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revue de presse sur l'actualité culturelle, archéologique, politique et sociale de l'Égypte
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“Ensemble, restaurons le patrimoine” remporte le premier prix du concours photo UE en Egypte

“Ensemble, restaurons le patrimoine” remporte le premier prix du concours photo UE en Egypte | Égypt-actus | Scoop.it
La Délégation de l’UE en Egypte a annoncé les trois gagnants de la 6ème édition de son concours photo sur le thème «visions d'un patrimoine commun». Toutes les photos seront présentées le 17 février lors d’une réception qui sera donnée par l’Ambassadeur James Moran, chef de la Délégation de l'UE, pour décerner les prix et les certificats aux lauréats du concours. Le premier prix a été remporté par Ahmed Mostafa Abdel Atty avec sa photo «ensemble, restaurons le patrimoine", un cliché pris au temple de Karnak à Louxor pour une mission européenne de restauration. Le deuxième prix a été décerné à Mahmoud Ahmed Hassab Allah Moslem, diplômé en droit, pour un cliché du Caire intitulé «réflexions sur une ville», tandis que Nada Mohamed Mahrous Farrag, graphiste, a reçu le troisième prix pour «tranquillité partagée”. La Délégation de l'Union européenne en Egypte a annoncé les noms des trois lauréats après l’examen attentif par le jury de tous les projets ayant concouru et le choix des 12 meilleures photographies. Ces clichés sont imprimés dans le calendrier 2014 de la Délégation. Les participants étaient encouragés à soumettre leur projet reflétant le patrimoine européen et égyptien partagé, allant des arts et de la culture de la rue aux réalisations architecturales et la vie communautaire, en ligne avec le thème de la compétition. (EU Neighbourhood Info)
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Exposition : "Photographier la ville arabe au 19e siècle"‏ au Centre Canadien d'Architecture

Exposition : "Photographier la ville arabe au 19e siècle"‏ au Centre Canadien d'Architecture | Égypt-actus | Scoop.it

Du 30 janvier au 25 mai 2014, l’exposition Photographier la ville arabe au 19e siècle au CCA présente les débuts de la photographie au Moyen-Orient et en Afrique du Nord : une période durant laquelle les photographes, qu’ils soient amateurs, pèlerins, membres de missions scientifiques ou photographes commerciaux, voyagèrent vers ces régions et rapportèrent leurs impressions de voyage. Sous le commissariat de Jorge Correia, professeur associé à l’école d’architecture de l’Université de Minho (Escola de Arquitectura da Universidade do Minho – EAUM) au Portugal, l’exposition interprète la manière dont la ville islamique traditionnelle a été représentée par différents photographes européens (dont Francis Frith, Emile Béchard, Félix Bonfils et Maxime du Camp). (...)

Une cinquantaine de photographies tirée de la collection du CCA sont présentées et exposée sous la forme d’images individuelles, de planches détachées, d’albums et de portfolios, qui présentent les principales villes arabes du 19e siècle dont Le Caire et Damas. Parmi ces images, on reconnaîtra les toutes premières méthodes d’impression et de diffusion photographiques : papiers salés, papiers albuminés, tirages photomécaniques, plaques pour lanternes de projection et cartes stéréoscopiques. Il est à noter que ces photographies font partie d’un corpus plus important sur le Moyen-Orient. Leur acquisition au tout début de la formation de la Collection du CCA (dans les années 70 et 80), témoigne de leur valeur et pertinence pour l’institution. La sélection de photographies livre un portrait de la réalité urbaine et de l’organisation de la ville telles qu’elles existaient il y a un siècle et demi, et fait apparaître une nette distinction entre le territoire public – halal, ce qui est permis ou profane -, et le haram – le privé, l’interdit ou la sphère du sacré. Comme l’explique Correia, « cette dichotomie est présente à tous les niveaux de la culture islamique et donc dans l’organisation de la ville depuis ses frontières jusqu’à ses voies et à ses constructions».


Centre Canadien d’Architecture
1920, rue Baile
Montréal, Québec
H3H 2S6

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In Cairo, a Painterly Cast of Characters

In Cairo, a Painterly Cast of Characters | Égypt-actus | Scoop.it
Miguel Angel Sánchez’s portraits of ordinary Egyptians — from bloggers to shoe shiners — have the familiarity of classical paintings.

