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Testo dell'animazione 'The contest of the fruits' di Slavs and Tatars. È un rap modernizzato adattato dal rapper Nashtarr e dallo studioso Eric Schluessel a partire dalla transcrizione del 1936 di Gunnar Jarring del munāzara Uiguro.

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The Contest of the Fruits takes a nineteenth-century Uyghur satirical poem as a departure point for investigations of language, politics, religion, humor, resilience, and resistance in a pluralistic world. Composed at the crossroads of multiple civilizations and empires and born of the Uyghurs' liminal position at the edges of Islam and the frontiers of China, "The Contest of the Fruits" captures a world in which borders are gateways rather than dividing lines. The poem, highly performative, embellished with verbal flourishes, and featuring the ribald rivalry of such fruits as mulberry, pomegranate, quince, and pear, may be the first Turkic rap battle. The book, which accompanies a project by the art collective Slavs and Tatars, brings together artists, academics, poets, and performers to create a visually compelling volume that deploys different registers (high and low) to examine subjects often considered mutually exclusive (for example, religion and hip-hop). It offers essays by leading scholars and journalists that cover topics ranging from language politics to the prominence of Uyghur rappers in China. Shorter "pop-out" texts take a more tentacular approach to Uyghur culture, sampling poetry by diaspora Uyghur poets and discussing such subjects as calligraphy, Uyghur pop music, mäshräp, and the Sufi practice of Samāc.

Uighur poetry --- Cultural relations

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Art --- Slavs and Tatars --- graphic design --- language [general communication] --- artists' books [books] --- alphabets [symbols] --- #breakthecanon

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In Tehran, children walking home from school would scrape their pencils against the walls, tracing their paths through the city and chanting “follow this line.” Siah Armajani (born 1939) recounts that this simple gesture speaks to the desire to mark one’s presence in space. Siah Armajani: Follow This Line asks visitors to follow the artist across a shifting terrain, first within the context of pre-revolution Iran, and later, postwar and present-day America. Though Armajani is best known today for his works of public art—bridges, gazebos, reading rooms—located across the United States and Europe, this groundbreaking exhibition argues for a thoughtful reexamination of his studio as the site of a rich and generative practice. His works engage a range of references: from Persian calligraphy to the manifesto, letter and talisman; from poetry to mathematical equations and computer programming; from the abstract expressionist canvas to American vernacular architecture, Bauhaus design and Russian constructivism.

Published to accompany Armajani’s first major US retrospective, this catalog is his most comprehensive publication to date. Developed in close collaboration with the artist, it offers new scholarship on his six-decade-long career and also includes previously unpublished texts. Contributions by Nazgol Ansarinia, Sam Durant, Barbad Golshiri and Slavs and Tatars speak to Armajani’s influence on a younger generation of artists based in the United States, Europe and the Middle East.

Armajani, Siha --- Art --- stairs --- calligraphy [process] --- public art --- vernacular architecture --- gazebos --- bridges [built works] --- digital --- mixed media works --- Constructivist --- Bauhaus --- Abstract Expressionist --- Armajani, Siah --- Iran --- digital art [visual works] --- exile [sociological concept] --- United States --- ART / General. --- Male artists --- Male artists. --- Public art --- Public art. --- Sculpture, American --- Sculpture, American. --- Sculpture, Modern --- Sculpture, Modern. --- Themes, motives. --- Armajani, Siah, --- Criticism and interpretation. --- 1900-2099. --- Minnesota. --- stairs [series of steps] --- United States of America