GUEST BLOG: Archives of a Country Lost – A review of Cry, the Beloved Country by Gil-Mualem Doron by Ghazaleh Zogheib

This is a guest blog by curator and researcher Ghazaleh Zogheib. It’s a review of Gil Mualem-Doron’s exhibition Cry, the Beloved Country. Dr. Gil Mualem-Doron (1970) is an Arab-Jewish artist, born and based in the UK. His work is research-based, often collaborative and focuses on issues such as identity politics, nationalism, placemaking and histories of place, social justice, and transcultural aesthetics. His work has been exhibited in places such as the Turner Contemporary, Tate Modern, the South Bank Centre, People’s History Museum (Manchester), the Jewish Museum (London), and Haifa Museum of Art. His work is in several private collections and he has won commissions from organisations such as Counterpoints Arts, Brighton Pride, the Mayor of London and Ben & Jerry’s.

I’m pleased to be able to share this review of Mualem-Doron’s challenging and political exhibition in the week that marks the 72nd anniversary of the Nakba.

Duty Now for the Future 2.0

This is a revised version of Duty Now for the Future - an article commissioned by Collecteurs NY to help launch its SUBSTANCE 100 initiative. The original article was written before the COVID-19 pandemic swept through the UK , Europe and the USA. Duty Now for the Future 2.0 is a call for everyone in the art world to finally wake up to our responsibilities in a world where there can be no going back to the crass inequity of our lives before Corona virus.

It asks: Is the time coming when art will finally embrace self-organised alternatives rooted in ethical practice, equitable living, commoning, fair pay, openness and hope? Can art help rebuild our lives and our communities? Can it reimagine ways of being and living together after a global pandemic that surely changes everything?

SPEAR THISTLE – transcript of my performance prose poem for Imagined Biennales at Tate Exchange

I was invited to participate in the final day of Imagined Biennales which was produced by the University of Southampton at Tate Exchange on 13th May 2018. I wrote SPEAR THISTLE a non-manifesto for an Anti-Biennial. This is the transcript of my piece which I performed as a prose poem at the event.

The Status Quo Will No Longer Do! (The Corporate Takeover of Art & Artwashing, or Social Justice in a Cultural Democracy?)

I was kindly asked to talk alongside Labour MP Laura Pidcock, Jessie Jo Jacobs (Policy and Campaigns Officer, Northern TUC) and Ramona McCartney (National Officer for the People's Assembly) at the People's Assembly event, "In Place of Austerity", in Newcastle on 20th January 2018. It was an incredibly inspiring day! This is the transcript for my talk...

Old Boys Network: Elite connections can’t prevent local people from defeating University of the Arts London & offshore property developer Delancey plan for social cleansing of Elephant & Castle

Plans to redevelop Elephant and Castle shopping centre and the surrounding area by tax-avoiding, Tory-supporting property developer Delancey and London College of Communication/University of the Arts London where rejected (subject to confirmation on 30th January 2018) by Southwark Council’s planning committee. It is understandable that arch-capitalists Delancey (owned by the notorious father and son property development partnership, the Ritblats) aren’t interested in local people and local communities, but what’s with LCC/UAL? Why would a top arts and design institution behave so aggressively to existing community members? The connections between the Ritblats and the Vice Chancellor of UAL are interesting. They reveal how the corporate takeover of high education and the arts are intersecting with the corporate takeover of our communities and our land.

Rethinking the role of artists in urban regeneration contexts

I was invited to lecture at Winchester School of Art on 3rd November 2017 as part of their Talking Heads series.  This is a transcript of my lecture along with a link to my lecture slides (with notes) and a link to an edited recording of my discussion with Nick Stewart afterwards.  The lecture covers a broad range of topics from my research including creative cities and the creative class, social capital, placemaking, artwashing, art and gentrification, anti-gentrification art, anti-art activism, the radical avant-garde, and examples of artists engaging with regeneration that do not result in artwashing or gentrification.  It's quite long but perhaps gives an overall illustration of my work and a taste of my PhD thesis, Artwashing: The Art of Regeneration, Social Capital and Anti-Gentrification Activism.

Artists Against Artwashing: Anti-Gentrification & the Intangible Rise of the Social Capital Artist

This is a transcript of my paper I presented at the Edge | Situated Practice conference at Here East on Saturday 7th October 2017.  The conference was organised by the UCL Urban Laboratory and the Folkestone Triennial, with additional support from the Bartlett School of Architecture and Slade School of Fine Art.  There's a link to my PowerPoint presentation too.  It was a really interesting conference and I think my paper provoked some challenging debate.

Challenging the artwashing of social cleansing means calling out & critiquing artists involved

This is a response to Anna Francis’s article entitled ‘Artwashing’ gentrification is a problem – but vilifying the artists involved is not the answer.  It includes comments from myself, Emily Jost, Rab Harling and Ewan Allinson.

The Idea: Profitable Business “As If” Performance Art (or The Complexities of Artwashing)

This is a reblog (with additions) of a post that was originally posted anonymously on LSE Sociology blog.  I must explain a few things.  I wasn't comfortable being anonymous because, as a fellow activist said, anonymity is the greatest dispossession.  So here it is on my own site.  I stand by my work but must explain that my issue is not with the ESRC research nor with anyone involved in the forthcoming research project.  I am only interested in exploring The Idea - Platform-7 and what I consider to be an example of artwashing.  It is also important to note that this work is personal and not connected to anything else I am involved with professionally.  I consider this part of my ongoing activist work: an intervention; a performance; research as practice (praxis); art (or perhaps anti-art).  It is an act of resistance and a critique.  If this is problematic, I'm happy to explain more.


This was my prosecution witness statement from the excellent Participation on Trial event organised by the lovely Chrissie Tiller and Goldsmiths from May 2015.

I think it remains as relevant to me as it did more than a year ago but I would say that I was a little over-generous in my support for socially engaged art - a term now so completely appropriated by the Institution of Art that it effectively is THE SAME AS participatory art.  Perhaps my views have hardened?  Anyway, I now have claimed socially engaged art is DEAD - twice!  Undoubtedly, I will do so again...

The (eventual) verdict was “GUILTY – BUT WHO CARES?”  Do you care?

The Fear of Freedom: The Act of Living

I am VERY angry.  These are incredibly uncertain times. The UK is boiling over with a hatred and sense of alienation whisked up by UK and international self-interest - by the global libertarian elite: the 1%.  THEY do not want an EU.  THEY do not want peace.  THEY do not want social justice.  THEY do not…Read more The Fear of Freedom: The Act of Living