Disorientation II Catalogue - Sharjah Art Foundation

21 Nov 2009 - 20 Feb 2010 

Manarat Al Saadiyat 

Saadiyat Island, Abu Dhabi 

٢٠١٠ ﺮﻳاﺮﺒﻓ ٢٠ - ٢٠٠٩ ﺮﺒﻤﻓﻮﻧ ٢١ 

تﺎﻳﺪﻌﺴﻟا ةرﺎﻨﻣ 

ﻲﺒﻇﻮﺑأ ،تﺎﻳﺪﻌﺴﻟا ةﺮﻳﺰﺟ

Foreword 

As part of its commitment to 

support the most vital and 

stimulating of today’s Arab artists, 

and to establish a platform on 

which their creations can be more 

widely shown and discussed, 

the Cultural Department of 

TDIC is proud to present the 

new exhibition Disorientation II, 

The Rise and Fall of Arab Cities, 

featuring an exciting and thoughtprovoking 

selection of works by 16 

artists from the Arab world. 

Curated by the distinguished Jack 

Persekian and organised by TDIC 

in collaboration with the Sharjah 

Art Foundation, Disorientation 

II is in many ways an important 

new undertaking for the cultural 

programme of Abu Dhabi. Its opening 

has coincided with the first edition 

of Abu Dhabi Art, the Emirate’s new 

annual celebration of modern and 

contemporary art, and therefore 

came at a moment when artists, 

curators, gallerists, collectors, 

journalists and art-lovers from 

around the world were visiting the 

new global crossroads of Abu Dhabi. 

Moreover, Disorientation II has 

inaugurated Manarat Al Saadiyat, the 

new exhibition centre conceived by 

TDIC to showcase the exhibitions and 

artistic programs that are laying the 

groundwork for the grand institutions 

of the Cultural District. 

But above all, Disorientation II 

represents another step forward 

for TDIC’s initiatives on behalf of 

the artists of the Arab world. TDIC 

has already presented Emirati 

Expressions, the first major survey 

of contemporary art in the UAE, with 

its extensive accompanying series 

of public programmes, and with 

Abu Dhabi Authority for Culture and 

Heritage (ADACH) has organised 

Abu Dhabi Art in such a way that 

today’s Arab artists are joined 

together with artists from Europe, 

Asia and North America. Now, with 

Disorientation II, TDIC invites the 

public to see how Arab artists are 

reflecting on themes of vital current 

significance, as they consider the 

interplay in their society between 

unity and division, a generation ago 

and today. 

We welcome you to Disorientation II, 

The Rise and Fall of Arab Cities. 

