Maha Maamoun

Maha Maamoun (born 1972, Oakland, California), is an Egyptian award-winning visual artist and curator based in Cairo. She is a founding board member of the Contemporary Image Collective (CiC), an independent non-profit space for art and culture founded in Cairo in 2004. She also co-founded the independent publishing platform called Kayfa-ta in 2013. She was awarded the Jury Prize for her film Domestic Tourism II at Sharjah Biennal 9.

Life Maha Maamoun was born in Oakland, California in 1972 and grew up in Cairo. She studied Economics and received an MA in Middle Eastern History. In 2004 Maamoun co-founded the independent non-profit space for art and culture: Contemporary Image Collective (CiC) in Cairo. Besides her artistic practice in photography and video, she collaborates on independent publishing and curatorial projects. Maamoun was the co-curator of International Visual Arts Festival PhotoCairo3 in Cairo in 2005 and assistant curator for Meeting Points 5 in Berlin in 2007.

In 2018, Maha Maamoun joined the Forum Expanded (Berlinale) curatorial team. The same year she co-founded Kayfa-ta, a non-profit Arabic publishing initiative. In 2014 she curated shows at Sharjah Art Gallery at the American University of Cairo and film program in Wiener Festwochen at Künstlerhaus in Vienna. The same year she moderated ‘Projections’ panel discussion on independent cinema and screening platforms during the 2018 March Meeting in Sharjah.

Currently Maamoun co-curates the exhibition How to Maneuver: Shape-Shifting Texts and Other Publishing Tactics that takes place at Warehouse421 in Abu Dhabi till 16 February 2020.

Artistic style Maamoun works primarily with video and photography that address the form and function of images in mainstream culture. She claims that common visual and literary images form the cultural environment that we weave and are weaved into. Her work deals with circulation and function of images in vernacular culture, reframing these as tools for critical insights and analysis.

Domestic Tourism I consists of four images: Beach, Cairo by Night, Felucca and Park.

Domestic Tourism I: Beach depicts bathers at Alexandria’s famous Stanley Bridge where the density of the crowd in the water and the bathers’ conservative dress indicates that the fortunes of the private-access beach have changed and the coastal city’s celebrated cosmopolitanism ceded to a resolutely lower middle class, Egyptian populace.

Domestic Tourism: Cairo by Night offers a noctural view of one of the capital’s major Nile bridges where then-President Mubarak’s disembodied smile replaces the ads on many of the illuminated signboards lining the streets, recalling the former president’s irreverent popular alias: la vache qui rit (the laughing cow) and his rapacious neo-liberal economic policies.

Domestic Tourism I: Felucca presents a touristic image of an eponymous sail boat plying the Nile with carnivalesque landscape of signboards celebrating then-President Mubarak in the background.

Domestic Tourism I: Park depicts young couples huddled on benches in front of the state headquarters for public administration at one end of Tahrir Square, at the symbolic heart of the capital and the site, six years later, of Egypt’s 2011 revolution. The street lights with an abnormal intensity in the daytime scene and the oversaturated color of well-worn grass and strangled foliage looks unnatural in this notoriously polluted urban hub.

Domestic Tourism I has been acquired by the Metropolitan Museum of New York.

Domestic Tourism II (2009) The film Domestic Tourism II, produced and commissioned by Sharjah Biennal 9,

To create Domestic Tourism II Maamoun looked for films that had a scene with the pyramids to see how different their cinematic representations are, and how they are implicated in the Cairo’s ongoing negotiations and active struggle over the past and present. She discovered that a lot of the scenes by the pyramids are quite politically charged and tied to distinct chapters in Egypt’s modern history. The film starts with the most recent scenes, descends back to the oldest scene, and then ascends up again to the present. Such chronology gives the film its emotional structure and rhythm as the drama engulfing the pyramids gradually rises and falls with time. and was named in highlights of the festival by CNN. It was also shown at the Sharjah Art Foundation in 2016.

Subduer (2017) The title of the film - The Subduer - is a reference to one of the ’99 most beautiful names of Allah’ in Islamic tradition. The film appeared as a result of a regular visit by Maamoun to one of the many public notary offices in Egypt when she saw state functionaries saying prayers from soiled and aging sheets of paper. 2012 Round Table, 9th Gwangju Biennale (KR). 2012 Liquid Archive, Monash University Museum of Art (MUMA), Melbourne (AU). Bonnefantenmuseum, Maastricht MuHKA, Antwerp Sharjah Art Foundation, Sharjah FRAC – Poitou Charentes, Angoulême Whitney Museum of American Art, New York