“Baghdadiyat” by filmmaker Parine Jaddo

We are proud to have participated to the creation of the video cards “Baghdadiyat” by filmmaker Parine Jaddo, exhibited in “Potentialities of Photography, the 0069FA Collection: An Archive at Work” at Les Rencontres d’Arles 2019 edition.






















Parine Jaddo revient sur des scènes qu’elle a filmées à Baghdad entre 2009 et 2013. Les cartes postales de la collection 0069fa de la Fondation Arabe pour l’Image ont fait échos.

Portée initialement par le liant mémoriel qu’est la musicalité, Jaddo réalisait en Iraq un documentaire, Qawana. En même temps que de filer les notes d’une histoire personnelle elle cadrait citadins et flux urbains, rassemblait traces et témoignages conciliants urbanisme et musique, comme autant de souhaits d’harmonie. Ces images accumulées à la manière de planches et croquis, se trouvaient aussitôt en attente dans ses archives visuelles et sonores personnelles.

La trilogie vidéo Baghdadiyat se présente comme une variation de typologies: sociologie, documentaire, poétique.

La cinéaste traverse un quartier de la rive orientale de Baghdad, celui de la rue al Mutanabbi et la rue al Rachid. Pendant les décennies passées, l’accès et la circulation dans ce secteur étaient pénibles et incertains, la fluidité brisée, et les points de contrôles imprévisibles.

Elle montre les marques architecturales et les dynamismes urbains: la taboug (brique utilisée depuis la construction de la ville ronde Abbasside), les shanashils (oriels boisés typiques de la région), les étendues et les voies piétonnes ou fluviales.

Elle enregistre des éléments en péril, qui s’effacent, mais aussi des espaces publiques réinvestis par la population.

Les deux hommes qu’elle rencontre, l’artisan luthier et le musicien au conservatoire musical, corroborent ses intuitions de cinéaste en quête de patrimoine immatériel.

Le chant gravé sur disque phonographique ne converse pas, il fait des « appels d’air », c’est la voix quasiment déterrée de Moulla Taha Kirkoukli.


Sara Sehnaoui

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All the while watching – film program at Sursock Museum

Films chosen by Dawawine
Thursday 9 May, 19:00 to 20:30
Saturday 11 May, 16:00 to 18:00
Auditorium, Level -2 Sursock Museum
Free admission

Dramaturgy is not only about seizing; it’s about creating without overwriting.

Through its photographic production, the orientalist dream factory was a first attempt towards the dramaturgy of images.

While failing, this first attempt was also succeeding.

Although it wouldn’t grasp the true, the crude, and the raw, it did nevertheless track places where to fashion. And ways to remain plausible, Aristotles’ poetic principle of verisimilitude.

We say it failed from a moral and from an aesthetic perspective, the moment it presented itself as true.

In order to “seize without overwriting,” the image should not lean much to one side – the true – or to the other – the fashioned.

Join us for a two-day screening program with a selection of films by Dawawine, a collective for cinema, literature, and performing arts.

The three films in the program materialize different aesthetic experiences, and converge towards the desire formulated by novelist and filmmaker Assia Djebar, “to carry one’s own memory all the while watching.”

In Few of Us (Mūsų nedaug), the actress is incorporated into the scenery of the Sayan Mountains, while the director Sarunas Bartas waits for a drama that may or may not manifest. In XII – Salita all’Olimpo, the collective Zapruder filmmakersgroup summons a traditional heroic game and triggers its urban dynamics. In La Zerda ou le chant de l’oubli, Assia Djebar takes on colonial archives as incomplete reels.

This film program is organized in parallel to the exhibition La Fabrique des illusions : Collection Fouad Debbas et commentaires contemporains, curated by François Cheval and Yasmine Chemali, on view from 22 February to 12 May 2019.

