fair amount of blame on Scotland and its own role in Britain’s colonial adventures.

the study of Ancient Egypt was founded by colonialists from Britain and France in the early 1800s and it still hasn’t shaken off the baggage of the past. There’s a lingering sense that Egyptians are considered unable or incapable of studying their own history without the assistance of white, western academics who are really the people best suited to the discipline. The whiff of racism and a “white saviour narrative” still hangs in the air, he feels.

In a typical year, the glass factories here power down only once, for maintenance in August. But with Europe in the midst of an energy crisis, facing a 400 percent increase in natural gas bills, the gas-fueled blazes needed to produce Murano’s richly colored, ornate creations have become a luxury the glassmakers can scarcely afford.

The gas crisis stems from a combination of factors — insufficient stockpiles within Europe, constrained supply from Russia and increased competition from Asia for access to liquid natural gas. And with the Kremlin threatening to cut off flows if it is hit with sanctions over Ukraine, the crisis could get worse.

For Murano’s glassmakers, who were already reeling from a pandemic lockdown in 2020 and massive flooding in 2019, support has come in the form of regional and national subsidies intended to help them get through the winter. But with gas prices continuing to rise, the subsidies aren’t expected to last them beyond next month, tops. That’s led companies like Effetre to keep their furnaces off — and some to consider closing up shop for good.

Turkey and Romania have scrambled in recent days to neutralize potentially explosive mines amid concerns that the weapons may be drifting across the Black Sea from Ukraine’s shores toward neighboring countries.

Turkey’s government had said previously that it was in contact with both Moscow and Kyiv about the weapons, but did not specify which side, if either, was responsible for the mines

Russia’s intelligence service, the FSB, claimed on March 19 that poor weather had caused more than 400 naval mines to become disconnected from the cables that were anchoring them, and warned that the mines were “drifting freely in the western part of the Black Sea,” which includes the territorial waters of Ukraine, Romania, Bulgaria and Turkey.