Page - (000181) - in Mobile Culture Studies - The Journal, Volume 4/2018

Mobile Culture Studies. The Journal 4 2o18 Charlotte Bank | Remaking a World 181 artists, the political situation in their home country continues to play an important role in their work. At the same time, this kind of work is often what audiences and institutions seem to expect them to produce. There is just a fine line between producing such work out of a personal wish and doing it based on such expectations and as this might secure one continued exhibition opportunities and increased exposure. In order to break free of such limits, non-Western artists need institutions that allow them to present their work, without sensationalism, regardless of news headlines and on a regular basis. Institutions in which research-based exhibitions and projects involving non-Western art would ensure a continued presence of these artists, eventually leading to them becoming an integrated part of the art scene of the city. Literature Al-Ghazzi, Omar. 2014. ‘“Citizen Journalism” in the Syrian Uprising: Problematizing Western Narratives in a Local Context’, Communication Theory 24(4), 435-454. Bank, Charlotte, 2016. ‘Calling things by their real names: Anonymous artistic production and the Syrian uprising’, Fusion Journal 9 Fall, Anonymous: The Void in Visual Culture, <http://www.fusion-journal.com/issue/009-anonymous-the-void-in-visual-culture/call- ing-things-by-their-real-names-anonymity-and-artistic-online-production-during-the-syri- an-uprising/ Bank, Charlotte. 2014. ‘The Art of Persuasion. Posters of the Anonymous Syrian Artist Collec- tive Alshaab alsori aref tarekh’, in: Syria Speaks. Art and Culture from the Frontline, edited by Malu Halasa, Zaher Omareen and Nawara Mahfoud (London: Saqi Books), 66-83. Behiery, Valerie. 2012. ‘Alternative Narratives of the Veil in Contemporary Art’, Comparative Studies of South Asia, Africa and the Middle East 32(1), 130-146. Bennett, Jill. 2005. Empathic Vision. Affect, Trauma, and Contemporary Art (Stanford: Stanford University Press). Biddle, Tami Davis. 2008. ‘Dresden 1945: Reality, History and Memory’, The Journal of Mil- itary History 72(2), 413-450. Dogramaci, Burcu. 2011. Netzwerke des künstlerischen Exils als Forschungsgegenstand – zur Einführung’, in Netzwerke des Exils. Künstlerische Verflechtungen, Austausch und Patronage nach 1933, edited by Burcu Dogramaci and Karin Wimmer (Berlin: Gebr. Mann Verlag), 13-28. Hayes, Shirley. 2015. ‘Trauma and Memory: Healing Through Art’, Journal of Art for Life 7(1), <http://journals.fcla.edu/jafl/article/view/84712> Hess, Sabine. 2013. ‚Hegemoniale Diskurs-Bilder brechen. Eine kulturwissenschaftliche Kri- tik der dominanten Wissensproduktion zu Migration’, in Netzwerke des Exils. Künstler- ische Verflechtungen, Austausch und Patronage nach 1933, edited by Burcu Dogramaci and Karin Wimmer (Berlin: Gebr. Mann Verlag), 107-122. Hoelscher, Steven. 2012. ‘“Dresden, a Camera Accuses”: Rubble Photography and the Politics of Memory in a Divided Germany’, History of Photography 36(3), 288-305. Hugill, Alison (undated). Interview with Yaser Safi, SMAC <http://smac-berlin.de/inter- view-yaser-safi>, [accessed June 1st, 2018]