Thursday 9 May, 19:00 to 20:30
Few of Us (Mūsų nedaug)
Dir. Sarunas Bartas, 1996
Featuring Katerina Golubeva
Sound by Vladimir Golovnitski

Few of Us is a Lithuanian movie where a young woman travels to the Sayan Mountains of Siberia, and lives with the Tolofars, a nomadic tribe, a forsaken nation, less than two hundred living souls forced to an undesired sedentary life by the Soviet regime.

Sarunas Bartas (b. 1964 in Siailial, Lithuania) started to produce movies in 1990, at the dissolution of the Soviet Union. His films draw on themes of exhaustion, poverty, loneliness, illegal immigration, vagrancy, and trafficking. He developed a production studio called Studija Kinema. Leos Carax said, “With his gaze, he embraces the faces, the landscapes, the buildings that surround him, with an attention and fervor that grasps what can still be salvaged from our time.”

Saturday 11 May, 16:00 to 18:00
To mark the culmination of the film program, there will be a discussion with Dawawine, Zapruder Filmmakersgroup, and the public.

La Zerda ou le chant de l’oubli (Zerda and the Songs of Forgetting)
Dir. Assia Djebar, 1982
In Arabic and French
Written by Assia Djebar et Malek Alloula
Music by Ahmed Essyad

This film is a four score poem based on the archives of the Institut National d’Audiovisuel (INA). Assia Djebar makes her own construction with images of the colonial Maghreb from 1912 to 1942. The soundtrack blends together poetry, recitations, and experimental music, and raises up other images of the crushed Maghreb, those of the many langages in Algeria, and the muted voices of women throughout history.

“I made the decision to make a first film (The Women’s Nouba of Mount Chenoua), not knowing really if I’m a filmmaker, I think in November 1975: because it was the day of Pasolini’s death. (…) His relation to popular poetry, to the spoken dialects of these regions, which he has passed in a certain way on the screen, is what I felt concerned about (…)”

La Zerda et les Chants de l’oubli was presented a single time in 1982 on RTA, the Algerian TV channel, and it was awarded « Best Historical Film » by the Berlin Festival in January 1983.

Assia Djebar (b. 1936, Cherchell, Algeria)is a novelist, translator, and filmmaker, well-known for her feminist and post-colonial views on Algerian society. Since her first novel La Soif published at the age of 21, her writings are often focused on the creation of a genealogy of Algerian women.

She was elected member of L’Académie française in 2005. For the entire body of her work, she was awarded the 1996 Neustadt International Prize for Literature, and was often named as a contender for the Nobel Prize for Literature.

XII – Salita all’Olimpo
Zapruder Filmmakersgroup, 2016

Salita all’Olimpo is part of the project Zeus Machine (2016), which takes on the mechanism of mythological narratives by drawing on themes of cliché and folklore through the myth of Hercules, the mythological hero famous for the labors he endured to win his place in Olympus. Hercules is associated with strength and invincibility; his character as a fragile, fallible human being is mostly misunderstood. The artists give voice to the legendary hero’s humanity, seeing it in actions performed by common heroes in their everyday lives. This project was exhibited as a site-specific installation in September 2017 at the MAXXI Museum.

Zapruder Filmmakersgroup, formed in 2000, is made up by David Zamagni, Nadia Ranocchi, and Monaldo Moretti, with the sound collaboration of Francesco ‘Fuzz’ Brasini. Their lively productions rely on an artisanal practice and inquisitive spirit. The group’s film-projects are often flexible cinematic devices, which they define as Chamber Cinema: an incarnated environment and disembodied theatre. Their work was presented and awarded at the MAXXI Museum in 2016.


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يا ويلي النهاية

مَنشِن، زقاق


من ٢ إلى ٥ أيار


عرض مسرحي: الساعة ٨:٣٠


تجهيز فني: من ١١صباحاً حتى ٤ بعد الظهر

بالإضافة الى حلقات نقاش، مشغل ترجمة وتوقيع كتاب


«يا ويلي النهاية» عرضٌ مسرحيّ وتجهيزٌ فنّي يتعاقبان أربعة أيّام وليال في بيت من بيوت بيروت العتيقة، هجره الناس ثمّ سكنه الفنّ، اسمه الإفرنجيّ مَنشِن، ومن أهل الحي من يسمّيه البيت الأصفر.

