Selected Exhibitions
SF MOMA (2012)
Six Lines of Flight
San Fransisco, USA
Six lines of Flight
Curated by Apsara Da Quinzio.
This international group exhibition convenes artists from six cities around the globe that have become burgeoning artistic centers: Beirut, Lebanon; Cali, Colombia; Cluj, Romania; Ho Chi Minh City, Vietnam; San Francisco, United States; and Tangier, Morocco. All of these places have active art communities that extend beyond their own regions to become international places of exchange. The exhibition showcases the work of artists who have developed institutions, collectives, or associations that have had a major impact on their respective communities.
Catalogue: Six Lines of Flight, edited by Apsara Da Quinzio. University of California Press, 2012
SF MOMA (2012)
Six lines of Flight
Curated by Apsara Da Quinzio.
This international group exhibition convenes artists from six cities around the globe that have become burgeoning artistic centers: Beirut, Lebanon; Cali, Colombia; Cluj, Romania; Ho Chi Minh City, Vietnam; San Francisco, United States; and Tangier, Morocco. All of these places have active art communities that extend beyond their own regions to become international places of exchange. The exhibition showcases the work of artists who have developed institutions, collectives, or associations that have had a major impact on their respective communities.
Catalogue: Six Lines of Flight, edited by Apsara Da Quinzio. University of California Press, 2012
Beirut Autopsy of a City
This project proposes possible reconciliations between the task of the archaeologist and that of the poet, between modern images and ancient texts. In the middle of tales of conquest and defeat that shaped (and disfigured) Beirut, one wanders amidst narratives that point out to the impossibility of constructing a grand history.
The first chapter A history of Beirut’s possible disappearance exposes collected elements from various epochs, juxtaposed and overlapped in what seems to be a timeline; they constitute poetic associations between image and text, creating inter-temporal relations between those elements. These fragments question the validity of a complete and comprehensive history and propose instead a fictionalized narrative.
The second chapter Beirut, 1001 views is a large projection of a wide view of the harbor. This image, a multi-layered one, is an amalgam of different photographs taken at various times, each referring to a specific moment of history. It is therefore a fictive representation of Beirut that embodies simultaneously different periods of history, hence being neither a past image nor a present one, yet one reflecting a time that is non-linear. Elements of the image disappear while other appear almost imperceptibly.
The third chapter Beirut, 2058 displaces the anxiety from the past and its remnants and projects it unto a future apocalyptic realm. A narrator speaks of numerable troubles of the past that seem to have culminated in a catastrophe