This event has passed.
  • Saturday Oct 24 2015 until Sunday Oct 25 2015 from 02:00 pm until 05:00 pm
  • Tuesday Oct 27 2015 until Friday Oct 30 2015 from 05:00 pm until 08:00 pm
  • Saturday Oct 31 2015 from 02:00 pm until 05:00 pm
  • Beirut Art Center, Jisr El Wati, Beirut, Lebanon [See map] [Hide map]
  • Arts & Culture, Other

ONE IMMATERIAL COLLECTION - Part one - "figures upon landscape"

Film Program Schedule
Saturday 24 October 2015
Sunday 25 October 2015
Saturday 31 October, 2015
from 2pm to 5pm

Tuesday 27 October 2015
Wednesday 28 October 2015
Thursday 29 October 2015
Friday 30 October 2015
from 5pm to 8pm

Entrance fee: 5000 Lbp

ONE IMMATERIAL COLLECTION is a video screening cycle program with every time a different yet a defined theme and curated by a particular name associated to the artistic scene.
The first edition of this cycle entitled “figures upon landscape”, is curated by Jim Quilty. In this first six-day program, there will be everyday a unique projection composition of 3 to 6 videos, of a selected number of artists and of variable lengths, that serve this first cycle’s thematic orientation.

“figures upon landscape”
This screening cycle arose from a suggestion and a preoccupation. Beirut Art Center director Marie Muracciole suggested I assist in assembling a programme of screenings from the works in the BAC’s video archive. The preoccupation has been my curiosity about how artists, Lebanese and otherwise, make use of landscape – location, if you prefer, or place – in their work.
It’s useful to think of landscape in broad terms.
Location can indeed be equated to geographical landscape and all the associations that terrain can conjure up. When examining some of the work of Jananne Al-Ani, for instance, it’s easy to assume that the artist is aware of, and variously utilising, certain literary-cinematic readings of desert landscapes.
Another aspect of location in this region – any region, in fact – is politics. When the prevailing reality of a country is occupation, segmentation and dispersal, as it is in Palestine, or institutionalised civil conflict, as it is in Lebanon, it’s not surprising that trace elements of “politics” can be detected in the work of the countries’ artists.
That doesn’t mean that art is a function of communication, of course – let alone subordinate to partisan politics. A great deal of the critically informed artistic practice to emerge in this region in the past decade or more has interrogated assumptions of place and the most engaging work to surface has grown from the development of dialects that are alternative to, subversive of, or simply speak past the spent partisan discourse of national politics.
Happily the audio-visual dialects evinced in the practices of those artists who work in video are so diffuse and varied that it’s difficult to make useful generalisations about them. Whatever investment an artist has made in location, landscape itself is barren without the individuals that serve as focal points.
Indeed, an examination of the jokey video miniatures of Ziad Antar, say, or Mounira Al Solh’s amusingly serious explorations of cultural practices suggest a restlessness with place. It’s telling that “Paris Without a Sea” -- one of the more successful pieces in Solh’s “The Sea is a Stereo” series -- abstracts her male subjects from the landscape element that unifies them (the Mediterranean coast) as well as denuding them of their own voices.

About the curator:
Jim Quilty is a Beirut-based Canadian journalist. Over 15-odd years, he has written about the arts, cultural production and politics of the Middle East and North Africa. He has published work in various magazines, including ArtReview, FlashArt, Bidoun, Variety, Middle East Report and Middle East International and nowadays edits the arts and culture section of an English-language daily in Beirut called The Daily Star. When not yanking at those oars, he steals time for fiction and nonfiction book projects.

This event is on facebook