العرض المسرحيّ يدور حول أربعٍ من قصار مسرحيّات صموئيل بكت، تُرجمت للّبنانيّة تحت عناوين: هيديك المرّة، مش أنا، فاصل دير الٯٔمر وضلّك عم بتهزّيلٗا. يتنقّل الجمهور عبر البيت القديم مقتفيًا أثر المسرحيّات الأربع، فيلقاها وكأنّها التجلّيات من غيبِ دهليزٍ، يُنادى المرءُ إلى عتمتها حينًا، ثمّ يُقصى عن نورها حينًا آخر.

التجهيز الفنّي مجموعة أعمال يعرضها فنّانون وفنّانات من محبّي بيروت وساكنيها ومعاشريها، ألهمهم التلاقيتآلفًا كان فحوه أو تنافرًابين تلك النصوص، وهذا المكان، ونهاية الزمان. ي

حتوي التجهيز على أعمال شتّى منها التشكيليّ والمسموع والمرئيّ، صورٌ متحرّكةٌ أو ثابتةٌ.

نصوص: صاموئيل بكت

ترجمة: منشورات صنوبر بيروت

إخراج: هاشم عدنان

أداء: كارول عبّود، هاشم عدنان، ساسين كوزلي والمترجم

دراماتورجيا: ساره صحناوي ومنشورات صنوبر بيروت

سينوڠرافيا: داڤيد حبشي وحسين نخّال

تصميم الأزياء: لاريسا فون


تصميم الصوت: رامي الصبّاغ بالتعاون مع ساره صحناوي

تصوير: كونستانز فلام

تصميم ڠرافيكي وتواصل: جنى طرابلسي

إدارة إعلامية: ريتا باسيل

مساعدة إخراج وإدارة إنتاج: محمد عيتاني

إدارة تقنية: تمارا بدر الدين

هندسة الصوت: جواد شعبان

إدارة المسرح: ساري مصطفى

إنتاج: هاشم عدنان

التجهيز الفنّي مع داڤيد حبشي، رامي الصبّاغ، ساره صحناوي، جنى طرابلسي، هاشم عدنان،  كونستانز فلام، لاريسا فون پلانتا، حسين نخّال

بالتعاون مع هاينرش بول ستيفتانغ

بدعم من الصندوق العربي للثقافة والفنونآفاق

شارك في الانتاج مَنشِن ، بيت الفنانحمانا، منشورات صنوبر بيروت، دواوين، استديو وان هيرتز

Oh to End

At Mansion, Zouqaq Al Blatt

From 2 till 5 May 2019

Theatre performance at 8:30 pm

Group Art Installation from 11 am till 4 pm

Along with panel discussions, a translation workshop and a book signing


‘Oh to End’ is a series of events including a group installation and a theater performance, but also panels, a workshop and a book signing, all set in an ancient age-worn Beirut house, Mansion.

The performance is centered around four short Samuel Beckett plays translated to Lebanese: That Time, Not I, Rockaby, and Ohio Impromptu. The audience will walk through the house and will meet each of the four plays in different areas, taking them in to and out of the darkened space of each play.

The group installation will consist of art works inspired by the encounters, and the contrasts, between two modes, one material, one verbal, of desolation “about to set”, two almost untraceable exhales of penultimate breath: old Beirut’s old buildings, and old Beckett’s old characters.


Texts by Samuel Beckett

Director: Hashem Adnan

Performers: Carole Abboud, Saseen Kawzally, Hashem Adnan and the translator

Translation: Editions Snoubar Bayrout

Dramaturgy: Sara Sehnaoui and Snoubar Bayrout

Scenography: David Habchy and Hussein Nakhal

Costume Designer: Larissa Von Planta

Sound Design: Rami Sabbagh in collaboration with Sara Sehnaoui

Communication and Design: Jana Traboulsi

Photography: Constanze Flamme

Media Director: Rita Bassil

Assistant Director and Production Manager: Mohammad Itani

Technical Director: Tamara Badreddine

Sound Engineer: Jawad Chaaban

Stage manager: Sari Moustafa

Produced by Hashem Adnan

Art installation with: Hashem Adnan, David Habchy, Constanze Flamme, Hussein Nakhal, Rami Sabbagh, Sara Sehnaoui, Jana Traboulsi, Larissa Von Planta.

