A one-night event in Berlin this February brought Charlotte Bleicher to ruminate about the relationship between two cities - Beirut and Berlin. She writes about processes of cultural loss taking place in both cities, and about artistic acts of defiance against this disappearance.
From researching and re-imagining a 1943 exhibition of modern Lebanese art in Jerusalem to writing for a leading independent arts magazine, to being part of an artist-run gallery in Brooklyn, Hakim Bishara has been experimenting with various practices in the past few years. David Duvshani recently met the Palestinian writer, curator, and artist in New York for a conversation about these multiple ventures and about the New York cultural scene in the Trump era.
Visiting the Ameen Rihani Museum in Freike, Lebanon has started Matt Hanson on a path to trace the Hebrew translation of the well-known author’s Kings of Arabia, which came out only two years after the first Arabic edition. What were the motivations behind this translation and how did its impact evolve over the years?
In the second part of his essay analysing Akram Zaatari’s 2013 work “Letter to a Refusing Pilot,” Noah Simblist addresses a previous work by the artist that involved a conversation with filmmaker Avi Mograbi. Simblist is reading this work through the prism of dialogical exchange, referencing Grant Kester’s definition of “dialogical art,” as well as Ella Shohat’s observations on the identity politics of Mizrachi or Arab Jews.
In the summer of 1982, during Israel’s incursion into Southern Lebanon, a story swirled around the port town of Saida that acquired mythological flourishes: One of the Israeli fighter jets that were sent to the nearby Palestinian refugee camp of Ain El-Helweh, aborted its mission to bomb a school building, its pilot dropping the bombs into the sea instead. In a text for Tohu Magazine, that will be published in 3 parts, Noah Simblist dives into Lebanese artist Akram Zaatari’s work, Letter to a Refusing Pilot, instigated by this true story.