P1.4 / project content — Manar Moursi

The Loudspeaker and the Tower was presented at the Kenderdine Art Gallery at the University of Saskatchewan.

It was co-curated by Emily Fitzpatrick and Toleen Touq and co-presented with Trinity Square Video and South Asian Visual Arts Centre, Toronto.

Exhibition photos by Carey Shaw.

Exhibition Essay by Nadia Kurd.

Blue-Black

Rivering Together – Publication

Funeral at the Edge of Drought (WIP)

Blue-Black Liver

Rivering Together – Publication

Funeral at the Edge of Drought (WIP)

Rivering Together – Publication

Summer, God, Rain

Rainbow Moon

Mist Me: Me Mist

Two Stones and Heaven is a Fountain in the Garden of Your Veins

Everything That Remains to be Lived

Dismemberment: Night in Mourning

Rivering Together

Palm Beach

A Light, A Loudspeaker, A Tower

The Loudspeaker and the Tower at TSV

The Loudspeaker and the Tower Zine

The Loudspeaker and the Tower at KAG

Mud, Minarets, and Meaningless Events

Stairway to Heaven

Storm Over Cairo

Mummy Issues Part I: I am not your Mummy

Mummy Issues: Part II: Platanos y Momias

Wonderbox

You can’t Get Blood From A Stone

Bermuda Chairs, In the Sidewalk Salon

Sidewalk Salon: 1001 Street Chairs in Cairo

Sidewalk Salon at Pikaro

Sidewalk Salon at Onomatopoee

Parks Under Siege

My country is not a suitcase, and I am not a traveler

Kodak Green Oasis

Transient Utopias

Ladders and Ladders

Making "Sense": In Search of Lost Weather

Courtyard House

Deliciosa

Evaporative Clay, Palm Crate Canopy Kit

S-Table

Air, Earth, and Sky

Bamiyan Cultural Center

Mapping Cairo

Off The Gireed

Q House

Sand Sedge House

Science City

Screen House

Small Talk

The Loudspeaker and the Tower at KAG College Art Galleries | Kenderdine Art Gallery | University of Saskatchewan, Canada, 2019

"In The Loudspeaker and the Tower, Moursi compellingly weaves together the socio-cultural complexities of present-day Cairn life and the competing civil demands that at face value, can be seemingly solved by the establishment of the mosque—from the mrickmakers to architects and the land developers—is the guiding lens through which Moursi examines its larger societal impact. Not simply a structure that beckons the faithful to prayer or provides a place for people to congregate, but an architectural apparatus that has adapted to the unruly high stakes of land development and profitability. To this end, the words of pastoralist Ali Abdel Ra’ouf Etman in the Stairway to Heaven echoes these stakes when he says, “our land is very precious to us. Its value for us cannot be measured.”(12) Certainly, the value of land continues to be immeasurable in the sustenance of life in every way. To lose sight of this reverence, even when building a mosque, is to lose sight of our collective humanity." – Nadia Kurd