Ashkal Alwan

This month on , we invite you to view a selection of ten moving-image works by Ali Yass.

“Walking with Mountains” surviving the daily; witnessing the annihilation.

With moving image works by Maithu Bùi, Sadik Kwaish Alfraji, Heiko-Thandeka Ncube, Alice Z Jones + Dis Fig, Michael Rakowitz, Jack Hogan, Sajjad Abbas, Sarah Zeryab, Nawaf Radwan, and Nine Fumiko Yamamoto-Masson.

Watch here: https://aashra.ashkalalwan.org/

Join us for the screening of “Chinese Ink” by Ghassan Salhab at the Sursock Museum. The film will be followed by a Q&A session.

Date: July 18 - 7:30PM
Duration: 55min
Language: Arabic with English subtitles

This event is part of Home Works 9: A Forum on Cultural Practices.

Looking forward to seeing you!

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“I hesitated for a long time. More than a step forward, more than one backwards, more than one step sideways. Thousands of times the same gaze through the windows of my own end of the world.”

“Chinese Ink” is a film haunted by death and casualties and marked by Lebanon’s story, harking back to generations for whom autobiography and national history are inextricably bound by one another.

Ghassan Salhab is a filmmaker and writer. He has directed eight full-length films: “Beyrouth Fantôme” (1998), “Terra Incognita” (2003), “The Last Man” (2006), “1958” (2009), “The Mountain” (2010), “The Valley” (2014), “An open Rose/Warda” (2019), and “The River” (2021). He is the author of two books and various bilingual texts. Salhab often collaborates with different filmmakers and teaches film in several universities in Lebanon.

We are happy to invite you to “Survival-with and Through: Tigris Phenomenologies”, a talk by Pelin Tan, Önder Özengi, and Marwa Arsanios.

Date: July 16 at 7:30PM

Location: Ashkal Alwan Space

Link in bio for more info.

Looking forward to seeing you!

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Collective learning and the creation of decolonial methodologies against slow violence, extraction, and forced eviction/migration led to pedagogies of the commons. Navigating through migrating ingredients, refugee seeds, and exiled foods, we witness and learn about extractive strategies, state-making, and slow violence. The non-extractivist practices in dispossessed and cohabited landscapes are about “survival-with” and “through” foraging, composting, preserving, landscaping, the comradeship of ingredients, and the germination of resilience, which propose to create together a relational phenomenology.

What can artistic experiences reveal and how can they embody the voice of apocalyptic landscapes? A zone of extraction along the Upper Tigris River and its bordering lands will be examined to foster proposals of artistic research and its methodologies.

In her presentation, Pelin Tan will go through her socially-engaged research and actions along the region of Batman, Hasankeyf, and Mardin about collective initiatives of solidarities, women cooperativism, alternative pedagogies, de/archiving as decolonial practices. Artist Marwa Arsanios and curator/anthropologist Önder Özengi will participate as discussants in widening the theme of the cases and methods.

Join us for the screening of “Aïnata” by Alaa Mansour at the Sursock Museum.

Date: June 26 - 7:30PM
Duration: 63min
Language: Arabic with English subtitles

This event is part of Home Works 9: A Forum on Cultural Practices.

Looking forward to seeing you!

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“Maybe that place doesn’t even exist. Maybe it only exists in an imaginary film that remains unresolved. Here we are in Aïnata, in the south of Lebanon. History is to be told, and its stories to unfold into a territory where the archaeology of times owes its survival to fiction.”
Through the use of archives and the process of editing, “Aïnata” unfolds into a multi-layered exploration of micro-histories, revealing a dissonant account of wars and victories. With its hybrid approach, the film oscillates between an oneiric drifting of the imaginary and the hegemonic symbols of ideology and conflict.