– In collaboration with HEINRICH BOLL STIFTUNG


– Co-produced by Hammana Artist House, Mansion, Snoubar Bayrout Editions, Dawawine and Studio One Hertz

– Sponsored by Mezyan

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Imperfect Unless Performed in Blood

ركعتان في العشق” – رامي صبّاغ”
Imperfect Unless Performed in Blood, by Rami el Sabbagh

A woman looks into the world, cursing its state and calling for resistance through poetry. “He enters the room like the twilight spectrum”. A vampire roams into a house that is haunted by words. “There is one who stands all night drawing his title from his father’s tomb”. In a patriarchal dystopia, the son tries to make time out of joint.

امرأة تنظر إلى الحياة وتلعن حال العالم، داعيةً إلى مقاومته بالشعر. “يدخل إلى الغرفة مثل الشفق”. شبحٌ هائمٌ في بيت مسكون بالكلمات
“ثمّة من يقف طوال الليل، يسحب لقبه من قبر والده”. يحاول الابن، في ديستوبيا بطريركية، كسر الوقت
مستوحى من حياة وأعمال حسين بن منصور الحلّاج

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By Toni D’Angela

The texture of Robert Todd’s Still Waters (2016) is branched, an image-silvae that recalls Brakhage and a certain Jack Smith. The still-life of still images slip in the cross and black fades. Beings of being. The watery mirror sparks imperceptibly, a pointillisme of the slightest difference. Vision is obstructed, between the eye and nature, a net, an opacity. Then, the camera starts to move down the vertical axis. Static images stretch on the slowness of motion, while moving ones seem to stand on the immobility of the landscape. Movement and stasis. Again: immobility and water.

Physical Responses (2016), another work by Robert Todd, resonates with this dialectic of stasis and movement. The black and white at the beginning, still vague and undetermined, then takes shape. It even becomes a sort of ornament. It returns into itself unfolding the plays of water and of light, light waves, a brightness/foam: the being. The silence of a crash between water and rock, a primordial constellation. And then a hint of movement that palpates at a distance, a meadow of grass moved by the wind, almost in an elegy for Sokurov. The being appears into the ripples, in the waves of the First Day. The voice of silence. Finally, the movements and “monuments”: the appearance of man and of his life forms. Nature and culture, in comings and goings, a mutual recollection, a carnal membrane between them – such as the game between the sea and the beach. Slowness of nature and movement of culture. As if culture was the escape of nature, not centripetal, but on the spot. 

Stephan Broomer’s The Bow and the Cloud (2016) is a c(a)osmic phenomenology of alterations, processions, accelerated and agitated movements, multiplied superimpressions. The ramifications found in Todd’s films explode here, like a rhizome. A stratified geology of the image that echoes (once again) with Brakhage and with the “strange code” of Canadian experimental filmmaking – to quote Broomer who, deservingly, restores and promotes the works of experimental Canadian filmmakers. The Bow and the Cloud is a swirling and stormy image. The natural abundance is as overwhelmed as by the artistic one. A superabundance. A flight of the images. The landscape is a battlefield between the cosmos and chaos, crossed by scratches, jets of water, electron discharge, human signs, and “solarized” cities. Abstraction and figuration. This is a landscape innervated by escape lines.

Eva Kolcze – also a Canadian filmmaker – in her short Facing the Waves (2016), naturalizes and tears the light from its usual and functional solidity through its anamorphosis and cristalization. Cement is used as a canvas or a screen. The reflecting slabs of the skyscrapers capture the light of the sun the same way plants capture oxygen, to breathe, to move. The crack of a beam between two buildings introduces a pause. The city pulsates in the rhythm of a movement, that of the moving image. The birds are perched on the corniches like tree branches. The image of the city is a movement of escape.  