Cultural Department 

Tourism Development and 

Investment Company 

Disorientation II 2 

ﻞﺜﻤﻳ ﺔﻴﻧﺎﺛ ةﺮﻣ باﺮﺘﻏا نﺈﻓ ،ﻚﻟذ ﻰﻟإ ﺔﻓﺎﺿإ 

ﺔﻛﺮﺷ تاردﺎﺒﻤﻟ مﺎﻣا ﻰﻟإ ىﺮﺧأ ةﻮﻄﺧ 

ﻦﻋ ﺔﺑﺎﻴﻨﻟﺎﺑ ﻲﺣﺎﻴﺴﻟا رﺎﻤﺜﺘﺳﻻاو ﺮﻳﻮﻄﺘﻟا 

ﻘﺑﺎﺳ ﺖﻣﺎﻗ ﻲﺘﻟاو ،ﻲﺑﺮﻌﻟا ﻢﻟﺎﻌﻟا ﻲﻧﺎﻨﻓ 

ةﺮﻴﺒﻛ ﺢﺴﻣ ﺔﻴﻠﻤﻋ لوأ ،ﺔﻴﺗرﺎﻣإ ﺮﻴﺑﺎﻌﺗ ﻢﻳﺪﻘﺘﺑ 

،ةﺪﺤﺘﻤﻟا ﺔﻴﺑﺮﻌﻟا تارﺎﻣا ﻲﻓ ﺮﺻﺎﻌﻤﻟا ﻦﻔﻠﻟ 

ﻦﻣ ﺔﻌﺳاو ﺔﻠﺴﻠﺳ ﻦﻣ ﻚﻟذ ﻖﻓار ﺎﻣ ﻊﻣ 

ﻊﻣ نوﺎﻌﺘﻟﺎﺑ ﺖﻣﺎﻗ ﺎﻤﻛ ،ﺔﻴﺒﻌﺸﻟا ﺞﻣاﺮﺒﻟا 

ﻦﻓ ﻢﻴﻈﻨﺘﺑ ،ثاﺮﺘﻟاو ﺔﻓﺎﻘﺜﻠﻟ ﻲﺒﻇﻮﺑأ ﺔﺌﻴﻫ 

بﺮﻌﻟا ﻦﻴﻧﺎﻨﻔﻠﻟ ﺖﺣﺎﺗأ ﺔﻘﻳﺮﻄﺑ ﻲﺒﻇﻮﺑأ 

ﺎﺑوروأ ﻦﻣ ﻦﻴﻧﺎﻨﻓ ﻊﻣ ءﺎﻘﻠﻟا ﺔﺻﺮﻓ ﻦﻳﺮﺻﺎﻌﻤﻟا 

.ﺎﻜﻳﺮﻣأو ﺎﻴﺳآو 

ﺔﻛﺮﺷ ﻮﻋﺪﺗ ،ﺔﻴﻧﺎﺛ ةﺮﻣ باﺮﺘﻏا ﻊﻣو ،نا 

اوﺮﻴﻟ رﻮﻬﻤﺠﻟا ﻲﺣﺎﻴﺴﻟا رﺎﻤﺜﺘﺳﻻاو ﺮﻳﻮﻄﺘﻟا 

ﻊﻴﺿاﻮﻣ ﻦﻋ بﺮﻌﻟا ﻦﻴﻧﺎﻨﻔﻟا ﺾﻌﺑ ﺮّﺒﻋ ﻒﻴﻛ 

ﻞﻋﺎﻔﺗ ﻰﻟإ نوﺮﻈﻨﻳ ﻢﻫو ،ﺔﻨﻫار تﻻﻻد تاذ 

ﻞﻴﺟ ﻦﻴﺑ ،ﻢﻬﻌﻤﺘﺠﻣ ﻲﻓ مﺎﺴﻘﻧاو ةﺪﺣﻮﻟا 

.مﻮﻴﻟاو ﺲﻣا 

ضﻮﻬﻧ ،ﺔﻴﻧﺎﺛ ةﺮﻣ باﺮﺘﻏا ﻲﻓ ﻢﻜﺑ ﺐﺣﺮﻧ 

.ﺔﻴﺑﺮﻌﻟا نﺪﻤﻟا ﻲﻋاﺪﺗو 

ﻲﻓﺎﻘﺜﻟا ﻢﺴﻘﻟا 

ﻲﺣﺎﻴﺴﻟا رﺎﻤﺜﺘﺳﻻاو ﺮﻳﻮﻄﺘﻟا ﺔﻛﺮﺷ 

ﺔﻛﺮﺷ ﻲﻓ ﻲﻓﺎﻘﺜﻟا ﻢﺴﻘﻟا ماﺰﺘﻟا ءﻮﺿ ﻲﻓ 

ﺰﻴﻔﺤﺗو ﻢﻋﺪﺑ ،ﻲﺣﺎﻴﺴﻟا رﺎﻤﺜﺘﺳﻻاو ﺮﻳﻮﻄﺘﻟا 

،ﺔّﻴﻠﻋﺎﻓ ﺮﺜﻛاو ﻦﻳﺮﺻﺎﻌﻤﻟا بﺮﻌﻟا ﻦﻴﻧﺎﻨﻔﻟا 

ضﺮﻋ ﻢﻬﻟ ﺢﻴﺘﻳ ﺮﺒﻨﻣ ﺲﻴﺳﺄﺗ ﻞﺟأ ﻦﻣو 

ﻢﺴﻘﻟا ف ّﺮﺸﻳ ﻪﻧﺈﻓ ،ﻢﻬﻟﺎﻤﻋأ ﺔﺸﻗﺎﻨﻣو 

،"ﺔﻴﻧﺎﺛ ةﺮﻣ باﺮﺘﻏا" ﺪﻳﺪﺠﻟا ضﺮﻌﻤﻟا ﻢﻳﺪﻘﺗ 

ﻢﻀﻳ يﺬﻟا ،ﺔﻴﺑﺮﻌﻟا نﺪﻤﻟا ﻲﻋاﺪﺗو ضﻮﻬﻧ 

١٦ ـﻟ ﺮﻜﻔﻠﻟ ةﺰﻔﺤﻣو ةﺮﻴﺜﻣ ،ةرﺎﺘﺨﻣ ﺔﻋﻮﻤﺠﻣ 

