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Performance__/|
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Tampa
by Mireille Astore
“Tampa” is a sculpture and performance about the plight of recent refugees in Australia. It references the Tampa incident where refugees fleeing wars and persecution in a small leaking boat were intercepted by the Australian Army following their rescue by the Norwegian ship "Tampa". The refugees were then redirected and detained in Nauru. The performance and sculpture took place from 30 October to 16 November 2003 as part of the annual International exhibition and event Sculpture by the Sea at Bondi, Sydney.
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Digital Photography__/|
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Premonitions
by Mireille Astore
"In Premonitions I am exploring the theme of childhood in contemporary society. Premonitions, is an exhibition comprising digital photography and sculpture. The images are created and displayed using a dialogical narrative, which sets out to question what it means to be a child in the age of globalisation, wars on terrorism and the disintegration of the real."
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Digital Photography__/|
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The Maternal Abject
by Mireille Astore
"Through my research and studio practice, I search for what binds me and separates me from my children. I investigate abjection theories through Julia Kristeva and Georges Bataille and focus on a particular form I call the maternal abject. This occurs at the time an infant separates from its mother, acquires language and maps its own body. I am proposing that the mapping of the body is the point at which an individual perceives social structures and learns about prohibitions and taboos, hence the abject."
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Photography-Installation__/|
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Honourable Fears
by Mireille Astore
"Honourable Fears is a photographic installation which explores the absences and spaces that are occupied by the forbidden, the unspeakable, and the Other. The installation is a bold attempt at deciphering the social psyche and an invitation to question notions of self-protection as they manifest themselves through the continuum of history."
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Photography__/|
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Monastery
by Rawi Hage
"I decided one day to visit the mountains region of the north. My ancestors belonged to the land, and ruled over it until their seeds were swept by northern winds and planted in crowded, dusty, cities. That evening, the villagers held a large feast. Sacrifices were made to the Gods. There were twelve herds of swine, twelve large troops of white goats and twelve flocks of sheep, all slain and devoured by man and immortals alike..."
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Photography__/|
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Pinholes
by Rawi Hage
"Through an opening in the wall he could see her, lifting the table with one hand, devouring a chicken in the other. When she looked his way, he wondered if she could see him, or at least see his open eye looking at her from that tiny little hole. The thought of her approaching him, frightened him, but looking into her stange world, her terrifying house, her gothic furniture, thrilled him to death."
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Photography__/|
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Crime
by Rawi Hage
"Cheap motels all smell the same: sex and deceit. I went to my room and hid the gun under my pillow and waited for the call. 'Seven o'clock at the bar downstairs,' the voice said. All I remember was the bartender's face, a couple dancing, and a few gunshots..."
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Sculpture-Installation__/|
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Mile End
by Nadim Karam
Following the invitation to present my work at the Mile End Park Sculpture Exhibition I proposed for this Art and Ecology Park a hundred and one different miniatures Archaic Procession sculptures: the 101 Forest Sprites; each of the sculptures is of 45cm height, made of steel, and elevated on a gravel mound. In front of each sculpture is a small projector light. The shapes of the Archaic Procession elements appear as a bridge between the infinitely diverse forms of nature and the fantastical world or our imagination.
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Book__/|
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Voyage : on the edge of art, architecture and teh city
by Nadim Karam
Voyage is an exploration of the work of Nadim Karam and Atelier Hapsitus over the past decade; art installations in places as varied as Beirut museum squares, Prague bridges, the gardens of a temple in Nara, and project proposals for London and Dublin.
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Installation-Mixed Media__/|
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"Memory for Forgetfulness" : Registering/Effacing the Memory of the Lebanese War
by Ashraf Osman
"In this age of memorials, it is customary to think of architecture as a means of commemoration. Indeed, as a synthetic physical act, architecture has long been a common and prevalent means of giving a commemorative presence to memory. However, by giving physicality to memory, architecture offers simultaneously its means of annihilation, thus becoming an ideal means of achieving its antithesis, oblivion. And just like memory, a finite selective process, architecture inescapably embodies an act of exclusion as well. As such architecture emerges as an ideal vehicle for oblivion as much as it is for memory."