Alaa Mansour is an artist, filmmaker, and archivist based between Beirut and Marseille. Her work focuses on the history of violence and the power of images in the age of necropolitics. Using a multidisciplinary approach, she explores concepts of the sacred and the sublime and their potential in horror. She graduated from Université Paris VIII with a Masters in Creation and Filmmaking (2013). Her films “Aïnata” (2018) and “The Mad Man’s Laughter” (2021) have been screened internationally at Visions du Réel, Transmediale, European Media Art Festival, and Impakt.

Join us for an online talk by Yasmeen Daher as part of the Why Germany series of lectures.

Date: June 25 - 6:00PM (GMT+3)

Zoom link: https://us02web.zoom.us/j/4465978951

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“Strategies for the future”

A collective assessment and discussion on the Palestine solidarity movement in Germany (specifically in Berlin) after 9 months: Where are we heading? and what are the strategies, languages, support-system visions that we need?

Yasmeen Daher

A Palestinian writer and academic, she holds a PhD in Philosophy from the University of Montreal, Canada, with a specialization in political philosophy and ethics. She has worked as a lecturer and researcher at Birzeit University in Palestine and Concordia University in Canada. She is actively involved in various political and feminist movements. She currently serves as the director of Febrayer’s Network, a network for independent media organizations in the Arab world.

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“Why Germany”

This online lecture series responds to the crackdown on free speech in Germany and elsewhere. By means of a rolling program of online speakers, it creates a space for creative, informed and considered expression, without fear of repression or antagonism. A program of this kind might help exert pressure on decision-makers at universities and cultural venues within Germany, banking on reputational concerns among professional peers. Importantly, it would move beyond critique alone, to propose strategies for the future: which languages, alliances, policies and support systems might ensure a measure of autonomy in the longer term?

Join us for the screening of “Credits Included: A Video in Red and Green” by Jalal Toufic at the Sursock Museum.

Date: June 14 – 7:30PM
Duration: 42min
Language: Arabic and English with English subtitles

This event is part of Home Works 9: A Forum on Cultural Practices.

Looking forward to seeing you!

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“Credits Included: A Video in Red and Green” implies the withdrawal of tradition (“Maqām kurd” played by Munir Bashir is listed in the video’s credits but is not part of its sound track—I would find it legitimate were the holder of the copyright to this music work to demand a fee) past a surpassing disaster, the fifteen-year Lebanese civil-war compounded by an Israeli invasion; produces completed crossword puzzles with subsisting blank spaces, implying that the shattered shop signs with various ostensibly absent letters may have turned into lipograms, which should then be added to Arabic dictionaries, at least those edited in Lebanon; and uses fiction to document psychotic perturbations in and outside mental hospitals.

Join us for the screening of “E muet” by Corine Shawi at the Sursock Museum. The film will be followed by a Q&A session.

Date: June 4 – 7:30PM
Duration: 55min
Language: Arabic and French with English subtitles

This event is part of Home Works 9: A Forum on Cultural Practices.

Looking forward to seeing you!

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“E muet” is a documentary narrating the story of Nano and Rajwa between 2008 and 2013, chronicling their passion and anguish, understanding their intricate selves, and exploring love’s hidden corners. Shawi enters their world to find answers to her own questions, their lives become a stage for her to experience new forms of love.

Corine Shawi is a filmmaker who explores notions of taboo, kinship, friendship, and love. Her debut documentary, “Les Femmes Bonnes”, follows Doulika’s life between Lebanon and Sri Lanka over a period of six years. Shawi’s later works include “Oxygen” (2007), “Affinity” (2007), “Film of Welcome and Farewells” (2009), “Love You Forever” (2010), as well as “What I Fear Does Not Exist” (2022).

Join us for the screening of “Mondial 2010” by Roy Dib & “Lucía Méndez and the Peace in Lebanon” by Omar Mismar at the Sursock Museum.

The films will be followed by a Q&A session with Roy Dib.

Date: May 23 – 7:30PM
Duration: 19min & 13min
Language: Arabic with English subtitles

This event is part of Home Works 9: A Forum on Cultural Practices.

Looking forward to seeing you!