.ﻲﺑﺮﻌﻟا ﻢﻟﺎﻌﻟا ﻦﻣ ﻧﺎﻨﻓ 

ﻪﺿوﺮﻋ ﻰﻠﻋ فﺮﺸﻳ يﺬﻟا ،ﺔﻴﻧﺎﺛ ةﺮﻣ باﺮﺘﻏا 

ﺔﻛﺮﺷ ﻪﻤﻈﻨﺗو نﺎﻴﻜﺳﺮﺑ كﺎﺟ ﺰﻴﻤﺘﻤﻟا ﻢّﻴﻘﻟا 

ﻊﻣ نوﺎﻌﺘﻟﺎﺑ ﻲﺣﺎﻴﺴﻟا رﺎﻤﺜﺘﺳﻻاو ﺮﻳﻮﻄﺘﻟا 

وأ ﺔﻘﻳﺮﻄﺑ ﻮﻫ ،نﻮﻨﻔﻠﻟ ﺔﻗرﺎﺸﻟا ﺔﺴﺳﺆﻣ 

ﻲﻓﺎﻘﺜﻟا ﺞﻣﺎﻧﺮﺒﻠﻟ ﺪﻳﺪﺟو مﺎﻫ عوﺮﺸﻣ ،ىﺮﺧأ 

ﻊﻣ ضﺮﻌﻤﻟا اﺬﻫ ﻦﻣاﺰﺘﻳ .ﻲﺒﻇﻮﺑأ ﺔﻨﻳﺪﻤﻟ 

ﻞّﺜﻤﻳ يﺬﻟاو ،ﻲﺒﻇﻮﺑأ ﻦﻔﻟ ﻰﻟوا ةروﺪﻟا حﺎﺘﺘﻓا 

ﺚﻴﺣ ،ﺮﺻﺎﻌﻤﻟاو ﺚﻳﺪﺤﻟا ﻦﻔﻠﻟ ﻳﻮﻨﺳ ًﻻﺎﻔﺘﺣا 

قﺮﻄﻟا ﻰﻘﺘﻠﻣ - ﻲﺒﻇﻮﺑأ ﺔﻨﻳﺪﻣ ﻲﻓ ﺪﺸﺘﺤﻳ 

بﺎﺤﺻأو نﻮﻤّﻴﻗو نﻮﻧﺎﻨﻓ -ﺪﻳﺪﺠﻟا ﻲﻤﻟﺎﻌﻟا 

نﻮﻴﻣﻼﻋإو ﺔﻴﻨﻓ لﺎﻤﻋأ ﻮﻌﻣﺎﺟو تﺎﻬﻳﺮﻴﻟﺎﻏ 

.ﻢﻟﺎﻌﻟا ءﺎﺤﻧأ ﻊﻴﻤﺟ ﻦﻣ ﻦﻔﻟا ﻮﺒﺤﻣو 

،ﺔﻴﻧﺎﺛ ةﺮﻣ باﺮﺘﻏا ﻦ ّﺷد ﺪﻘﻓ ،ﻚﻟذ ﻰﻠﻋ ةوﻼﻋ 

يﺬﻟا تﺎﻳﺪﻌﺴﻟا ةرﺎﻨﻣ ﺪﻳﺪﺠﻟا ضرﺎﻌﻤﻟا ﺰﻛﺮﻣ 

ﻲﺣﺎﻴﺴﻟا رﺎﻤﺜﺘﺳﻻاو ﺮﻳﻮﻄﺘﻟا ﺔﻛﺮﺷ ﺖﻣﺎﻗ 

ﺔﻴﻨﻔﻟا ﺞﻣاﺮﺒﻟاو ضرﺎﻌﻤﻟا ﺔﻣﺎﻗ ،ﻪﺴﻴﺳﺄﺘﺑ 

تﺎﺴﺳﺆﻤﻠﻟ ﻲﺳﺎﺳا ﻞﻤﻌﻟا ﻢﻀﺗ ﻲﺘﻟا 

.ﺔﻴﻓﺎﻘﺜﻟا ﺔﻘﻄﻨﻤﻠﻟ ةﺮﻴﺒﻜﻟا

DISORIENTATION II 

BY JACK PERSEKIAN 

Disorientation II * looks at the era of 

Egyptian President Jamal Abdel- 

Nasser as a moment of rupture 

when the repercussions of the 

failure of his pan-Arab unity plan 

and the ensuing Arab nationalism 

fractured fragile structures meant 

to stand up and endure in the face 

of outside hegemony then, and in 

its wake shattered in a succession 

of breakdowns, wars, displacement, 

and miseries. 