 

The most recent images of Egypt’s ongoing upheaval depict chaotic crowds of anonymous young men and women. But since Miguel Angel Sánchez moved to Cairo in 2009, he has singled out the individual, bathing them in dramatic light and shadows like old master portraits.

“The idea,” Mr. Sánchez said, “was to make a huge portrait of a country through its people.”

Mr. Sánchez has photographed 110 residents of Cairo in his studio. Musicians. Painters. Ministers. Bloggers. Greengrocers. Shoe shiners. Political activists. Even animals. He photographs each one dramatically, with chiaroscuro, or a vivid contrast between light and dark. His images borrow a great deal from masters of Baroque painting like Caravaggio, both in their tenebrism and their realism.

The bold lighting and the intimacy of the studio let him reveal what he believes all of his subjects share: dignity – “one of the main motors of the Arab Spring,” he called it.

Mr. Sánchez has long been making portraits of the people around him. “I started in Madrid 10 years ago, taking pictures at night of the people on the streets, drunk, homeless,” he said. “I really liked to talk to them, share a cigarette, and afterwards take a portrait.”

 

(Lens - blog NY Times)

 

More : http://lens.blogs.nytimes.com/2011/11/28/in-cairo-a-painterly-cast-of-characters/

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Colères : Photographies de Johann Rousselot

Colères : Photographies de Johann Rousselot | Égypt-actus | Scoop.it
Egypt-actus's insight:

Du 20 février au 30 mars 2013

iReMMO, du lundi au samedi, de 10h à 12h30 et de 13h30 à 19h.

5/7, rue Basse des Carmes 75005 Paris

Métro : Maubert Mutualité / Bus : 63, 86, 87


Animés par un désir de démocratie et de justice sociale, les jeunesses arabes ont crié leurs désirs de République dans laquelle aspirations et talents trouveraient des réponses.

Il se peut, à l’heure actuelle, que le printemps arabe appartienne au passé. L’avenir dans la région reste, par ailleurs, incertain. Ces mouvements populaires ont, malheureusement, manqué de leadership et de structure post-insurrectionnelle, laissant ainsi le champ libre aux formations islamistes bien mieux organisées et financées. Il est cependant difficile, aujourd’hui, de savoir si les intentions des organisations politiques au pouvoir serviront les idées révolutionnaires ou celles d’un nouvel autoritarisme.

Pourtant, quelle que soit l’issue politique de ces révoltes, la renaissance du monde arabe, depuis longtemps en gestation mais souvent avortée, semble être en marche.

Désormais, plus aucune révolte populaire ne pourra être passée sous silence. C’est au moins l’une des leçons de ces révolutions arabes. Avec la puissance et l’omniprésence d’Internet et des nouvelles technologies, il est aujourd’hui impensable qu’aucune image, aucune vidéo, aucun cri ne parvienne aux oreilles et aux yeux du monde entier. Dans les États policiers et autoritaires, les mots – et aujourd’hui les images et les vidéos amateurs – sont aussi dangereux que libérateurs. Ils peuvent mener à la prison et à la torture, mais ils peuvent également délivrer de la frustration et de la peur.

Les peuples arabes nous l’ont démontré avec puissance. Débarrassés de la peur, de nombreux acteurs de ces révolutions sont passés au rang de héros ordinaires inscrits dans l’Histoire. Johann Rousselot rend hommage au courage et à l’audace de ces combattants de la démocratie et de la liberté, à ces militants d’un jour ou de toujours, anonymes ou connus. Il nous offre des « icônes révolutionnaires » chargées graphiquement de leurs colères, mais d’une colère porteuse d’espoir.

Johann Rousselot


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L'Egypte depuis la Station spatiale internationale

L'Egypte depuis la Station spatiale internationale | Égypt-actus | Scoop.it
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Chris Hadfield, astronaute canadien, et actuel commandant de l’équipage de la Station spatiale internationale (ISS), a récemment partagé sur Twitter de magnifiques clichés de la Terre vue de l’espace.