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Mondial 2010 (2014) - Roy Dib

Mondial 2010 is a discussion on institutional borders of the Middle East, shot with a hand-held camcorder. In a setting where homosexuality is a punishable felony, a Lebanese gay couple takes a road trip to Ramallah and chronicles their impossible journey. Dib challenges the mainstream view of the Palestinian/Israeli conflict that often places the victim/oppressor imagery in the forefront. Through their conversation, they invite the viewer into their own universe of possibility.

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Lucía Méndez and the Peace in Lebanon (2015-2018) - Omar Mismar

Tú o Nadie (You or No One) was the first Mexican telenovela to air in Lebanon in 1992, shortly after the Ta’if agreement was signed. Actress Lucía Méndez was the beloved and sensational Raquel, in front of whom viewers froze infatuated. While her lips swayed in silenced Spanish, we never heard Mendez’s voice, instead we heard an imposed one dubbed in Arabic.
This work fancies a connection between the Ta’if, as a dub to the Civil War, and Lucía Méndez, as a representation of the post-war Ta’ifization of cultural production. This time, we hear the protagonist reading principles from the Ta’if in Arabic positing Mendez as a unifying symbol for warring factions.

Join us for the screening of "Behind the Shield" by Sirine Fattouh at the Sursock Museum. The film will be followed by a Q&A session.

Date: May 2 - 7:30PM
Duration: 57min
Language: Arabic with English subtitles

This event is part of Home Works 9: A Forum on Cultural Practices.

Looking forward to seeing you!

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"Behind the Shield" paints a filmic portrait of the city of Beirut over the past 3 years. The work documents key moments in the country's recent history -- from the October Revolution to the Port explosion of August 4, 2020 -- while also shedding light on the mundane and commonplace facets of everyday life.

Sirine Fattouh is a feminist visual artist, a researcher, and a biker. Her work is concerned with representing people's histories using various mediums. Through her own and other testimonies, she explores the complex relationship to her country of origin and the consequences of conflicts and wars on people's everyday lives.

This month on , we invite you to view a selection of ten moving-image works by Aya Jamaleddine.

"Political Animals" articulates an unspoken resistance to the violence of language, occupation, extraction, and the gaze.

With moving-image works by Bert Haanstra, Sharif Waked, Nashashibi/Skaer, Jela Hasler, Dala Nasser, Panos Aprahamian, Karthik Pandian, Wael Shawky, Maissa Maatouk, and South of Ajdabiya.

Watch here: https://aashra.ashkalalwan.org/

Join us for the screening of “I had a Dream, Mom” by Lina Majdalanie (Saneh) at the Sursock Museum.

Date: April 15 - 7:30PM
Duration: 45min
Language: Arabic with English subtitles

This event is part of Home Works 9: A Forum on Cultural Practices. Looking forward to seeing you!

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"I had a Dream, Mom" (2006) - Lina Majdalanie (Saneh)

“Robert Abirached often told me that it is in the effervescence of the irrational, caught at the most intimate point of individual experience, that one must perhaps seek an alternative humanism, that is, a possible basis for a different order. One day, one night, rather, I had a dream; I told it to my mother; she understood. She threw the ball back into my court; entangled in the rationale, I failed to catch it.”

Lina Majdalanie (Saneh) is a Lebanese performer, director and playwright, based in Berlin.
She has a PHD from Sorbonne Nouvelle (Paris). Her works and researches question the status of the body, citizenship and public space in societies stuck between archaism and modernism. She taught at HEAD (Geneva), DasArts (Amsterdam), Goethe University (Frankfurt), Bard College (Berlin) and HFG-Karlsruhe. She was a member of Home Workspace Curricular Committee-Ashkal Alwan (Beirut 2010-2014). She was a Fellow at the International Research Center "Interweaving Performance Cultures"/Freie Universität in Berlin (2009-2010).

Join us for the screening of Red is the Color of my Eye by Nesrine Khodr & Congress of Idling Persons by Bassem Saad at the Sursock Museum.