Disorientation Disorientation Disorientation II II II counterpoints a 

utopian era with the reality of today. 

The fragile watercolour renderings 

and nostalgic photographs, images 

and settings from the sixties 

and seventies, seen as one is 

ushered into the exhibition, are 

juxtaposed against an imposing 

body of sculptures, monumental 

photographs and installations, 

somber videos and performances 

that follow, and project a certain 

disdain for the helpless, unforgiving 

situation of loss and conflict 

experienced in the Arab world today. 

This text does not try to explicate 

the various artworks and projects 

that the artists have contributed 

towards Disorientation Disorientation Disorientation II, II and in no 

way does it attempt to untangle the 

complex and knotted history that 

brackets this exhibition. It is simply 

a series of syncopated thoughts 

that try to negotiate a path through 

the labyrinth of the artists’ thoughtprovoking 

and intricate series of 

articulations and representations 

that comprise the show. 

The exhibition opens with a 

flashback in time with Hala 

Elkousy’s work On red nails, palm 

trees trees trees and and and other other other icons; icons an intimate 

room full of hundreds of images, 

video screens, side lamps and 

chairs, all reminiscent of a time 

some half-a-century ago, when 

visual representations reflected 

a certain utopia, similar to Jamal 


ﺔﻴﻧﺎﺛ ة ّﺮﻣ باﺮﺘﻏا 

نﺎﻴﻜﺳﺮﺑ كﺎﺟ 

لﺎﻤﺟ ﺔﻠﺣﺮﻣ ﻲﻓ ﺚﺤﺒﻳ ، @ "ﺔﻴﻧﺎﺛ ةﺮﻣ باﺮﺘﻏا" 