Depuis quelques jours, des images de la Terre vue de l’espace envahissent Twitter, pour le plus grand plaisir des amateurs d’astronomie. Les clichés en question, ont été réalisés depuis la Station spatiale internationale, à près de 330 kilomètres au-dessus de la surface de la planète. Leur auteur, Chris Hadfield, est un astronaute canadien et l'actuel commandant de l’équipage de l'ISS.

Plus : http://www.maxisciences.com/terre/decouvrez-les-superbes-vues-de-la-terre-capturees-depuis-la-station-spatiale-internationale_art28544.html

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Laura El-Tantawy lifts the veil in Dubai exhibition

Laura El-Tantawy lifts the veil in Dubai exhibition | Égypt-actus | Scoop.it

In 'The Veil,' an exhibition of photographs, the curly haired, highly talented Egyptian photographer Laura El-Tantawy attempts to challenge the stereotype of the headscarf as being exclusively a symbol of female oppression.

A series of compelling and highly stylized photographs currently on display at Dubai’s Gulf Photo Plus captures the veil adorned by women across cultures, from Indian to the Middle East.

El-Tantawy’s photos recount her personal experience with the headscarf, which was worn with pride by the strong and feisty women in her family. Meanwhile, her exhibition puts forward an alternative identity for the veil; an aesthetically striking and colourful symbol that transcends cultural differences.

While contemporary Arab artists and activists are inclined to portray a certain sense of intrepid rebellion against the veil, regarding it as a symbol of tyranny and oppression, El-Tantawy’s collection steers away from the popular “Why do they hate us?” rhetoric.

Recent examples of artwork that rebels against the veil include; Saudi artist Sarah Abu Abdalla’s daring artwork exhibited in October 2012 in Riyadh’s first contemporary art gallery, Alaan Artspace, (...)

 

In an exhibition entitled 'Tank Girl,' held in a Cairo gallery last March, Egyptian artist Nadine Hammam exhibited a collection of brightly coloured nude paintings that sought to challenge the confines of Egypt’s patriarchal society.

Aliaa Elmahdy’s nude photos represent a more direct attack on female identity in Egypt and the Arab world. And of course, the artwork that appeared alongside Mona El-Tahawy’s much debated Foreign Policy article, “Why do they hate us?” which depicted a nude woman fully painted in black paint except for her eyes, is also reflective of a tendency to demonise the veil as a symbol of religious and cultural oppression within the Arab world's art scene.

 

However, in 'The Veil,' which opened 14 January in Dubai, London-based Egyptian photojournalist and artist Laura El-Tantawy, who grew up between Saudi Arabia and Egypt, presents a unique take on the veil. The young artist endeavoured to challenge the typical representation of the veil as a symbol of hate and repression, and instead presents a substitute paradigm that characterizes the headscarf as a beautiful force that could surpass cultural and religious boundaries.

 

  

Egypt-actus's insight:

El-Tantawy unveils the motivations behind her artwork in an email interview with Ahram Online.

Ahram Online (AO): 'The Veil' appears to defy stereotypes of the headscarf as an oppressive symbol, and instead offers a new image of the veil as merely a part of Muslim women’s wardrobe; was that the purpose of this exhibition?

Laura El-Tantawy (LT): 'The Veil' attempts to showcase the veil as something that is not just limited to Muslim women, which is the stereotype. All the way from India to the Middle East, women have traditionally worn some form of head cover due to tradition or cultural norms, not necessarily religion. Also, Catholic nuns cover their hair.

My series on the veil stems from my own memory of the veil growing up in a moderate Muslim family where the majority of the women adorn a head cover. The women in my family are some of the strongest, independent and strong-willed women I know. I also wanted to show the veil as something feminine, colourful and beautiful.

AO: Much of your photography projects take the form of a journey of discovery, such as 'In the Shadows of the Pyramids,' when in 2005 you started to document the lives of Egyptians and in the process understand your “home." How has your personal perception of the veil changed over the years, and how is it reflected in this project?

LT: I look at it now as something that should not be judged as much as understood. I think people often judge too quickly and don't ask the right questions to understand. This work has helped me do that, especially in realizing that the veil can bring women and cultures together; it doesn't have to divide them.

