Maspero II: The Sequel Exhibition

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Maspero II: The Sequel Exhibition

March 1 – April 1, 2014

 
From 2011 to 2014, how have things changed at Maspero? The Darb 1718 exhibition entitled “Maspero” held back in 2011 inspired a sequel in which Egyptian Contemporary artists show us their thoughts on Egyptian State Television today.
 
Egyptian State Television sent out its first broadcast from the building commonly known as “Maspero” on July 21, 1960. This was the first step in what would become a long history of shockingly bad programming, hilariously outdated policies, and of course, relentless propaganda. Since its inception, Egyptian State Television has been taking its audiences for granted, and over the years its legacy has become one of distorting of the truth, spreading misinformation, and enforcing its regime-mandated ideals on a public with little or no access to alternative outlets.
 
In terms of its content, the Maspero channels have become landmarks of kitsch, from the low-production values of melodramatic soap operas, to educational programs seemingly designed to stunt intellectual growth, to the disparate hodgepodge of unrelated, irrelevant, and mostly surreal clips that constitute ‘variety shows.’ Friday nights were Mawakef wa Tara’ef. Wednesday nights were Ekhtarna Lak and MacGyver. Its message seemingly that all Asian people are Osheen and the moral bankruptcy of the West will be the end of us all.
The sheer ridiculousness of Egyptian State Television has informed the collective consciousness in a way unparalleled by any other medium. It can be seen as largely and directly responsible for any number of society’s current woes.
 
Since the 2011 Revolution in Egypt, the devastating effects of Maspero’s noxious broadcasts reached their peak, further dividing the population in a time of great uncertainty and fear, before shamelessly backtracking after the fall of both Mubarak and Morsi in the unrealistic hope that its long history of unabashed sycophancy will be forgotten or, at the very least, forgiven.
 
Although most vividly exemplified by television broadcasts, this phenomenon was in no way limited to them. For decades, the airwaves have been similarly infected by government-approved radio transmissions also broadcasting from Maspero. And while state-owned newspapers and publications were printed in and distributed from separate buildings, they too were little more than a literary manifestation of the tyrannical mentality which Maspero came to symbolize.
 
As a cultural, technological, and even architectural icon, Maspero has, for generations, cast a long shadow over the Egyptian population. In this exhibition artists are invited to reflect on how their lives and national identity have been shaped by it.
 
Participating Artists:
Ahmed ElShaer
Aisha Alshabrawy
Ali Abdel Mohsen  
Amr Elkafrawy
Azza Eissa
Moataz Nasr
Moawya Helal
May ElHossamy
Yassmin ElMeligy
Youssef Limoud
 
_________________________________________________________


 

ماسبيرو الجزء الثاني

١ مارس – ١ ابريل، ٢٠١٤

 
ماذا تغير في مسابيرو من عام ٢٠١١ حتى ٢٠١٤؟ نظم مركز درب ١٧١٨ معرض فني تحت عنوان "ماسبيرو" في عام ٢٠١١ حيث عرض مجموعة من الفنانين وجهات نظرهم في الإعلام والتلفزيون المصري. ما زال الموضوع يشغل الكثير مننا مما أدى لتنظيم "ماسبيرو الجزء الثاني".
 
عن ماسبيرو
في ٢١ يوليو ١٩٦٠، بث التلفزيون الحكومي المصري أول ارسال من المبنى المعروف باسم ماسبيرو. كانت هذه هي أول خطوة فيما سيصبح تاريخ طويل من البرامج الصادمة، والسياسات التي عفا عليها الزمن ، التى تمتلئ بالدعاية التي لا هوادة فيها.
 
منذ نشأته، تعامل التلفزيون الحكومي المصري مع جماهيره باعتبارهم أمرا مفروغا منه، وعلى مر السنين، أصبح تراثه جزء من وسائل تشويه الحقيقة ونشر المعلومات المضللة، وفرض ما كلفه به النظام على الجمهور، مع غياب أو محدودية المنافذ البديلة.
 
ومن حيث المضمون، أصبحت قنوات ماسبيرو من معالم الفن الهابط، بدء ًبإنتاج المسلسلات الميلودرامية التافهة، ومرورا بالبرامج التعليمية المصممة، حسبما يبدو، لإعاقة النمو الفكري، ووصولا إلى الخليط المتباين من المقاطع التي يتسم معظمها بعدم الترابط وانعدام الصلة بموضوعها والسريالية، التي شكلت "عروض المنوعات". ففي ليلة الجمعة هناك "مواقف وطرائف"، و"اخترنا لك" "ماكجايفر" في ليلة الأربعاء. و تحولت كل الشعوب الآسيوية الى "أوشين"، واصبح الإفلاس الأخلاقي للغرب سيمثل نهايتنا جميعا.
 
وكان تلفزيون الدولة المصري يزود الوعي الجماعي بكم هائل من التفاهات بطريقة لا مثيل لها، حتى يمكن اعتباره مسئولا وعلى نحو مباشر، عن المحن الحالية في المجتمع. بعد ثورة ٢٥ يناير في ٢٠١١ خاصة، بلغت آثار بث ماسبيرو المدمرة والضارة ذروتها، ليضيف مزيد من الانقسام في زمن الشك الكبير والخوف، قبل أن يتراجع بلا خجل بعد سقوط مبارك ، على أمل، غير واقعي، في أن يتم نسيان تاريخه الطويل من التملق. ويستمر التأثير على وعي المجتمع بعد سقوط مرسي وجماعته بأساليب مختلفة ومتنوعة تهدف لتوجيه المجتمع لهدف محدد.
 
رغم أن هذه الظاهرة تجسدت بوضوح في التلفزيون ، لكنها لم تقتصر على البث التلفزيوني فقط. فعلى مدى عقود، تلوثت الموجات الهوائية ببث إذاعي يحوز على موافقة الحكومة، ويبث أيضا من ماسبيرو. و كذلك الصحف المملوكة للدولة والمنشورات التى كانت تطبع و توزع فى اماكن منفصلة، و التى كانت أيضا أكثر من مجرد مظهر أدبي للعقلية الاستبدادية التي أصبح ماسبيرو يرمز إليها.
 
كرمز ثقافي وتكنولوجي، وحتى كأيقونة معمارية، ألقي ماسبيرو، لعدة أجيال، بظلال قاتمة على سكان مصر. وفي هذا المعرض، يقدم الفنانون رؤيتهم لهذا الحدث الذى اثر على حياتهم، وهويتهم القومية.
 
الفنانين المشاركين:
أحمد الشاعر
عائشة الشبراوي
علي عبد المحسن
عمرو الكفراوي
عزة عيسى
معتز نصر
معاويه هلال
مي الحسامي
ياسمين المليجي
يوسف ليمود
 
 
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