ﺔﻴﺨﻳرﺎﺗ ﺔﻈﺤﻟ ﻞﺜﻤﺗ ﺎﻫرﺎﺒﺘﻋﺎﺑ ﺮﺻﺎﻨﻟا ﺪﺒﻋ 

ﻲﻣﻮﻘﻟا عوﺮﺸﻤﻟا رﺎﻴﻬﻧا ﺪﻌﺑ ،ﺔﻴﻠﺼﻔﻣ 

تﺎﻴﻋاﺪﺗ ﻦﻣ ﻪﻨﻋ ﺮﻔﺳأ ﺎﻣو ،يوﺪﺣﻮﻟا ﻲﺑﺮﻌﻟا 

ﺮﺋﺎﺴﺨﻟا ﻦﻣ ﺔﻠﺴﻠﺴﺑ ﺖﻠﺜﻤﺗ ﺔﻘﻄﻨﻤﻟا ﻰﻠﻋ 

ﺖﻤﻬﺳأ ﻲﺘﻟا ةﺮﻳﺮﻤﻟا تارﺎﻴﻬﻧﻻاو تﺎﻋاﺮﺼﻟاو 

ﺔﺸﻬﻟا ﺐﻴﻟﺎﺳا ﺔﻳﺮﻌﺘﺑ ﻪﺴﻔﻧ ﺖﻗﻮﻟا ﻲﻓ 

ﺔﻤ ّﻬﻣ ﻰﻟإ ﺖﻌ ّﻄﻨﺗ ﻲﺘﻟا ﺔﻴﻋاﺪﺘﻤﻟا ﻞﻛﺎﻴﻬﻟاو 

ﺔﻨﻤﻴﻬﻟا لﺎﻜﺷأ ﻒﻠﺘﺨﻣ ﻪﺟو ﻲﻓ يﺪﺼﺘﻟا 

.ﺔﻘﻄﻨﻤﻟا ﻰﻠﻋ ﺔﻴﺟرﺎﺨﻟا 

ﺔﻬﺟاﻮﻤﺑ ﺔﻴﻟﺎﺜﻤﻟا ﺔﻠﺣﺮﻤﻟا هﺬﻫ ﻊﻀﻳ ضﺮﻌﻤﻟا 

روﺎﺠﺘﻟا ﺮﺒﻋ - ﻲﻣﻮﻴﻟا ﺎﻧﺮﺿﺎﺣ ﺔﻘﻴﻘﺣ ﻊﻣ 

،ﺔﻴﻓاﺮﻏﻮﺗﻮﻓ رﻮﺻو ﺔﻴﺋﺎﻣ تﺎﻣﻮﺳﺮﻟ ﻂﻴﺴﺒﻟا 

تﺎﻴﻨﻴﺘﺴﻟا ﺔﻠﺣﺮﻣ ﻰﻟإ ﻦﻴﻔ ّﻬﻠﺘﻣ ﺎﻨﺑ دﻮﻌﺗ 

رﻮﺻو ،تﺎﺗﻮﺤﻨﻣ ﺔﻋﻮﻤﺠﻣ ﻊﻣ - تﺎﻴﻨﻴﻌﺒﺴﻟاو 

لﺎﻤﻋأو ،ﺔﻳ ّﺰﻴﻬﺠﺗ لﺎﻤﻋأو ،حوﺮﺼﻟ ﺔﻴﻓاﺮﻏﻮﺗﻮﻓ 

ﺔﻟﺎﺤﻟا هﺬﻬﻟ ﺾﻓر ﻦﻋ ﺮﺒﻌﺗ ،ﺔﻴﺣ ضوﺮﻋو ،ﻮﻳﺪﻴﻓ 

.ﺔﻴﺑﺮﻌﻟا لوﺪﻟا دﻮﺴﻳ يﺬﻟا عاﺰّﻨﻟاو ناﺪﻘﻔﻟا ﻦﻣ 

ﺔﻴﻨﻔﻟا لﺎﻤﻋا حﺮﺸﻟ ًﺔﻟوﺎﺤﻣ ﺲﻴﻟ ..ﺺﻨﻟا اﺬﻫ 

لﺎﺣ يﺄﺑ ﺲﻴﻟ ﻪﻧأ ﺎﻤﻛ ،ضﺮﻌﻤﻟا ﻲﻓ ﺔﻛرﺎﺸﻤﻟا 

ﺪ ّﻘﻌﻤﻟا ﺦﻳرﺎﺘﻟا ﻂﻴﺴﺒﺘﻟ ﺔﻟوﺎﺤﻣ ،لاﻮﺣا ﻦﻣ 

ﺔﻠﺴﻠﺳ ﻦﻋ ةرﺎﺒﻋ ﻪّﻧإ ..ضﺮﻌﻤﻟا اﺬﻫ ﻒّﻠﻐﻳ يﺬﻟا 

،نزﻮﻟا جرﺎﺧ دﺮﻔﻨﻣ عﺎﻘﻳﺈﺑ ﺔﻬﻴﺒﺸﻟا رﺎﻜﻓا ﻦﻣ 

لﺎﻤﻋا ﺐ ّﻌﺸﺗ ﺮﺒﻋ ﻖﻳﺮﻄﻟا ّﻖﺸﻟ ﺔﻟوﺎﺤﻣ ﻲﻓ 

.ﺔﻴﻧﺎﺛ ةﺮﻣ باﺮﺘﻏا ﻲﻓ ﺔﻠﺧاﺪﺘﻤﻟا ﺔﻴﻨﻔﻟا 

ﺔﻟﺎﻫ ﻞﻤﻋ ﻊﻣ ﻦﻣﺰﻟﺎﺑ دﻮﻌﺗ ةرﻮﺼﺑ ضﺮﻌﻤﻟا أﺪﺒﻳ 

ﻞﻴﺨﻨﻟا رﺎﺠﺷأو ءاﺮﻤﺤﻟا ﺮﻓﺎﻇا ﻦﻋ" ﻲﺻﻮﻘﻟا 