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En images : manifestations du 25 janvier 2013 (Le Parisien)

En images : manifestations du 25 janvier 2013 (Le Parisien) | Égypt-actus | Scoop.it

Le président Morsi avait appelé à un défilé pacifiste jeudi. Mais sa déclaration n'a pas empêché les manifestations de célébration des deux ans de la révolution eégyptienne de déraper. Dans une rue menant à l'emblématique place Tahrir, de jeunes Egyptiens lançaient des pierres vers un mur de blocs de béton renforcé par les forces de l'ordre la veille. 

 

Quant à la police, elle répondait sporadiquement par des tirs de gaz lacrymogène. Selon des témoins, plusieurs bâtiments officiels ont été attaqués par les protestataires, et au moins 110 personnes auraient été blessées dans les affrontements.

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Egyptian art lovers get ready to talk revolution

Egyptian art lovers get ready to talk revolution | Égypt-actus | Scoop.it

Under the title 'Revolution Talks,' Prince Mohammed Wahid Din Salim Museum in Matariya is to celebrate the second anniversary of the January 25 Revolution on 27 and 28 January 2013.

Al Thawra Tatahadath (Revolution Talks) festivities at Prince Mohamed Wahid Din Salim Museum will inaugurate with a photography exhibition by artist and director of the museum, FarisAhmed Faris. Forty photos tell the story of the 18-day revolution and the Egyptian people. The exhibition also includes a number of Egyptian photographers like Walid Ragheb, Mohamed Aly and Emad Lotfi.

For two nights following the opening night, Revolution Talks will feature a number of concerts, stage performances and film screenings. The exact programme will be released soon.

Programme:
27 and 28 January
Prince Mohamed Wahid Din Salim Museum
Tere't El-Gabal Street, El-Matariya

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9e Rencontres de l'Image - CFCC

9e Rencontres de l'Image - CFCC | Égypt-actus | Scoop.it

Chaque année en avril, l’Institut Français d’Egypte au Caire organise le festival des « Rencontres de l’Image » pour soutenir et faire connaître au grand public la jeune création cinématographique égyptienne dans sa diversité.

 

Date limite pour participer et présenter vos fiches d’inscription jeudi 31 janvier 2013 / Latifa Fahmy, bureau 104. اخر ميعاد للاشتراك الخميس 31 يناير 2013 / مدام لطيفة فهمى ، مكتب104 . latifa.fahmy@institutfrancais-egypte.com

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Les espoirs brisés de l'Egypte deviennent de l'art à New York.

Les espoirs brisés de l'Egypte deviennent de l'art à New York. | Égypt-actus | Scoop.it

The brutal aftermath of the once euphoric Egyptian revolution is on stark display in a powerful New York exhibition that lays bare grief, death and shattered hopes.

Three years after protests first erupted across the Arab world, ultimately deposing autocratic rulers in Tunisia, Egypt, Libya and Yemen, the hopes of millions now lie stagnant or in tatters.

In Egypt, Iranian-American artist Shirin Neshat witnessed firsthand the evolution as she traveled between New York and Cairo making a film about the legendary singer Umm Kulthum.

In early 2011, Neshat was swept up in the uprising that saw millions take to the streets to force out Egyptian president Hosni Mubarak after three decades in power.

Hopes of a democratic dawn led to elections but after the Muslim Brotherhood's Mohamed Morsi took office as president, an increasingly polarized Egypt staggered from crisis to crisis.

 
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Spanish photographer documents Egypt's rich tradition of Moulids celebrations

Spanish photographer documents Egypt's rich tradition of Moulids celebrations | Égypt-actus | Scoop.it

An amateur Spanish photographer with a passion for reporting, Javier Menendez Bonillahas traveled the world and lived in many countries as part of his work for the European Union’s Economic and Social Development Department.

But throughout his journeys, Menendez Bonilla has always maintained a certain infatuation with Egypt, where he lived and worked with the EU delegation from 2006 to 2010.

In particular he developed a zeal for moulids or the celebration of a holy figure’s day of birth. As part of his exploration into this ancient tradition, Menedez Bonilla spent two years attending moulids across Egypt, from celebrations in the Nile Delta to ceremonies in Upper Egypt that honored Muslim and Christian icons. He also witnessed the only remaining Jewish Moulid still held.

