An exhibition with work of Ihab Jadallah, Samar Haddad King, Mosireen, Yazan Khalili, Noor Abu Arafeh and Alaa Abuasad curated by Reem Shilleh and Lara Khaldi
“The spectacle is not a collective of images, it is a social relation between people that is mediated by images” The Society of the Spectacle – Guy Debord
In het kader van het Eye on Palestine-festival heeft de Pianofabriek de eer de twee jonge Palestijnen Reem Shilleh en Lara Khaldi uit te nodigen om hun concept ‘The Lonely Crowd’ te vertalen naar de stedelijke context van Brussel. ‘The Lonely Crowd’ was het thema van het / si: n / festival in 2013, een festival voor videokunst en performance in Ramallah, Jenin en Jeruzalem. De expositie wordt in de Pianofabriek geopend met de vertoning van de film ‘La société du spectacle’ van de situationist Guy Debord, gebaseerd op zijn gelijknamig boek. De expositie zal worden ingeleid door Reem Shilleh en Lara Khaldi zelf, de curatoren van The Lonely Crowd.
Een tentoonstelling in de openbare ruimte met werk van Ihab Jadallah, Samar Haddad King, Mosireen, Yazan Khalili, Noor Abu Arafeh en Alaa Abuasad. In het kader van de Eye On Palestine festival.
04/04 > 09/04/2014 – In en rond de Pianofabriek, rue du Fortstraat 35, 1060 St-Gillis/Gilles
elke dat open van 10:00 tot 20:00 (niet op zondag)
The Lonely Crowd questions the failure of the moving image in correspondence with its makers and spectators, and also in correspondence with its internal structure and function. Life has receded in favour of the spectacle; moving images are generated from other existing images that should supposedly unify us as spectators. Perhaps we have lost our ability to relate; how do we reclaim this relation to each other? We are communicating through those moving images, but they have failed/betrayed this promise of dialogue and rather produce isolation, loneliness and alienation.
Do we dare reclaim our individuality that has been contained by the image, as a mediator for the regeneration of pseudo-unity, as that would mean hijacking the image as the capital of the spectacle in order to be able to produce a collective, a unity?
Can The Lonely Crowd appropriate the spectacle, turn the spectacle against itself?
The Lonely Crowd creeps into the public spaces, dispersing the video works and performances in places which the actors of this lonely crowd frequent. It exploits/hijacks the public space as the stage of spectacle’s theatrics, to confront the lonely crowd.
A Journey to Ramallah
Alaa Abuasad | Silent video | 04’23 | 2013
A journey to Ramallah is conducted by a proposed map entitled ‘Town Planning Adviser: Planning of Jerusalem (Jordan) and Region, 1965’. The journey begins from Shu’fat: the camera scans the map starting from there, passes on to Beit Hanina South, Beit Hanina Central, Beit Hanina North, Er Ram, Airport Area, Qalandiya, and finally arrives in Ramallah–Al Bireh. The video comes to evoke the perspective of the spectator; the way s/he sees and examines things around him/her. It also attempts to expand the meaning of the decisive moment in shooting/filming/photographing.
Directions for Intimate Solutions or Seemingly More Intimate
Noor Abu Arafeh | Video | 9’19 | 2013
Historically the term voyeur was used as a description of anyone who views the intimate lives of others. This term is specifically used regarding reality television and other media that allow people to view the personal lives of others. In today’s society the concept of voyeurism has evolved, especially in popular culture. The concept behind reality TV is to allow unscripted social interaction with limited outside interference or influence. Showing this video as part of an installation in a café has to do with the café as a place of watching, as much as a cinema but with unscripted scenes. In this experimental video, Noor uses her personal family archive and other related belongings.
La Société du Spectacle
Guy Debord | France | 88’ | 1973
Date screening: 04/04/2014 – 20:00
La Société du Spectacle (Society of the Spectacle) is a black and white 1973 film by the situationist Guy Debord based on his 1967 book of the same name. It was Debord’s first feature-length film. It uses found footage and ‘détournement’ in a radical Marxist critique of mass marketing and its role in the alienation of modern society. The film took a year to make and incorporates footage from feature films, industrial films, news footage, advertisements, and still photographs. Without citations, the quotes are hard to decipher, but that is part of Debord’s goal “to problematize reception” and force the viewer to be active.