Date: March 27 - 7:30PM
Duration: 23min & 36min
Language: Arabic with English subtitles

This event is part of Home Works 9: A Forum on Cultural Practices. Looking forward to seeing you!

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Red is the Color of my Eye (2000) - Nesrine Khodr

“Two concierges of Hamra street, two buildings of Hamra, the two sides of the street, two dimensions: time and space; memory and territoriality. They have been keeping their buildings for the past 20 years, they watch over them, watch the people coming in and out of them, watch the people on the street, watch the street. They spend a good deal of their time in the space between the building and the street, they do not live and no one lives in the buildings they keep.”

Nesrine Khodr works across film, performance, and installation. She has produced and conceived cultural shows for television, recorded voice-overs, and performed in various films and plays. Her recent works include Tahrik (2018), Rear Basin (2023), and Common Threads (2023).

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Congress of Idling Persons (2022) – Bassem Saad

The film features five interlocutors who play themselves and greater fictions, in the shadows of recent world-historical events. Artist and writer Bassem Saad, DJ and translator Rayyan Abdel Khalek, musical artist Sandy Chamoun, writer Islam Khatib, and organizer Mekdes Yilma⁠ examine a cartography of protest, crisis, humanitarian and mutual aid, migrant labor, and Palestinian outsider status. Punctuated by the late Arab Spring, the Black Lives Matter revolts of 2020, and the Beirut Port explosion, the film weaves through transhistorical constants—from rage and mourning to spontaneity and besiegement—propelled by the speech and acts of its performers. If a group action is a riot and not a revolution, then who films it? If four is a riot, it is also a congress.

Bassem Saad is an artist and writer. Their work explores notions of historical rupture, spontaneity, and surplus, through film, performance, and sculpture, alongside essays and fiction. With an emphasis on past and present forms of struggle, they attempt to place scenes of intersubjective exchange within their world-historical frames.

Where We've Been & Where We're Headed...

Link in bio!

Join us for the screening of Turtles are Always Home by Rawane Nassif & My Father is Still a Communist by Ahmad Ghossein at the Sursock Museum. The films will be followed by a Q&A session.

Date: March 14 - 7:30PM
Duration: 12min & 32min
Language: Arabic with English subtitles

This event is part of Home Works 9: A Forum on Cultural Practices.

Looking forward to seeing you!

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Turtles are Always Home (2016) - Rawane Nassif

“Houses have memories too. They hide them under their windowsills, tuck them in layers of paint and sometimes whisper them to birds passing by. I wonder whose memories these houses will keep. I live here but I am unable to leave a trace. I try to attach myself to the walls, dirty them, and mark them, but I fail. They are constantly cleaned, watched over, and protected. I caress them instead. And I film, lest I forget. Home is where the heart is, they say. I disagree. My heart is everywhere. It left with the music. Like a turtle, I am always home.”

Rawane Nassif is a curious soul who loves to explore new realms. Her tools are words, films, and systems of transportation. Her eclectic life pushed her to write a book on the politics of memory in Beirut, organize social projects with immigrants and indigenous people in Canada, explore nomadic traditions in Kyrgyzstan, teach anthropology in Tajikistan, create children’s books in Honduras, and undertake research between the National Museum of Qatar and the Doha Film Institute.

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My Father is Still a Communist (2013) – Ahmad Ghossein

All that remains of Rashid Ghossein and Mariam Hamadeh’s relationship is a large collection of messages recorded on audio cassettes over a period of 10 years, and sent as love letters during the time of the civil war in Lebanon. “When I was a child I invented stories about a father who was a war hero fighting with the Communist Party.”

Ahmad Ghossein is an artist and a filmmaker who works with video, installation and art in public spaces. He holds an MFA in Visual Art from the National Academy of Art-(KHIO) in Oslo and a BFA in Theater from the Lebanese University in Beirut. His practice looks into the connection between individual experiences and shared historical and political realities.

More info: https://www.ashkalalwan.org/program.php?category=4&id=524

Join us for the screening of “Anxious in Beirut” by Zakaria Jaber at the Sursock Museum. The film will be followed by a Q&A session.