“It is a popular tradition of Muslim and Christian life,” explains Menendez Bonilla, who is posted in Ankara now. “I am captivated by moulids as they capture the true spirit of Egypt. It is a fascinating experience. Only there do you see the hidden, unknown Egypt that we cannot see in the big cities or in the promoted image of modern Egypt we usually see in mass media.”

 

Noha Moustafa / Egypt ndependent

More : http://www.egyptindependent.com/news/spanish-photographer-documents-egypt-s-rich-tradition-moulids-celebrations?utm_source=dlvr.it&utm_medium=twitter

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Paris-based photographer Nabil Boutros monitors Egypt's changing face

Paris-based photographer Nabil Boutros monitors Egypt's changing face | Égypt-actus | Scoop.it

An Egyptian-born photographer, now based in Paris, has returned to the country of his birth, hoping that his lens will find the answers to two questions - “What is Egypt?" and "What does it mean to be Egyptian?”

 

For Egyptian-born Paris-based photographer Nabil Boutros, the camera has been a way to record spaces “where people can come in or they have just left”.

 

Boutros came to Paris in 1973 to study at the school of Beaux-Arts and, after working with paints and set design, he turned to photography.(...)

 

He stopped all his activities in France and travelled around Egypt for three months with the sole purpose of answering the questions “What is Egypt?" and "What does it mean to be Egyptian?”

 

Influenced by the work of August Sander, whose portraits between the two world wars captured ordinary people in a brief moment, Boutros wanted to be able to show ordinary Egyptians.

 

“I went to very popular places where I have never been before, I travelled a lot in Egypt to talk with people and the camera was a medium format,” explains Boutros. This was his first contact with the country and from it he produced over 400 portraits. But only about 100 of them were shown at the Guggenheim museum in 1996, for an exhibition on African photography of the 1940s to today. They were also shown at outlets of the French store Fnac.(...)

 

When the Egyptian revolution erupted soon afterwards "We are all Egyptian" became a popular slogan and many protesters carried Boutros's poster.

 

What began as a way to reconnect with his country of origin has become a chance to create images of irony that serve as a commentary on the changing society in Egypt and other Middle Eastern countries.

 

More on: http://www.english.rfi.fr/africa/20130221-photographer-nabil-boutros

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"In and out of the Nile Valley" : Petrie Anniversary Photographic Competition

"In and out of the Nile Valley"  : Petrie Anniversary Photographic Competition | Égypt-actus | Scoop.it
Egypt-actus's insight:

Open to anyone, anywhere, and we particularly welcome entries from Egypt and the Sudan. Please pass this information on to your friends. If you would like a pdf of the poster, message us with your email address. If you can put posters up in colleges, libraries, anywhere, please do. Entires are already coming in with some great photographs but it would be wonderful to have lots more entries.


http://www.ucl.ac.uk/FriendsofPetrie/pdfs/PMF_Photo_Comp_2013_Rules.pdf

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The vulnerable faces of human existence, revolution

The vulnerable faces of human existence, revolution | Égypt-actus | Scoop.it

The first thing I noticed at the Laura El-Tantawy exhibition -- at National Art Gallery, Bangladesh Shilpakala Academy -- is the image of an elderly woman's face. It's hard not to notice: the blown up photo is larger than life, and the face is too powerful with wrinkles, slightly downward gaze and the very visible tear trickling down from the left eye. Some teenagers decided to pose in front of it, asking their friends to take pictures.

El-Tantawy's exhibition is titled “Faces of a Revolution: Egypt”. The same gallery also houses Ziyah Gafic's exhibition, “Quest for Identity”, which sheds light on victims of the Bosnian genocide.

It was rather surreal -- the mood these images created and the frolicking that was going on in the gallery. But maybe that's the point, that's reality. The world might not hear the roars of your revolution, for which you had sacrificed all; others may not even take it seriously. Life goes on in the rest of the world while your people face ethnic cleansing. Human existence and revolutions are vulnerable. In that sense these two exhibitions are rightfully part of Chobi Mela VII, the theme of which is 'fragility'.

Laura El-Tantawy is an Egyptian photojournalist and artist based in London, England. Her work has been published and exhibited in the United States, Europe, Asia, and the Middle East.

