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The article reviews the exhibition "Mogamma (A Painting in Four Parts)" featuring the works of Julie Mehretu at Tahrir Square in Cairo, Egypt.

The article analyzes how the moving image engage globalization in the films "Gravesend," "Otolith" and "November" and attempts to define their political significance. In "Gravesend," miners were portrayed as ghostly absences of light reflecting the zone of non-representation that is the disenfranchised status of Congolese laborers. It is viewed that "Gravesend" refused to portray its subjects as victimized objects but reveals bare life as a political effect of globalization. In "Otolith," the aspirations of socialist collectivism, the Non-Aligned Movement, the feminist and postcolonial struggles are revived. In "November," the traveling images are said to comprise a social landscape of unaccountable government power, fragmented oppositional struggles and representational instability.

This article explores the principle of opacity as a tool in films made to highlight perceived injustices of the Palestinian refugee camps. It cites the 2008 film "Nervus Rerum," concerning the Jenin refugee camp in the Palestinian Occupied Territories, which studiously focusing on people in the camp in order to highlight their political non-existence through lack of representation, relying instead on footage of buildings and on interviews with outside personalities. It cites also the 2002 film "Jenin, Jenin" which relies on a mute young Palestinian man to show the devastation in the camp, implying that the situation is beyond words. The article makes the point that the opacity of the camp as portrayed in the films is a statement of the threatened existence of its people.

This essay discusses a process-intense investigation of Guantánamo Bay by artists Ayreen Anastas and Rene Gabri in "Camp Campaign." The Campaign is described in the article as being a process-intense investigation of the Gauntánamo Bay political issue. The essay mentions various aspects of the project, including videos, slide shows, and an exploratory road trip across the U.S. The essay also mentions loss of political rights, as well as artistic, economic, cultural, and political projects. 16Beaver, a space dedicated to artistic expression in project-form is discussed.

The author considers oppositional artistic practices in response to a questionnaire regarding opposition to the Iraq War by U.S. artists and intellectuals. Several works of art are discussed in this context including Michael Rakowitz's project "Return," and Ayreen Anastas and Rene Gabri's project "Camp Campaign." The author argues that there is no lack of artistic opposition to war in the U.S., only a tendency to disregard public opinion in the U.S. government.

The article discusses the depiction of the displacement and experiential conditions of the refugee in the works of photographers Yto Barrada, Steve McQueen and Emily Jacir. McQueen addresses the trauma and joy of the experiential conditions of naked life, Jacir focuses on the viewer's empathic identification with the transgressive order of naked life, and Barrada, the problematization of its documentation, wherein absence becomes its melancholy sign and promise at once.

This article examines the long sequence of darkness applied at the beginning of the motion picture Western Deep directed by Steve McQueen. At first, the shocking soundtrack dominates. This clamor lasts for several minutes, accompanied only by flashes of light. Reddish blurs flash on the screen in a field of pitch black. Dim points of light flicker momentarily and then vanish into an abyss.

Discusses the experiences of artists Marcel Duchamp and Walter Benjamin during World War II. Importance given by Duchamp to his collection of artwork; Factors that influenced Benjamin's book 'A Berlin Chronicle.'