Scott Barley’s The Green Ray (2017) brings to light hiding, and brings hiding to light. Being is suspended on the threshold, between hiding and appearing. A flow of being, to the point where it can express itself, thundering in the silence of the evening. The earth, with its elements, rises up in the world (of gestures) and the world is rooted in this earth. The night comes out, it raids. Barley’s landscape can be usual, it could have a familiarity, but in the frame, it becomes unusual. The earth becomes the world and the world reveals the earth. Barley’s film is a langue de bois that refers to Rousseau’s La Vallée close, a finesse, a flow that sculpts the landforms and the rocks, echoing in the darkness. An avalé of the source of being, perhaps the encounter and the resistance born from watching the thunder and listening to the darkness. The Green Ray shapes the disorder, the fall, the current of being and the flow of time. 

Ten Mornings Ten Evenings and One Horizon (2016) is an essay on the coalescence of time and duration. Distinctive rhythms, layers, expansions and distances. The six sections in which the frame is divided correspond to the phases of exposure of the film, from morning to evening. These sections present the becoming of time, instead of its linear unfolding. The sun rises and rises through the different perception-durations. Nevertheless, the horizon is always the same. The frame-like horizon is one. Time is this horizon that takes charge, carries on its shoulders the different durations and the twenty points of view from which the bridge over the river is framed. The spatial juxtaposition is also temporal, a construction that reminds us of Hokusai and his thirty-six views of Mount Fuji, and also of Cézanne and his different points of view of Mount Sainte-Victoire. A (re)construction that is marked by image sectioning and abrupt cuts. The space is layered. It is perceived according to different durations on the background of a temporal horizon that is unique. But the visual space is no longer simply Euclidean, but becomes an escape. It flees, escapes (to) itself. A space that folds and unfolds. A temporalized space, a temporal landscape: cars come out of nothing and (re)enter into nothingness (from one section to another). Each section is a black hole that swallows everything. The landscape, natural and human, is an infinite escape, and this infinity is an escape in itself. Thus the landscape is natural but also de-naturalized. The durations are blocks, becoming, that de-compose the fabric of time. But the escape of the durations, of the sections, is articulated by the only landscape left: that of the horizon.

Ana Vaz’s ethnographic excavation continues with Há Terra! (2016), in which she pursues her involvement in both formal and field research, aimed at deconstructing the archival image of the colonialist past and of the postcolonial present. The film orchestrates a heterogeneity of materials, starting with the filmic elements themselves: the materiality, the carnality of the film, of a medium that is felt, one that becomes a body, a “body” in which the almost frenzied machine movement is inscribed. The body of the film is scratched, as is the Brazilian and South American earth, raped by Europeans. There is a frenzy of the subjectile, the support onto which the violent history of the conquerors is written. A support that is impacted by the static nature of the repertory images, a contrast that tears away those images from their peaceful historicity, to which they have been assigned to by a linear representation. Ana Vaz’s linguistic experimentation is this attempt to criticize the training of the subjected body (colonialism) and of the subjectivated body (postcolonialism): the earth escapes, it trembles. Through the flight, the irreducibility of a poetic policy is never reduced to a mere pacifying representation. 

Kelly Sears’ In the Vicinity (2016), is an essay on the logistics of perception, on the observation techniques developed to intersect and organize the territory, to make it a picture, a map, to control it, to map it out as territory, to organize it as an instrument of power. A codified landscape within a topology of control. An operation that brings the cinema back to its origins, to its historical, ambiguous and viscous link with industry and war. You learn to see a territory, you make it a target in order to occupy it. The deconstruction of repertoire images denaturalizes this device of subjugation, and tends instead to dis-occupy the territory that is now increasingly subjected to the strategy of fear deployed by the security state.