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Installation__/|
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Territory - Beit el Bourj
by Amal Saade
"The HOUSE IN BORJ (Beit El Borj) is situated in the southern outskirts of Beirut in the area of Laylake. Before the war the area was residential and agricultural with extremely fertile land. Its inhabitants were both Christians and Muslims.TERRITORY is a representation of one of the rooms in the house. It has been inspired by an article of the Lebanese newspaper An-Nahar that talks about the stolen fertile soil by Israel on the occupied south of Lebanon."
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Performance__/|
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Tabou.. Tabou.. Tabouleh
by Amal Saade
"During this performance I chose to show a painting I had made at the beginning of my artistic activity in 1989 in Rio de Janeiro. This painting is a scream, the expressin of a rage hardly contained. A recent piece of work accompanies this painting, a piece of work that is more staid, more thoughtout, a base/holder containing a neon-sign saying in Arabic 'Ana Loubnan' (I am Lebanon)."
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Video Installation__/|
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'untitled'
by Jayce Salloum
'untitled' is an ongoing multi-channel video installation continuing my series of projects addressing social and political realities and representations, manifestations, and enunciations, focusing on borders/nationalisms/ movements (shifts, transitions, and interstitial space/time) and subjectivity and the conditions of living between polarities of culture, geography, history, and ideology.
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Installation__/|
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Kan ya ma Kan / There was and there was not
by Jayce Salloum
'There was and there was not' is a transposition of a working studio and found archive, presenting the 'resources' & artifacts necessary to re-construct an understanding of the mediated process inherent in the definition and perception of a culture.
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Videotape__/|
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Talaeen a Junuub (Up to the South)
by Jayce Salloum
'Talaeen a Junuub' is ostensibly a documentary on the south of Lebanon exploring current conditions, the issues behind the conditions and their representation both in the West and in Lebanon itself.
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Videotape__/|
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This is Not Beirut
by Jayce Salloum
'This Is Not Beirut' is a personal essay on the popular misrepresentations of Lebanon and Beirut which documents the filmaker's own experiences while working in Lebanon. Aware of its own conceptual baggage, the tape situates itself between genres in order to better expose commonplaces assumptions.
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Mixed Media__/|
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Statistics
by Nada Sehnaoui
"In November 1990, the war in Lebanon was declared over. A few months later, a short article of statistics was published in The Boston Globe, The New York Times and Le Monde, summarizing the Lebanese war in few figures. I found it stunning to see that seventeen years of our lives had been summarized in such a small text."
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Mixed Media__/|
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Sarajevo
by Nada Sehnaoui
"In 1975, I lived with my family in Ashrafieh, one of Beirut’s neighborhoods and went to the Carmel Saint-Joseph School located then in Verdun, another neighborhood of Beirut. One day, the driver taking us to school, stopped at the beginning of Mathaf Street, a street that links Ashrafieh to Verdun, realizing that driving through would be suicidal. Suddenly, going to school became a crossing issue, and Beirut, a fragmented city.
Years later, I was living in Boston, when images from the war in ex-Yugoslavia and especially Sarajevo started bouncing into my life through the press and Television. It strongly felt as a continuation of the same madness that had struck Lebanon."
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Mixed Media__/|
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Peindre L’Orient-Le Jour
by Nada Sehnaoui
Everyday and during the whole year 1999, Nada Sehnaoui painted the front cover of the Lebanese newspaper L'Orient Le Jour.
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Photography__/|
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Beirut 99, real visions
by Greta Torossian
The city leaves its mark on people's memory by giving them a certain "image" to more or less "important or even intimate moments of their life. As important can become some day the human power over the identity of a city. For those who live in or near a given city, the place gains a certain 'personnality' and even a certain 'soul'."