ﺔﻤﻴﻤﺣ ﺔﻓﺮﻏ ﻦﻋ ةرﺎﺒﻋ ﻮﻫو ."ىﺮﺧأ تﺎﻧﻮﻘﻳأو 

،ﻲﺳاﺮﻜﻟاو ﻮﻳﺪﻴﻔﻟا تﺎﺷﺎﺷو رﻮﺼﻟا تﺎﺌﻤﺑ ﺔﺌﻴﻠﻣ 

ﻒﺼﻧ ﻞﺒﻗ ﻰﻀﻣ يﺬﻟا ﻦﻣﺰﻟﺎﺑ ﺎﻬﻌﻴﻤﺟ ﺮ ّﻛﺬﺗ 

ﻤﻟﺎﻋ ﺔّﻳﺮﺼﺒﻟا تاﺮﻳﻮﺼﺘﻟا ﻪﻴﻓ ﺖﺴﻜﻋ ﻦﻣز ،نﺮﻗ 

ﻦﻋ ﺮﺻﺎﻨﻟا ﺪﺒﻋ لﺎﻤﺟ ر ّﻮﺼﺘﺑ ا ّﺪﺟ ﻬﻴﺒﺷ ،ّﻴﻟﺎﺜﻣ 

ﻒﻗﻮﻳ نأ ءﺮﻤﻟا ﻰﻠﻋ ﺐﻌﺼﻳ .ﺔّﻴﺑﺮﻌﻟا ةﺪﺣﻮﻟا 

ﺔﺒﻘﺤﻟا ﻰﻟإ ﻦﻴﻨﺤﻟا ،مﺎّﻳا ﻚﻠﺘﻟ ﻦﻴﻨﺤﻟا ﺮﻋﺎﺸﻣ 

لﻼﺘﺣﻻا ﻦﻣ رﺮﺤﺘﻟا ﻮﺤﻧ ﻞﻣا ﺎﻬﻴﻓ اﺪﺑ ﻲﺘﻟا 

ﻮﻧﺎﻨﻓ نﺎﻛ .ﺪﻴﻟا لوﺎﻨﺘﻣ ﻲﻓ ،ﺔّﻴﺑﺮﻐﻟا ةﺮﻄﻴﺴﻟاو 

ﺮﻴﺒﻌﺘﻟا لﺎﻜﺷأ ﺐﻠﻏأ ﻚﻟﺬﻛو ،ﺔﻠﺣﺮﻤﻟا ﻚﻠﺗ 

ﻖﻴﻘﺤﺗ لﺎﻤﺘﺣا ﻮﺤﻧ ﺔﻠﺋﺎﻔﺘﻣ لاﺰﺗ ﺎﻣ يﺮﺼﺒﻟا 

ةاوﺎﺴﻤﻟاو لﺪﻌﻟاو ،تﺎﻌﻤﺘﺠﻤﻟاو سﺎﻨﻠﻟ ﺔّﻳﺮﺤﻟا 

ىﺮﻧ .ﺔّﻴﻃاﺮﻘﻤﻳﺪﻟا ةدﺎﻴﺳو ،ﻦﻴﺣّﻼﻔﻟاو لﺎ ّﻤﻌﻠﻟ 

ﺔﻓﺮﻏ ﻲﻓ ﺔﻘّﻠﻌﻤﻟا ﺪﺋاﺮﺠﻟا تﺎﺻﺎﺼﻗ ىﺪﺣإ ﻲﻓ 

ارﺎﻔﻴﻏ ﻲﺸﺗ ةرﻮﻄﺳﻟ ةرﻮﺻ ،ﻲﺻﻮﻘﻟا ﺔﻟﺎﻫ 

لﺎﺜﻣأ ّنأ ﻲﺻﻮﻘﻟا ﺔﻟﺎﻫ يوﺮﺗ .ﻦﻴﺣّﻼﻔﻟا ﺔﺒﺤﺼﺑ 

يد نﻮﻤﻴﺳو ،ﺮﺗرﺎﺳ لﻮﺑ نﺎﺟو ،ارﺎﻔﻴﻏ ﻲﺸﺗ 

ﺎﻤﻛ ةﺮﻫﺎﻘﻟا ﻰﻠﻋ ﻢﻬﺗارﺎﻳز ﺮﺼﺘﻘﺗ ﻢﻟ ،راﻮﻓﻮﺑ 

ﻲﻓ ﻦﻴﺣّﻼﻔﻟا ﻰﻠﻋ ﺰ ّﻛﺮﺗ ﺖﻧﺎﻛ ﻞﺑ ،نا لﺎﺤﻟا ﻮﻫ 

.ﺔﻠﺣﺮﻤﻟا ﻚﻠﺗ

Abdel Nasser’s Pan-Arab unity 

vision. One cannot stop the feeling 

of nostalgia for those days, for 

an era when hope of salvation 

from occupation and western 

hegemony was still possible. 

