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2020, English
12×18 cm, 100 pages, b/w and color ill., softcover
ISBN 978-3-95679-478-0
Daly & Lyon

Heba Y. Amin’s The General’s Stork explores historical accounts of biblical prophecies, colonial narratives, and the politics of technological warfare from a bird’s eye view. As war increasingly becomes dictated by the needs of technology, conquest from the sky has transformed Western warfare into an imbalanced spectacle of high-tech weaponry, land surveying, aerial mapping, bombing and drone warfare. Focusing on how military technologies were developed in the specific context of Middle Eastern geographies, this volume will explore the extensive research that comprised the development of this multi-dimensional and developing work. It will also give further background as to how, in 2013, the Egyptian authorities sought to detain a migratory stork that it accused of being an international spy.

Heba Y. Amin is an Egyptian visual artist, researcher and lecturer based in Berlin. She is the co-founder of the Black Athena Collective, the curator of visual art for the MIZNA journal, and one of the artists behind the subversive graffiti action on the set of the television series Homeland which received worldwide media attention. Amin has had recent exhibitions at the 10th Berlin Biennale, 15th Istanbul Biennale, MAXXI Rome, Künstlerhaus Bethanien Berlin, Kalmar Art Museum Sweden, La Villette Paris, FACT Liverpool, Kunsthalle Wien, the Museum of Modern Art in Warsaw, the Kunstverein in Hamburg, Berlin Berlinale 9th Forum Expanded Exhibition, and the IV Moscow International Biennale for Young Art.



“Precise, accessible, and richly contextualized, each volume in the Research/Practice series gives satisfying insight into the research process of some of our most interesting contemporary artists.”

— Professor Laura U Marks, School for the Contemporary Arts, Simon Fraser University, Vancouver, Canada

“More and more, artists are seizing upon or producing archives as a way of speculating on knowledge.  Such projects can be particularly difficult to grasp because of the complexity and breadth of their constituents. The Research/Practice
series comes at just the right time to assist in critically exploring the terms and stakes of artistic research by addressing some of its most important practitioners in sustained, but accessible accounts, including a rich array of primary sources.”

— Professor David Joselit, Art, Film, and Visual Studies, Harvard University

“With the discourse on research-based practices in contemporary art having reached a point of saturation lately, this new series—focusing on a specific work or process selected from the respective artist’s practice—seems like a fresh start. The emphasis on artist-researchers working from non-Western positions and interests makes for particularly revealing, non-canonical insights. The combination of essays, documentation and interviews, moreover, results in fascinating methodological encounters, as the research practices of the various contributors productively impact on one another.”

— Tom Holert, writer and curator, Harun Farocki Institut, Berlin