Hostname: page-component-8448b6f56d-c47g7 Total loading time: 0 Render date: 2024-04-23T19:58:47.550Z Has data issue: false hasContentIssue false
  • English
  • Français

The Economics of Creative Expression

Published online by Cambridge University Press:  07 September 2020

Mariam Elnozahy
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Roundtable
Information
International Journal of Middle East Studies , Volume 52 , Issue 3 , August 2020 , pp. 526 - 530
Check for updates
Copyright
Copyright © The Author(s) 2020. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 “TIMEP Brief: NGO Law,” Tahrir Institute for Middle East Policy, 14 November 2018, https://timep.org/reports-briefings/timep-brief-ngo-law/. See also “Joint Statement: New Law Will Cripple Egyptian NGOs,” Tahrir Institute for Middle East Policy, 2 June 2017, https://timep.org/press/press-releases/joint-statement-new-law-will-cripple-egyptian-ngos /.

2 Octavian Eșanu, “The Transition of the Soros Centers to Contemporary Art: The Managed Avant Garde,” contimporary.org, 2008, https://www.contimporary.org/project/view/10.

3 “Dictionary > SCCA,” contimporary.org, accessed 23 February 2020, https://www.contimporary.org/dictionary/view/7.

4 I gathered location data to map out the SCCA network; https://www.arcgis.com/apps/presentation/index.html?webmap=5ef93b1687194757830fc9589371af7e, accessed 21 May 2020.

5 Eșanu, “Transition”; Naomi Henning, “Footnotes on Art and Finances: George Soros and What Remains,” 2017, http://www.naomihennig.com/wp-content/uploads/2017/03/Footnotes-On-Art-and-Finance.pdf; Miško Šuvaković, “The Ideology of Exhibition: On the Ideologies of Manifesta,” platformaSCCA, January 2002, http://www.ljudmila.org/scca/platforma3/suvakoviceng.htm.

6 Aaron Moulton, “The Influencing Machine,” Galeria Nicodim, Bucharest, 14 March–27 April 2019, http://www.nicodimgallery.com/attachment/en/554a393b07a72c743f763dae/TextTwoColumnsWithFile/5c802f6d33d850f476b8997e.

7 Šuvaković, “Ideology of Exhibition.”

8 “The First Four Years,” grant report, Arab Fund for Arts and Culture (Beirut: 2010), https://www.arabculturefund.org/data/resources/61.pdf; “The First Four Years,” grant report, Arab Fund for Arts and Culture (Beirut: 2011), https://www.arabculturefund.org/data/resources/61.pdf; “The (Soft) Power of the Arts in a Changing Middle East,” video conference presented at the Middle East Institute, 30 September 2014, https://www.youtube.com/watch?v=9wXLbwgKClg; “About AFAC,” Arab Fund for Arts and Culture, accessed 22 May 2020, https://www.arabculturefund.org/About.

9 Šuvaković, “Ideology of Exhibition.”