The Watchmen (2017) by Fern Silva dialogs with the film of Sears. A palaeontological and palaeological landscape alternates with some marginal urban spaces. The skeleton of a Benthamian prison, like a mammoth, is held with the chimneys of an infernal industrial landscape, a land of Mordor, a tourist village encapsulated in the images of a seaside screen and corners of cities emptied from other images. All the visual landscape is inflated, worn out. It only returns ghosts, like the remains of abandoned prisons. From the panoptic discipline to the spectacle of images in which the reality degrades. The escape is the circular and centrifugal movement always on the verge of crashing, a short-circuit that cuts the walls of the prison and the schizoid paranoia of surveillance.

One the latest works of the collage artist/(re-)animator Lewis Klahr, this film is a composition of beauty and insight. Highways, cars, nights, and especially these (magic) pills that soften and camouflage what is intolerable. These are the motorways of a paranoid and schizophrenic nervous system. Circumstantial Pleasures (2015-17) is an ambitious film, a constellation of reasons assembling the typical refrains and signs that characterize the American consumer society. The film is an exercise in high style and, at the same time, a large tableau mourning the American “pharmacologos” (phármakon is both medicine and poison). A millstone of different elements are combined and incorporated into a collage, a trademark of Klahr’s style, representing the landscape of the American image(ina)ry (going back to Spinoza’s imago, fictio, fingere, doxa). This is a cross-section of profiles and objects dotted around and informed by an “American Romance”.

Screening of the films in Dawawine on 19th January at 8 p.m.

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LAND(E)SCAPES – Screening – 19th January 2018

LAND(E)SCAPES is a program of ten films first proposed by Toni D’Angela for FRONTEIRA, the international documentary and experimental film festival that takes place annually in the city of Goiânia, in Brazil, and that we have the pleasure of hosting at Dawawine. This program gathers films that cast unusual gazes on usual landscapes, presenting the filmic medium as a space where these sceneries can become a getaway, a movement of flight, a fugue, through which one can free themselves and the landscape from its habitual image.

LAND(E)SCAPES text by Toni D’Angela


19th January 2018 screening at 8 p.m.

STILL WATERS by Robert Todd

USA | 2016 | 9′ | Color | Sound | 16 mm presented in digital format


USA | 2016 | 7′ | B&W | Silent | 16 mm presented in digital format

THE BOW AND THE CLOUD by Stephen Broomer

Canada | 2016 | 8′ | Color | Silent | 16 mm presented in digital format


Canada | 2016 | 5′ | Color | Silent | 16 mm and 8 mm presented in digital format

THE GREEN RAY by Scott Barley

UK | 2017 | 12′ | Color | Sound | Digital


Japan | 2016 | 10′ | Color | Sound | 16 mm presented in digital

HÁ TERRA by Ana Vaz

Brasil/France | 2016 | 13′ | Color | Sound | 16 mm presented in digital format with English subtitles

IN THE VICINITY by Kelly Sears

USA | 2016 | 9′ | Color and B&W | Sound | Digital

THE WATCHMEN by Fern Silva

USA | 2017 | 10′ | Color | Sound | 35 mm presented in digital format


USA | 2017 | 15′ | Color | Sound | Digital


Toni D’Angela is the founder and editor-in-chief of LA FURIA UMANA, a multilingual film journal available online and in print: www.lafuriaumana.it / www.duendebux.com

Teacher and writer, he’s the author of several books and articles (some of them translated in english, french, spanish, portuguese), especially on American Cinema, classic and avant-garde.

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Zapruder filmmakersgroup “Chamber Cinema” 4 videos

Dawawine is glad to present the work of Zapruder filmmakers group (Roncofreddo, Italy).

On Friday 15th
& Saturday 23rd

At 8 p.m.

2011, 3 min, 3D anagliphic film

**I TOPI LASCIANO LA NAVE (Yes Sir, I can Boogie) 
2012, 30 min.

On a ship at sea: a tempestous noise,
of thunder and lightning heard.
(Shakespeare ‘The tempest’ act 1, scene 1)
Dance competition knockout. Dance floor concert. For loud listeners!