Mosireen | Selection of 10 videos | …’| 2011 – 2013
Mosireen is a non-profit media collective in downtown Cairo born out of the explosion of citizen media and cultural activism in Egypt during the revolution. Armed with mobile phones and cameras, thousands upon thousands of citizens kept the balance of truth in their country by recording events as they happened in front of them, wrong-footing censorship and empowering the voice of a street-level perspective. The selected videos cover a number of themes Mosireen work with, such as Labour Strikes, Land Appropriation / House Demolition by the State, Street Violence, Child Abuse, and the riots in Egypt related to the war on Gaza.
Ihab Jadallah | Three channel video installation | 2’ | 2013
At first glance, the videos are not connected at all; a reflection of a landscape torn apart, a Palestinian territory divorced from itself. The three videos converse about ruin, surrender, political upheaval and the crushed hopes mostly brought about by the Oslo Agreement. The work speaks to a more individual experience of politics and how geopolitics effects the most intricate details of our lives. It conjures surfaces and the pain of unearthing the present moment, only to find out that we are still at the site of the ruin itself.
Samar Haddad King| Four channel video installation and live performance | …’ | 2013
Date performance: ??/??/2014 – 00:00
Samar Haddad King is committed to collaborating with artists across disciplines, cultural geographies and physical borders in order to forge stimulating and transformative experiences through dance. Inspired by world events as well as personal histories, Samar offers an intimate glimpse into the countless faces of humanity using their athletic, off-balance and highly emotive choreography style. Told through linear, tangential and stream-of-consciousness narratives, these multi-vocal works layer the textures of dynamic movement and eclectic sound scores into poetic landscapes that illuminate the previously untold stories of individuals and communities around the world.
The Blindness of Love
Yazan Khalili| Video | 2’ | 2013
This project is based on photos that were exposed to excess light, leaving a whiteness that witnesses the details of a disappeared love, prompting the question, ‘how does one regard the pain of the self?’.
REEM SHILLEH is a screenwriter, researcher, script supervisor, translator, assistant director and props master. Born in Yugoslavia in 1981, Reem is a Palestinian-Serbian. She has a BA in Sociology from Birzeit University, West Bank, Palestine. A founding member of prolific Palestinian film collective Idioms Films, she moved to London from Ramallah in November 2008. She has been script supervisor and assistant director on Idioms Films’ many shorts, features and documentaries, including’ Make A Wish’ and ‘Amreeka’ by Cherien Dabis, ‘The Shooter’ by Ihab Jadallah, ‘OccupaZion’ by Enas Muthaffar, ‘Chicken Heads’ by Bassam Jarbawi, ‘Salt Of This Sea’ by Annemarie Jacir and ‘Pomegranates and Myrrh’ by Najwa Najjar. She was also script supervisor on the TV series ‘Mattab’ by George Khleifi Ramallah, and wrote the screenplay for the 2008 short ‘Roll Escape’ by Mohanad Yaqubi. She is the assigned associate producer on the behind the scenes documentary about the Joji Hirota music video.
LARA KHALDI was born in Jerusalem sometime in the eighties. She received her BA in Archaeology and Art History with a minor in English literature in 2005 and is currently pursuing her MA degree at the European Graduate School in Media and Communications. Khaldi co-curated the ‘Jerusalem Show IV: On/Off Language’, with Al Ma’mal Contemporary Art Foundation, October 2011. She held the position of assistant director for programmes at the Sharjah Art Foundation, UAE from 2009 – 2011. Khaldi co-edited ‘Provisions I&II’ (Sharjah Biennial 10 catalogues) and has curated film and video programme ‘In the Name of the Father’ in 2011 and ‘Cinema of Independence’ in 2009 and 2011 as part of the Arab Shorts initiative by Goethe, Cairo. She was assistant curator for the exhibition ‘Disorientation II’ at Saadiyat Island, Abu Dhabi, 2009 and ‘Never Part’, Bozar, Brussels, 2007. Khaldi worked as assistant director at Al Riwaq Art Gallery in Bahrain in 2007. Khaldi is currently working on several projects independently including a web based Arabic English art glossary, and is co-curator of the next Jerusalem Show (1-15 Nov 2012, Palestine).
De opening van deze expo gaat door op 4/04 met op het programma:
20:00 Vertoning van ‘The Society of Spectacle’ – Guy Debord
21:30 Inleiding door Reem Shilleh and Lara Khaldi
22:00 Opening van expo