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The article proposes an interpretative revisitation of a rather well-known and widespread iconographic motif in Egyptian art: the depiction of the Pharaoh striking his enemies. The scenes of subjugation constitute a red thread that connects all pharaonic dynasties, with an obvious propagandistic purpose to benefit the power of the Pharaoh, and more extensively of the imposition of Egyptian order against the chaos created by everything outside the empire, reason to take foreigners prisoners and therefore punished. The analysis develops on the double strand of monumental art and glyptic media, with a comparison of the diffusion of the two media and an in-depth study of scarabs dated between the 18th and 20th Dynasty found in the southern Levant. [ABSTRACT FROM AUTHOR]

The article discusses the work of the Egyptian media artist Ahmed Basiony and how it has been appropriated following his murder on January 28, 2011 during the Egyptian revolution. The author argues that Basiony's death has led to an increased interest in his work and in Egyptian media art. Following his death, the Egyptian pavilion at the Venice Biennale was dedicated to his work. Titled "Amhed Basiony: 30 Days of Running in Place," the pavilion was curated by the Egyptian artist Shady El Noshokaty.