// 10 minutes break //

At 9 p.m.

2010, 22 min, Italian with English subtitles

Inspired by Mauss anthropological essay “The Gift”, Joule is articulated by sums of tableaux, which reconnect the movie to an economic analysis. Joule (J) is the unit of energy value, of work value, it measures what all living organisms do to produce heat. This film depicts the act of living as an infinite self-combustion, in pure loss, proving to be a paradox of profit theories.

2007, 50 min. 3D anagliphic film

Notes for and imaginary biography of Georges Bataille.




ZAPRUDER filmmakersgroup, formed in 2000, is made up by David Zamagni, Nadia Ranocchi, and Monaldo Moretti, with the sound collaboration of Francesco ‘Fuzz’ Brasini.
Their lively productions relie on an artisanal practice and inquisitive spirit, as in their stereoscopic series inaugurated in 2006 and awarded at the Venice Film Festival in 2011. The group film-projects are often flexible cinematic devices, which they define as “Chamber Cinema”: an incarnated environment and disembodied theatre, poised between visual and performing arts.

The group is named after the ‘sharpshooter’ from Dallas who caught J.F.K.’s assassination on camera, ‘creating an outstanding example of amateur film, a fetish document, a violation that goes far beyond the private sphere to become a dream, an obsession, part of our collective heritage’.

The works of ZAPRUDER filmmakersgroup have been presented and awarded at MAXXI museum in 2016, and in festivals such as: Oberhausen Kurzfilmtage, the Geneva Biennale de l’image en mouvement, Centre Pompidou Paris, Steirischer Herbst Graz, Transmediale Berlin, Netmage Bologna, Milanesiana, Milano Film Festival, Santarcangelo Festival, Contemporanea Festival Prato, Kunsten Festival des Arts Bruxelles, Uovo Festival Milano, Festival d’Avignon, Art Fall Ferrara.

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Paul Ardenne le jeudi 7 décembre

Jeudi 7 décembre 18h à 20h

Intervention de Paul Ardenne

Poétique / Politique / Territoire

En partenariat avec le Master en Critique d’Art et Curatoriat de l’USJ
et dans le cadre des événements parallèles de l’exposition

“Poetics, Politics, Places”

(BienalSur, Argentine septembre-décembre 2017)

Agrégé d’Histoire, docteur en Histoire de l’art, Paul Ardenne (France, 1956) est maître de conférences à l’Université Picardie Jules-Verne d’Amiens. Membre de l’AICA-France (Association internationale des critiques d’art), il collabore depuis 1990 à la revue Art press. Il a en outre donné articles ou entretiens aux revues Beaux-arts magazine, L’Œil, Omnibus, Le Voyeur, La Recherche photographique, Figures de l’art, L’image, Parpaings, Visuels, Archistorm, L’Art même ou encore Synesthésie, outre diverses contributions à la presse étrangère.

En plus de textes littéraires et de catalogues d’artistes, Paul Ardenne a publié cette décennie écoulée plusieurs ouvrages ayant pour thème la muséographie (Capc-Musée 1973-1993, éd. du Regard ; Guide Europe des musées d’art moderne et contemporain, éd. Art press, avec Ami Barak), la création artistique contemporaine (Opus, éd. du Figuier ; La création contemporaine entre structures et système, ERBA Rouen ; Analyser l’art vivant, s’il se peut, EAD Strasbourg) ou plus largement la culture actuelle (1989, éd. du Regard).

Paul Ardenne, par surcroît, a été co-commissaire des expositions Micropolitiques (Grenoble, 2000), Expérimenter le réel (Albi-Montpellier, 2001 et 2002), Working Men (Genève, 2008), Technicity (Bologne, 2010). Il a été l’un des commissaires invités de l’exposition La Force de l’art, au Grand Palais, à Paris, en mai-juin 2006, et Ailleurs, Centre culturel Louis Vuitton, Paris, février 2011.