Date: February 28 - 7:30PM
Duration: 93min
Language: Arabic with English subtitles

This event is part of Home Works 9: A Forum on Cultural Practices.

Looking forward to seeing you!

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In the ever-present desire to capture, record, and understand Beirut, and by extension himself, Zakaria has been trying to tell a coherent story of his city. “Anxious in Beirut” is a personal diary that documents the events of the last few years in Lebanon (revolution, post-war, explosions, demonstrations…). Living with constant anxiety, the young director narrates his own life, while trying to leave his country on numerous occasions.

Zakaria Jaber (b. 1994, Lebanon) is a film director based in Beirut. He is a self-taught photographer and videographer with a commitment to storytelling, editing, and writing. After years of working in TV production and reporting with various news outlets, he managed to independently produce and direct his first short film in 2018.

This month on , we invite you to view a selection of ten moving image works by Bahar Noorizadeh and Mohammadreza Amiri. “Ten, Out of Countless Images of Iran” reveals the complexities of Iranian society and culture, surpassing stereotypes. Through a variety of voices and narratives, this selection confronts the orientalist gaze, highlighting the diversity of artistic expression in the Global South.

With moving image works by Anahita Ghazvinizadeh, Alireza Rasoulinejad, Majid Fakhrian, Niyaz Saghari, Kourosh Shirali, Nooshin Askari, Alborz Mahboobkhah, Samira Norouznasseri, Ata Mehrad and Siavash Jamali, and Ardavan Tarakameh.

Watch here: https://aashra.ashkalalwan.org/ten-out-of-countless-images-of-iran

Join us for the screening of "Lebanon/War" by Rania Stephan at the Sursock Museum. The film will be followed by a Q&A session.

Date: February 15 - 7:30PM
Duration: 47min
Language: Arabic with English subtitles

This event is part of Home Works 9: A Forum on Cultural Practices.

Looking forward to seeing you!

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Shot in the urgency of the 2006 Israel-Lebanon war, these eight short videos present a ledger of how average Lebanese citizens negotiated their daily lives during and after the war. "Lebanon/War" comprises compelling vignettes of a street-cleaner in the deserted Martyr’s Square, a volunteer rescue worker in the southern suburbs, residents from the south displaced and relocated to public schools, and parents and kin during an informal memorial celebration. Far from the media frenzy, the tragedy of war is recorded with humility and simplicity.

Rania Stephan (b. 1960, Lebanon) is a filmmaker and video artist based in Beirut. She graduated in Cinema Studies from Latrobe University in Australia and Paris VIII University in France. She has directed numerous short and medium length videos and documentaries notable for their play with genres and their themes of memory, identity, archaeology of the image and the figure of the detective. Anchored in the turbulent reality of her country, her documentaries offer a personal perspective to political events.

Join us for the screening of "The Secret Garden" by Nour Ouayda at the Sursock Museum. The film will be followed by a Q&A with Nour Ouayda and Carine Doumit.

Date: January 30 - 7:30PM
Duration: 27min
Language: Arabic with English subtitles

This event is part of Home Works 9: A Forum on Cultural Practices.

Looking forward to seeing you!

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“The inhabitants of a city wake up one morning to find that never-before-seen trees, plants, and flowers suddenly erupted throughout the streets and in the squares. Strange and mysterious events start to take place as Camelia and Nahla investigate the origins of these new and peculiar creatures.”

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Nour Ouayda is a filmmaker and film programmer. Her films experiment with various forms of fiction writing in cinema. She is a member of The Camelia Committee with Carine Doumit and Mira Adoumier and part of the editorial committee of the Montreal-based online film journal Hors Champ. Between 2018 and 2023, she was deputy director of the Metropolis Cinema Association in Beirut where she managed and developed the Cinematheque Beirut project.

Thursday, January 18th, 2024 | 7:30pm at Ashkal Alwan space

Ashkal Alwan is pleased to invite you to an artist talk by Simone Fattal on her exhibit Jack, 1971.

