Please use this identifier to cite or link to this item:
https://hdl.handle.net/20.500.14279/33944| Title: | Cyprus: Return to Petrofani with Ali Cherri & Vicky Pericleous | Other Titles: | In a divided country/divided island, the ruins of memory inspire artists to contemplate the temporal reality of life in an age of violent conflict | Authors: | Amaya-Akkermans, Arie Pericleous, Vicky |
Major Field of Science: | Humanities | Keywords: | Arts;Articles;Ruins;Conflict;Memory;Mediterranean;Politics;Landscape | Issue Date: | 8-Jan-2024 | Source: | The Markaz Review : Literature and Arts from the Center of the World, 2024 | Link: | https://themarkaz.org/cyprus-return-to-petrofani-with-ali-cherri-vicky-pericleous/ | Journal: | The Markaz Review : Literature and Arts from the Center of the World | Abstract: | “There’s no such a thing as a good war” is what an elderly woman tells Turkish Cypriot soldier Bulut, in Lebanese artist Ali Cherri’s short film The Watchman (2023) — a statement that certainly doesn’t need more evidence today. She’s invited him indoors for a coffee during his daily patrol, and recounts the events of how she named a son after a fallen martyr, whose name appeared in the local newspaper. Afterwards, she became afraid that her son would be killed as well, and decided not to send him to the army. | URI: | https://hdl.handle.net/20.500.14279/33944 | Rights: | © The Markaz Review • TMR • All Rights Reserved | Type: | Article | Affiliation : | Cyprus University of Technology | Publication Type: | Peer Reviewed |
| Appears in Collections: | Άρθρα/Articles |
CORE Recommender
This item is licensed under a Creative Commons License