Art of the era and most other 

forms of visual representation 

showed and expressed optimism 

for the possibilities of freedom: 

liberated societies, equality and 

justice for workers and farmers, 

and democratic rule. We see in 

one of the newspaper clippings 

hanging in Hala Elkousy’s room 

the legendary Che Guevara posing 

for a picture with farmers. Elkousy 

tells that during that period the 

likes of Che Guevara, Jean-Paul 

Sartre and Simone de Beauvoir 

would visit the villagers and 

farmers in Egypt, not only the city 

of Cairo as is the case today. 

As we leave this room, Ali 

Jabri’s sketchbooks, drawings 

and renderings [from the early 

seventies] paint an outsider’s 

perspective of Cairo; Elkousy’s 

hometown. Yet he still captured the 

moment when Egypt in general, 

and Cairo in particular, was at the 

center of the Arab consciousness, 

embodying the values of unity, 

selflessness and revolution. Jabri, 

like an anthropologist, archeologist, 

architect and sociologist, all in one, 

uncovers the intricate details and 

subtleties that made that place and 

that period in time so special. The 

popular saying goes “the devil is in 

the details” but Jabri’s work tends 

to chime more with Ludwig Mies van 

der Rohe’s “God is in the details”. 

Yet a shift took place in Jabri’s 

collages from the eighties. Driven 

by a series of disappointments, 

saddened by the wars in the eighties 

and let down by the duplicity of 

politicians and leaders, Jabri’s 

collages from this period depict the 

hypocrisy, disjointed lives, abundant 

lies and anguish of the time. 

Closure for the period comes 

with Wael Shawky’s Telematch 

Sadat. Sadat The title and staging of the 

work reference the world-famous 

German television competition 

“Telematch” broadcast in the 

seventies and eighties where teams 

from different German towns played 

games in costume. For Telematch 

Sadat Sadat Sadat Shawky asked children of 

a village to reenact the Anwar Al 

Sadat assassination of 1981, which 

symbolically marked the end of 

the period that defined Egypt as 

a leading force in the Arab world 

and ushering in fragmentation 

and disillusionment that became 

the currency of the day. Egypt’s 

expulsion from the Arab world’s 

political arena commenced in 1978 

when Anwar Al Sadat signed the 

Camp David Peace Accords with 

Israel. Egypt was suspended from 

the League of Arab States whose 

headquarters were moved to Tunis. 