This event is part of Home Works 9: A Forum on Cultural Practices.

Please reserve your seat by calling 01-560144 or emailing us at [email protected], as seating capacity is limited.

"On a certain evening, in 1971, Gaby Bustros and her husband John Haines were promenading across Martyrs Square. The Square then had cafés, old movie theaters, and a bustling array of people from all over the world. There, they met a band of young musicians on their way to India. As was the fashion in those days, Lebanon was a mandatory stop on that route, but this group was stranded in Beirut, lacking the financial means to go on with their journey. Gaby and John took them home, but after a while, they asked for our help. Each one of us took a musician, with Jack, the guitarist, staying with me. But the musicians also took us into an enchanted world filled with a valley with old trees, boulders, and a stream that all hippies knew but we, the Lebanese, did not. Together, we slept nights in the open air.

Jack stayed a while, playing all day, while I made quite a lot of drawings of him playing, sometimes trying to convey the music. These drawings, like forgotten time, have been sleeping in my drawers since. This summer, Christine Tohme discovered them and decided to present them along with their memories of pop music, carefree times, the sixties, and starry nights.” – Simone Fattal

Simone Fattal (b. 1942, Syria) is an artist living in Paris. She studied philosophy at the École des Lettres in Beirut after which she continued her philosophical pursuits at the Sorbonne in Paris. In 1969, she returned to Beirut before leaving again during the Lebanese Civil War. In 1980, Fattal settled in California, where she founded the Post-Apollo Press, a publishing house dedicated to innovative and experimental literary work. In 1988, she enrolled at the Art Institute of San Francisco, which prompted a return to her artistic practice and a newfound dedication to sculpture and ceramics.

Image Courtesy of Christopher Baaklini.

عشعشت حدائقنا، وخمخمت حروبكم

Our gardens grow ever greener, as your wars smolder with mold

On December 1st, Jack, a solo exhibition by Simone Fattal opens at Ashkal Alwan, featuring an intimate collection of drawings produced in 1971, presented for the first time. The works muse over a nightly encounter between Fattal, her friends, and a band of young musicians passing through Lebanon on their way to India.

في 1 كانون الأول يفتتح معرضاً فردياً لسيمون فتّال في أشكال ألوان بعنوان "جاك"، ويتضمن مجموعة حميمة من الرسومات تُعرض لأول مرة، كانت الفنانة أنتجتها عام 1971. تتأمل الأعمال في أحداث لقاء ليلي عابر بين فتال التي كانت برفقة عدد من أصحابها وفرقة من الموسيقيين الشباب الذين نزلوا في لبنان في طريقهم إلى الهند.

What does it mean to tend to Lebanon’s recent woes from the vantage point of everyday life?

Intimate Garden Scene (in Beirut) focuses on the encounter of artists and modes of artistic production that emerged in the 1990s, amid the country’s shifting political and cultural landscape. These artists, in their shared yet distinct trajectories, elevate lived experiences and writings of history to an ongoing, transformative project—that of witnessing a time and place marred by the permanence of crisis.

هل لنا أن نتعافى مما يمر به لبنان من محنٍ مؤخراً، من منظور عيشنا اليومي؟

يبتغي معرض «جنينة الصنايع» تناول "لقاء" فنانات وفنانين بأنماط من "الصنائع" الفنية التي برزت إبان عقد التسعينيات من القرن المنصرم، وهو العقد الذي شهدت فيه البلاد تحولات على الصعيدين السياسي والثقافي في آن معاً. لقد سعى هؤلاء - من منطلق ما اختبروه معاً وكلاً على حدة - للسمو بتجارب العيش اليومي وبالتأريخ لمشروع تحولات راهنة: مشروع "الشهادة" على زمان ومكان أفسده ثبوت حال الأزمة.

