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[172] Mounira al Solh and Bassam Ramlawi Colaborators on Gas Two Artists’ Statement: We wonder at the same time why do artists collaborate? Who owns the work in that case, and would both parties be equally satisfied? Not to be stuck with these questions before we even start working together, we’d like to inform you just for practical reasons that our work will be performative, and simply related to daily life practicalities instead of being philosophical or ethical or historical or whatsoever. The result however will not be a documentation of these daily performances, rather a parallel feeling to them. How can a feeling be parallel? Perhaps, what we need is a hug, and that’s it… Bassam Ramlawi and Mounira Al Solh Bassam Ramlawi: It was in the Netherlands that Al Solh and I met for the first time, inside Westerpark in Amsterdam, I was sketching a bunch of funny homeless people, and she was reading a book. We had seen each other somewhere in Beirut and recognized each other automatically. Since then we became close friends, and Al Solh made a booklet about me, co-written by Jacques Aswad and titled “In a Time Fleece”. She also made a documentary titled “Seven Reversed Scenes about Bassam Ramlawi”. I am of course grateful to her efforts, but I think I am more interested to collaborate with her, rather then just being passively driven and passively manipulated in her productions, although I have to admit that it is flattering to have someone wanting to document your life and understand your work. But this was so far not a real collaboration, and I don’t really know why she got so enthusiastic about such productions. I recently asked her if I could in return make a booklet about her work, and a documentary. Hoping she might agree one day! Mounira Al Solh to Bassam Ramlawi: Just because I have some fascination for you, you can use me… so please do! Two Artists’ Work description: For the Bucharest Biennial, Ramlawi proposed to deliver for Mounira to her studio and for free a bottle of apple or carrot juice that he had squeezed at his father’s shop. In return, she drunk the content, and filmed with her handycamera these bottles and kept them at her studio. Ramlawi has made drawings of things that struck him on his way each time he delivered the juice to her studio riding his scooter. Mounira al Solh and Bassam Ramlawi, Collaborators on Gas, research photo, various dimensions, 2012 Courtesy of the artist [173]
Mounira al Solh and Bassam Ramlawi, Bassam’s Moustache, Collaborators on Gas, research photo, 2012 Courtesy of the artist [174] Mounira al Solh and Bassam Ramlawi, Bassam’s Delivery Mobillette, Collaborators on Gas, research photo, 2012 Courtesy of the artist [175]
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PAVILION journal for politics and c
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In memoriam Ioana Nemeș (1979 - 20
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Biennale focuses on such practices
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Around [10] Fordism. Post-Fordism a
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tion, i.e. and elitization of cultu
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Politics as Art of the Impossible:
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the Tea Party over the next few yea
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Because it is a patent impossibilit
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front of our eyes, ready to be embr
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The Internalisation of the Discours
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Contemporary Art Centers and their
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TACTiCs for The here And now Eikono
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Radicalizing this Marxian analysis,
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for Adorno art is critical insofar
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Art in the Knowledge-based Polis [5
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Though this emphatic plea for “re
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seminar-cum-workshop-cum-symposium-
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Notes [1] R0370126@student.akbild.a
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