El-Tantawy's work is part of a larger series exploring Egypt's process of forming its identity. The work started in 2005 and has since expanded to look at the trials and tribulations of a nation in transition -- the time of Mubarak, the revolution, and the looming future.

The series focuses on images of Egyptians -- reflective of the country's current fragile state as it experiences political, social and economic turmoil. The images were taken at Tahrir Square, in Cairo, which has now become a symbol of a nation's struggle for democracy and dignity, a struggle for identity.

About her work El-Tantawy says, “…

In Tahrir Square I saw the impact of Mubarak's failed policies on the people. I saw our fragility exposed: Grown man wept like children and young women fought like old men. In Tahrir I saw an awakening of emotions I thought had long disappeared from our psyche as Egyptians.” (...)

Though Chobi Mela VII had its concluding programme yesterday, the exhibitions will continue till February 7

 

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"In and out of the Nile Valley" - Petrie Anniversary Photographic Competition

"In and out of the Nile Valley" -  Petrie Anniversary Photographic Competition | Égypt-actus | Scoop.it
Egypt-actus's insight:

Win the opportunity for your photograph to be in an exhibition
In and Out of the Nile Valley at the Petrie Museum from July-Sept 2013
We are looking for images which convey the emotional impact that the land, people and culture of the Nile Valley – both ancient and modern – has on the public imagination. The contest categories are:
1. Modern Egypt—events or activities illustrating life since 25 January 2011
2. People of the Nile—portraits of individuals from all walks of life in Egypt and Sudan
3. Travel—scenes that convey a sense of place
4. The Natural World—animals, plants, landscapes or geological features
5. The Nile— the river, or its effect on the landscape and on people
6. Archaeological Sites and Monuments—covering any period from pre-Pharaonic to the present
7. The Petrie Museum—any aspect of life in the museum: objects, events or people
8. Objects and Statuary—originating from Egypt or Sudan wherever now located
9. Under 16s—photos for any of the above categories if you are under 16 years old
10. Altered Images—photographs matching any of the above categories but manipulated for artistic
purposes by applying digital and/or traditional special effects (i.e. colorizing, toning, collage, photo composites, HDR, etc.)


Who may enter:
Anyone except individuals related to the judges or who earn an income from professional photography.
We particularly welcome entries from Egypt and Sudan and from under-16s of any nationality. The Friends of the Petrie Museum (PMF) will determine winners’ eligibility in its sole discretion. By submitting an entry, each contestant agrees to the rules of the contest.


Photograph eligibility:
Cropping or enlargement and minor adjustments including spotting, mild sharpening, slight contrast and colour correction are acceptable for all categories. Images with more extensive manipulation will only be accepted in the Altered Images or Under 16s categories. The judges reserve the right to move a modified photo to Altered Images or to disqualify it at their discretion.
For a photo in which a person is recognizable, you must secure a model release from the subject or, in the case of a minor, the subject’s parent or guardian, and provide it upon request.
Photographs that have won any other contest or have been published in a magazine or newspaper are not eligible. Photos that violate or infringe upon another person’s rights, including but not limited to copyright, are not eligible.


Entry deadline:
All entries must be received on line or by post by midnight on 1 May 2013.
How to enter:
Entry is free and each entrant may submit up to five images. Entries may be digital files or prints. A completed entry form must be submitted by each entrant. The entry form can be downloaded from our website at http://www.ucl.ac.uk/FriendsofPetrie/pages/photocomp2013.doc or supplied on request.
Digital photographs and high-quality scans of non-digital photographs taken by you are welcome.
Digital images must be submitted in JPEG format and files may not be larger than 2,048k (2Mb). Images may be submitted online or copied to a CD and sent in by post. Online entry:
If you use an online photo sharing site such as Flickr or Picasa then you can simply send the unique link (URL) for each image you wish to enter. Many of these sites offer a free service so you could consider setting up an account for your entries if not already a user.
Please enter by sending an email to j.picton@ucl.ac.uk with the subject “Photo competition”. In the email include the web link to each photo you want to enter and attach your completed entry form. Ensure that you copy the link to a large version of each image, not a thumbnail. Do not send photos as email
attachments. We will accept only one contestant per email address.
Postal entry:
Photographic prints, CDs and printed entry forms should be submitted to:
Friends of the Petrie Museum,
Malet Place,
London WC1E 6BT
Prints must have your name and contact details on the back and CDs must be labelled. Prints should preferably be on A4 or 8 x 10 inch paper but smaller sizes may be submitted; we reserve the right not to accept entries of insufficient quality. Prints and CDs will not be returned.