Ashkal Alwan announces the 9th edition of Home Works: A Forum on Cultural Practices taking place in Beirut between November 2023 and November 2024. This edition will gradually unfold into three chapters at Ashkal Alwan, the Arab Image Foundation, Beirut Art Center, Madina theater, Metro Al Madina, the Sunflower theater, and the Sursock Museum.

Ashkal Alwan's flagship forum features group exhibitions, artist projects, and commissions; talks, panels, and readings; music, dance, and theater performances; film and video screenings; and publications, and has consistently taken place in Beirut since 2002 in spite of perpetual instability.

The 8th edition of Home Works opened, not auspiciously, in Beirut on the first evening of what became the October 2019 uprising. The following day, it was indefinitely postponed. Today, Palestine has entered an extremely dark cycle of violence and bloodshed, which Lebanon is not immune to, forcing us to consider how to confront an unbearable present and bleak future. We are convinced that Home Works remains of vital importance to our many communities and critical discourse, especially in resisting the rise of fear-mongering and the unfolding institutional moral crises.

We will be opening on November 30th Intimate Garden Scene (in Beirut) at the Sursock Museum, an exhibition that revisits forms of critical artmaking in Lebanon from the 1990s onward. The title is a reference to Ashkal Alwan’s inaugural project, at Sanayeh Garden, Beirut (1995). The exhibition draws on lived experiences and acts of writing a subjective history and prompts us to consider what it means to tend to Lebanon’s recent woes from the vantage point of everyday life. An accompanying film program will run bi-weekly starting in January 2024.

On December 1st, Jack, a solo exhibition by Simone Fattal opens at Ashkal Alwan, featuring an intimate collection of drawings produced in 1971, presented for the first time. The works muse over a nightly encounter between Fattal, her friends, and a band of young musicians passing through Lebanon on their way to India.

The second chapter of Home Works 9 will open on April 25th, 2024 in Beirut, while the third and final chapter will take place in November 2024.

Intimate Garden Scene (in Beirut) will run at the Sursock Museum from 10am to 6pm, Wednesday to Sunday.

Jack will run at Ashkal Alwan from 11am to 6pm, Monday to Friday.

Read more: https://ashkalalwan.org/program.php?category=2&id=515

OPEN CALL: HOME WORKSPACE PROGRAM 2024

Ashkal Alwan announces an open call for applications to participate in the 13th edition of the Home Workspace Program (HWP), taking place in Beirut from January 15 through July 25, 2024.

Launched in 2011, HWP is a 10-month study program that enrolls up to eight fellows per year. The program is open to artists aiming to develop their formal, theoretical, and critical skills in dialogue with fellow artists, scholars, writers, thinkers, and others.

HWP 2024 will be structured according to the individual and collective needs of selected fellows and their practices. Some of the program’s lectures, seminars, and workshops are open and free of charge to non-enrolled participants.

All artists and cultural practitioners living in Lebanon and abroad are eligible to apply, regardless of age and nationality.

Deadline: October 11, 2023
Send your application to [email protected]

Happy to share with you this month's newsletter!

Read here: https://mailchi.mp/ashkalalwan/scrap-the-future-but-keep-moisturizing-9400795

This month on , Ashkal Alwan’s audiovisual streaming platform, we invite you to view 10 moving image works by Mohammad Shawky Hassan titled “How to be Fabulous?”. The term "Fabulous" has long been connected to eccentricity, flamboyance, style, and often q***r, evolving meanings from celebratory to derogatory; its origins also signify a departure from truths, an imaginative triumph, and the creation of unconventional worlds. The works presented are made by fabulators, storytellers who employ minimal moving images, inventive text, and sound to question dominant video production modes, challenge heteronormative storytelling, and imagine alternative narratives.

With moving image works by Sarah Francis, Nadine Khan, Kinda Hassan, Sido Mohamed Lansari, Leil Zahra Mortada, Akram Zaatari, Ateyyat El Abnouby, Sofía Velázquez Núñez, Jasmina Metwaly, and Michael Robinson.

Watch here: https://aashra.ashkalalwan.org/how-to-be-fabulous-2