Memory and Artistic Production in a Post-War Arab City

Puzon, Katarzyna

doi:10.1057/978-1-137-43955-0_15

Post-Conflict Performance, Film and Visual Arts 2016

DOI: 10.1057/978-1-137-43955-0_15

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Memory and Artistic Production in a Post-War Arab City

Katarzyna Puzon

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“…As John Chalcraft (2015) has argued the mass uprisings of 2011–12 had their surprising and creative dimensions precisely because they emerged without any preceding state breakdown, and they underscored the people as a sovereign subject in a way that was distinct from anticolonial nationalism. Yet even before that historical moment Lebanese artists were already in the process of positioning themselves outside of nationalist art histories, intent as they were on showing the impossibility of ever truly representing history, trauma or memory in postcolonial contexts and critiquing the state’s neoliberal economic policies of rebuilding Beirut’s war torn downtown at the same time (Chad, 2018; Puzon, 2016; Westmoreland, 2009).…”

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Liberation or emancipation? Counter-hegemony, performance and public space in Lebanon

Toukan¹

2019

International Journal of Cultural Studies

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This article is about the ways in which counter-hegemony is expressed in performance art dealing with notions of public space and the publics. The article examines two works of art from Lebanon: Rabih Mroué and Lina Saneh’s Photo-Romance (2009), produced and performed before the initial heady days of the Arab uprisings of 2011 unravelled, and the Dictaphone Group’s This Sea is Mine (2012), produced immediately after the onset of the uprisings. Each of the pieces interrogates public space and citizenship in Beirut in very different ways to express dissent and perform resistance. The former does so through a conceptual interrogation of public space in Beirut within an institutional set-up, and the insistence on the inability to ever represent the country’s contentious sectarian politics. The latter works through an embodied experience focusing on interaction with the public physically located outside of an art institutional set-up and literally along the city’s shoreline. By drawing on theories of aesthetics and their relationship to radical democracy in public space, the article highlights the different iterations of counter-hegemony that circulate in the work of these contemporary Arab artists to argue that, like the momentous Arab uprisings of 2011–12, resistant works of art may only be understood within a longer history of strife and popular protest in the region that have produced differing forms of dissent at various points in time.

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Liberation or emancipation? Counter-hegemony, performance and public space in Lebanon

Toukan¹

2019

International Journal of Cultural Studies

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“Goodbye Mshatta”: Connections and Disconnections on Berlin's Museum Island

Puzon¹

2022

Rev. Middle East Stud.

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This essay is concerned with a contemporary art intervention in Berlin's Museum of Islamic Art, in the context of the Mshatta Façade's move. Sketching out Mshatta's relocation history, the essay highlights how the dynamic of connection and disconnection plays out in a museum setting and is embedded in epistemic concepts mobilized in knowledge-making about objects. Specifically, it focuses on an installation entitled “Goodbye Mschatta. Ich bin ein Fremder. Zweifach Fremder” (“Goodbye Mshatta. I Am a Stranger: Twofold a Stranger”), by a Syrian-born German visual artist who was commissioned to bid farewell to the Façade in its most recent location before it moves to the Pergamon Museum's north wing. Entering into a dialogue with Mshatta, his sculptural intervention pivoted around the themes of incompleteness, mélange, and in-betweenness. It revealed multiple connections and disconnections with regard to the Façade’s biography, while ostensibly disengaging from the debate on historical justice and imperial legacies.

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Temporary Art Platform and the Reconfiguration of the Public Space in Beirut

Castellano

2020

Studi Magrebini

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The main objective of this article is to understand the ways in which Lebanese artists are dealing with issues of normativity and legibility while operating in public spaces. By looking at the work developed by Temporary Art Platform (TAP) during the last ten years, I argue that public art has been crucial in the production of alternative understandings of civic agency and the public space. Simultaneously, by looking at A Few Things You Need to Know When Creating an Art Project in a Public Space in Lebanon, a toolkit designed by TAP in 2014, I intend to problematize the lexicon and strategies that are usually associated with understanding art activism, both as forcefully contextual and provisional.

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Memory and Artistic Production in a Post-War Arab City

Cited by 3 publications

References 0 publications

Liberation or emancipation? Counter-hegemony, performance and public space in Lebanon

Liberation or emancipation? Counter-hegemony, performance and public space in Lebanon

“Goodbye Mshatta”: Connections and Disconnections on Berlin's Museum Island

Temporary Art Platform and the Reconfiguration of the Public Space in Beirut

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