german galleries / index cities / index galleries / index artists / index Berlin
Neuer Berliner KunstvereinChausseestrasse 128 / 129
02.09. - 15.10. 2006 Via Lewandowskypaeninsula
Sophie-Therese Trenka-DaltonNineveh and its Remains Klasse Prof. Christiane Möbius
Eröffnung ein am Freitag, den 1. September 2006, um 19 Uhr Lesung: Durs Grünbein
Ein gemeinsames Projekt des Neuen Berliner Kunstvereins und der Universität der Künste Berlin/
TREFFPUNKT NBK I September 2006 I jeweils mittwochs 19 Uhr 6. 9. "Quo vadis Bethanien?" Gerrit Gohlke,
Publizist, Karl Heinz Jeron, Künstler, Reiner
Maria Matysik, Künstler und Christoph Tannert,
Geschäftsführer der Künstlerhaus Bethanien GmbH,
diskutieren über die Zukunft des Künstlerhauses Bethanien
nach einem Jahr andauernder Besetzung durch Autonome
Besuchen Sie auch unseren Stand auf dem Art Forum Berlin 30. September - 4. Oktober 2006 Art Forum Berlin
Purloined Letters: Noureddine, Zaatari, Mroue Leafing once more through Mahmoud Darwish's monumental work Memory of Forgetfulness: August, Beirut, 1982, which so forcefully describes the Israeli invasion of Beirut in 1982. The carnage of war mixed with the beauty of a great poet's words. History has a cruel way of repeating itself: we find ourselves - once again - in september, 24 years later, with a Lebanon in the shackles of a brittle ceasefire. As familiar military and political scenarios are replayed in the theatre of war, once the dust settles, humans by default tend to impose forgetfulness upon themselves or others, so they can continue, reconstruct, start anew after crisis, and in some cases wash off the guilt. What is striking about many artists working in Lebanon today, is their very resistance to historical and cultural amnesia. Many of Lebanon's most prolific contemporary artists grew up during the 15 years of Lebanon's devastating civil war. In their work one often discerns a wilful stubbornness to excavate personal and collective memory, the will to tell those narratives which have become sedimented in the rubble of destroyed buildings, and a cautious and questioning relationship with the medium they choose to work with. It would, however, be false to label the work of this "war generation" as being predominantly historical or archival. On the contrary, it is very much rooted in contemporary Lebanon, and as much as there may be commemoration of an untold past, it is very much a reflection on and of the present. The works selected for this screening are purloined letters,
in the sense that these images and stories have somehow been
"stolen" or erased from a collective or personal history.
Zaatari. Nouredinne and Mroue offer us - the viewers - documents
within documents, which convey more than just a unilateral message.
Moreover, these works are testimony to how each document is by
default constrained by its own medium. Whether it's Zaatari's
attentive and almost anthropological approach registering the
dig-up of a letter from militia man; Nouredinne's sharp and cynical
visual postcards from Beirut, or Mroue's usage of his personal
archive of photos and audio tapes to indicate the inadequacy
of media. They all make clear that behind each postcard, photo,
tape, film, or letter there is always more to be found. Wael Nouredinne (LB/FR) Ca Sera Beau - from Beirut with Love, (2005,16 mm, 30') Wael Nouredinne was born July 26th in Beirut, Lebanon. In 2002, no longer able to bear the sectarian conflicts that he feels continue to tear apart Lebanon , he exiled himself to Europe. His completed works include Ça sera beau: From Beirut with Love (Super-16, 2005), Homage to Carlos: Rivière souterraine du banditisme (16 mm, 2004), Chez nous à Beyrouth (video, 2002), and L'homme à la camera (video, 2000). www.wael-noureddine.blog.ca
Rabih Mroué (LB), Face A / face B, (2002, video, 9') Rabih Mroué was born in Beirut in 1967. He studied
theatre and started producing his own projects in 1990. He has
acted in, directed, and written several plays, performances,
and videos which have been presented in Beirut and throughout
Europe, including L'Abat-Jour, 1990; The Lift,
1993; The Sand Prison, 1995; Extension 19, 1997;
Come In Sir, We Are Waiting For You Outside, 1998; Three
Posters, 2000; Face A/Face B, video, 2001; Biokhraphia,
2002; Looking for a Missing Employee, 2003, Who's Afraid
of representation, 2005 Make me Stop Smoking, 2006. Akram Zaatari was born in Saida in 1966. A video artist and curator who lives and works in Beirut, he has made more that 30 videos, including How I Love You; Her Him Van Leo; Crazy for You; All is Well on the Border; and This Day. A cofounder of the Arab Image Foundation in Beirut, Zaatari has produced a number of exhibitions and corresponding publications, including The Vehicle; Mapping Sitting in collaboration with Walid Raad, and Hashem El Madani: Studio Practices, co-curated by Lisa LeFeuvre.
We cordially invite you to this evening organized by the Video-Forum within our series "Treffpunkt NBK". The presentation will be in English.
|
||
german
galleries: index Berlin    |
||