Biographie citée de www.fondation-entreprise-ricard.com/Curators/view/32-Paul-Ardenne

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On Fools and Lands / Book launch with Chaghig Arzoumanian

‘On Fools and Lands’ scrutinises the history of Asfurieh; the first mental asylum of the region established in 1898 near Beirut. Its mission was to provide to the mentally ill a proper care without any religious, class or ethnic segregation, hence countering the monopoly of priests who performed exorcism against demoniacal possession, the only form of insanity people believed in.

For 75 years and through many turbulent times it presented avant-garde therapeutic methods, such as the “open-doors policy” or “occupational therapy”. Its founder stressed the importance of the environment: calm and salubrious. This, they believed, had a direct effect on the body and the mind.

In 1973, the medical and administrative board decided to sell the land of Asfurieh and planned to build a new hospital in Aramun, getting in pace with the modern world. Construction started in 1974 and it was meant to open its doors in June 1976. But in April 1975 the Lebanese civil-war broke out. And although the new hospital was almost finished, it was never put into use. Lebanese, Syrians, Palestinians and Israelis damaged it considerably. And when they had all left, the destruction was irreparable and the debts huge.

Combining photographs taken by Chaghig Arzoumanian at Asfurieh’s estate since 2010 and the annual reports of the Hospital, the artist aims to reveal traces and to reflect upon the course of Lebanese history in regard to collective consciousness, modernism and capitalism. 

Read Daily star press article

The launching took place on the 18th of November.

Text and photography: Chaghig Arzoumanian
Design: Studio Safar
Editing advice: Sarah Morris
Color correction: Nadim Kamel

The book was published with the support of the Arab Fund for Arts and Culture – Afac
This production was made possible through Culture Resource’s Production Awards Program (Mawred Al Thaqafi)
The gathering on the 18th was supported by Massaya winery.

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4 movies by Jocelyne Saab

Jocelyne Saab est une cinéaste libanaise qui a réalisé plus d’une quarantaine de films depuis 1970. Alors qu’elle s’est introduite dans le milieu en tant que reporteur de guerre, suivant surtout au quotidien les guerres civiles dans sa ville natale, Beyrouth, son œuvre s’étend vers une pratique très personnelle et engagée produisant autant des reportages et des documentaires que des essais, des films de réemploi et des fictions.

Jocelyne Saab is a Lebanese filmmaker that directed more than forty films since 1970. She started out as a war reporter, following closely the unfolding of the civil wars in her native city of Beirut and very quickly took on a very personal and engaged filmic practice. Her works covers a wide range, from reportages and documentaries to essay, found footage and fiction films.

1975, 75 mins, Version Française, Sous-titres Arabe

Quelques mois après l’incident du 13 avril 1975, au cours duquel des civils palestiniens furent mitraillés par des miliciens phalangistes, le bilan est des plus tragiques: six mille morts, vingt mille blessés, des rapts incessants, une capitale semi-détruite. Ce film retrace les origines du conflit libanais, la perception d’une société qui part à la guerre en chantant. Document unique sur la guerre civile libanaise.

1976, 35 mins, English Version

Shot seven years into the war in July 1982 while Beirut was under siege by the Israeli army, the film is another heartfelt tribute to an almost deserted city reduced to rubble after years of conflict. Saab, acting like a reporter of her own history, tells us about the destruction of her house, a 150-year-old building. The film is haunted by the history and memory of places and names and by the stark reality and unbearable violence of the war.

1986, 17 mins, Version Française

Alexandrie, ville hellénistique, grecque, romaine, copte, était aussi le petit Paris dans les années trente. Avec le poète Cavaffi et l’écrivain Lawrence Durell, c’est l’évocation de cette ville lorsqu’elle était au cœur du monde arabe et Européen dont Jocelyne Saab témoigne.



1980, 52 mins, Version Française

La Révolution iranienne a conduit à la chute du Shah et à l’installation d’une République islamique. Ce film a pris le parti de s’écarter de l’actualité la plus brûlante pour tenter de cerner, à travers l’ensemble de la société, ce que représentait cette vague qui allait déferler sur le monde musulman.

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