Image usage:
By entering the contest, entrants grant the Petrie Museum and the Friends of the Petrie Museum a royalty-free, worldwide, perpetual, non-exclusive license to display, distribute, reproduce and create derivative works of the entries, in whole or in part, in any media now existing or subsequently developed, for any educational, promotional, publicity, exhibition, archival, scholarly and all other
standard purposes. Any photograph reproduced will include a photographer credit as feasible. We will not be required to pay any additional consideration or seek any additional approval in connection with such uses.

The grand prize winner
will be chosen from the 12 finalists by public vote adjudicated by the judges. Please do not contact us about the status of entries.
The finalists will be notified of their status by May 30, 2013 and details will appear on our web site on June 1, 2013. At that time, the public can vote for one winner, which will be revealed at the exhibition.
The finalists will be asked to submit a high-resolution file or an original negative or slide which will be returned after scanning. We reserve the right to disqualify incomplete entries and/or contestants who are unable to submit, upon request, a digital image of at least 2400 pixels on its longest edge or an original
negative or slide.
The PMF reserves the right to cancel the contest or modify these rules at its discretion.
Prizes:
Overall Prize:
The overall prize-winner will receive £100.
Category Winners:
The winners of each of the categories will receive one year’s free membership of the Friends of the
Petrie Museum and £50.
All winners:
All winners will receive the professionally produced print of their photograph at the end of the
exhibition. Winners may receive additional noncash prizes.

 

http://www.ucl.ac.uk/FriendsofPetrie/pages/Events1.html

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Photos: Egyptian London

Photos:  Egyptian London | Égypt-actus | Scoop.it
Traces of ancient Egypt around town.
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EU photo competition captures ‘Women of New Egypt’

EU photo competition captures ‘Women of New Egypt’ | Égypt-actus | Scoop.it

The fifth photography competition organisedby the European Union’s delegation to Egypt concluded on Thursday with an awards ceremony for the top 12 photographs, attended by the head of the delegation, Ambassador James Moran.

The ceremony took place in Zamalek’s Marriott hotel, a former presidential palace, with multiple luxurious salons and ballrooms. The theme for this year was the role of women in Egypt and the title of the exhibition was Women of New Egypt.

Egypt-actus's insight:

The ambassador presented the photographers with certificates while the top three images won prizes ranging from €1,000 in cash for first place, a Single-Lens Reflex Digital Camera for the runner-up, and an honourable mention for the third-placed photograph.

A new award titled the Mohamed Hassan award was created this year, in the memory of one of the winners of the first EU photography competition in Egypt. The award is presented for the photo with the best “journalistic skills.”

The remainder of the 30 photographs will be shown on the delegation’s website and will be exhibited around the city throughout this month.

The competition was open to anyone who is an amateur photographer in Egypt, a term the delegation defines as “photographers living in Egypt who do not receive a major part of their income from photography.”

The pictures focused on women’s roles in rebuilding Egypt and most took a special interest in the revolution and numerous protests that took place over the last two years. One of the images featured a woman, dressed colourfully, against a sea of central security forces, taken during the 18 days of the revolution.

Others like Marwa Morgan’s Optimistic featured a female friend and inspiration of the photographer, holding her hand up with the word “optimistic” and a smile drawn on it.

The images were said to have been judged on originality, technical excellence, composition, overall impact and artistic merit, with personal vision being taken into account by the jury, which included photography experts.

From teaching children to leading protests and screaming in anger over the revolution’s martyrs, the photographs captured the different roles women play in the changing Egyptian landscape. Though most images focused on the revolution itself, others displayed a different kind of impact that lies outside the political scene. Where some photographs focused on feminist concerns, others struck a more general, nationalist chord contributing to a diverse exhibition.

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