Yet more importantly this period was 

to define a decade of bloodshed, 

wars, losses, displacement and 

instability. The Iran-Iraq war came 

at a great cost in lives and economic 

damage to be followed by the 

invasion of Kuwait by the Iraqi army 

in 1990. The civil war in Lebanon, 

interjected by the Israeli invasion, 

destroyed the entire country, 

wasted many lives and resulted in 

the expulsion of the PLO to Tunis, 

thus crippling its influence and 

operations, and definitely leaving the 

Palestinian people living under the 

Israeli occupation feeling stranded 

and in a state of bitter defeat. The 

Sabra and Shatilla massacre come 

to top everything, as the final nail 

in the coffin. The death of Algerian 

President Houari Boumédienne in 

December 1978 signified, in one 

way or another, the opening of a 

Pandora’s box, the ramifications of 

which would spill a lot of Algerian 

blood and destabilize the country for 

more than two decades. The way the 

Syrian regime dealt with the Muslim 


ﻲﻠﻋ ﻢﺳر ﺮﺗﺎﻓد ﻰﻟإ ،ﻲﺻﻮﻘﻟا ﺔﻓﺮﻏ ﻦﻣو 

ةرﻮﺻ ﺎﻫروﺪﺑ ﻂﻘﺘﻠﺗ ﻲﺘﻟا ﻪﺗﺎﻣﻮﺳرو يﺮﺑﺎﺠﻟا 

ﺔﻟﺎﻫ ﺔﻨﻳﺪﻤﻟ ،ﺐﻳﺮﻏ ﺮﻈﻧ ﺔﻬﺟو ﻦﻣ ىﺮﺧأ 

ﻢﻏر) ﺎﻬﺗاذ ةﺮﺘﻔﻟا ﻦﻣ (ةﺮﻫﺎﻘﻟا) ﻲﺻﻮﻘﻟا 

ﻲﻓ تﺰﺠﻧأ ﺮﺼﻣ ﻲﻓ يﺮﺑﺎﺠﻟا ﻲﻠﻋ لﺎﻤﻋأ ّنأ 

ﻲﺘﻟا تﺎﻈﺤﻠﻟا ﻂﻘﺘﻠﻳ ﻪّﻧأ ّﻻإ ،(تﺎﻴﻨﻴﻌﺒﺴﻟا 

،ﻲﺑﺮﻌﻟا ﻲﻋﻮﻟا ﻢﻴﻤﺻ ﻲﻓ ﺔﺨﺳار ﺮﺼﻣ ﺖﻧﺎﻛ 

ﻦﻛرو تاﺬﻟﺎﺑ ﺔﻴﺤﻀﺘﻟاو ةﺪﺣﻮﻟا ﻢﻴﻘﻟ ٍﺰﻣﺮﻛ 

يﺬﻟا ،يﺮﺑﺎﺠﻟا ﻒﺸﻜﻳ .ةرﻮﺜﻟا نﺎﻛرأ ﻦﻣ ﻲﺳﺎﺳأ 

ﻲﻋﺎﻤﺘﺟاو ﻲﺟﻮﻟﻮﺑوﺮﺜﻧأ ﻢﻟﺎﻌﻛ ﻪﻟﻮﺣ ﺎﻣ ىﺮﻳ 

ﺺﺨﺷ ﻲﻓ ﻚﻟذ ّﻞﻛ) ّيرﺎﻤﻌﻣو رﺎﺛآ ﻢﻟﺎﻋو 

رﻮﻣاو ﺔﻘﻴﻗﺪﻟا ﻞﻴﺻﺎﻔﺘﻟا ﻦﻋ ﻒﺸﻜﻳ (ﺪﺣاو 

ﻚﻠﺗو نﺎﻜﻤﻟا اﺬﻫ ﺖﺤﻨﻣ ﻲﺘﻟا ﺔﺳﺎﺴﺤﻟا 

نﺎﻄﻴﺸﻟا» :ﻞﺜﻤﻟا لﻮﻘﻳ .ﺰّﻴﻤﺘﻟا ﺔﻔﺻ ﺔﺒﻘﺤﻟا 

ﻞﻴﻤﺗ يﺮﺑﺎﺠﻟا لﺎﻤﻋأ ّﻦﻜﻟ ،«ﻞﻴﺻﺎﻔﺘﻟا ﻲﻓ 

ﻲﻓ ا» ور يد نﺎﻓ ﺲﻴﻣ لﻮﻘﺑ ﺎﻬﻔﺻو ﻰﻟإ 

جﻻﻮﻜﻟا ﻦﻣ يﺮﺑﺎﺠﻟا لﺎﻤﻋأ ﺎ ّﻣأ .«ﻞﻴﺻﺎﻔﺘﻟا 

،تﺎﻴﻨﻴﻧﺎﻤﺜﻟا ﻲﻓ ﺎﻫﺰﺠﻧأ ﻲﺘﻟاو ،(ﻖﺼّﻠﻟاو ﺺﻘﻟا) 

ةﺎﻴﺤﻟاو قﺎﻔﻨﻟا ر ّﻮﺼﺗ ﺔّﻴﻋﻮﻧ ﺔﻠﻘﻧ ﺎﻬﻴﻓ ﺮﻬﻈﺘﻓ 

ﻲﻓ ﻞﺤﻔﺘﺴﻤﻟا ﻢﻟاو ﺐﻳذﺎﻛاو ﺔﻜﻜﻔﺘﻤﻟا 

ﻦﻣ ﺔﻠﺴﻠﺴﺑ ﻋﻮﻓﺪﻣ نﺎﻛ ذإ ،ةﺮﻴﺧا ﺔﺒﻘﺤﻟا 

،تﺎﻴﻨﻴﻧﺎﻤﺜﻟا بوﺮﺣ ﺐﺒﺴﺑ ﻨﻳﺰﺣو ،ﻞﻣا تﺎﺒﻴﺧ 

.ةدﺎﻘﻟا عاﺪﺨﺑ ًﻻوﺬﺨﻣو 

ﻲﻠﻴﺗ" ـﺑ ﺔّﻳوﺎﺑﻮﻄﻟا ةﺮﺘﻔﻟا هﺬﻫ ﺔﻳﺎﻬﻧ ﻲﺗﺄﺗ 

ﻞﻤﻋ ﻮﻫو ،ﻲﻗﻮﺷ ﻞﺋاﻮﻟ "تادﺎﺴﻟا ﺶﺗﺎﻣ 

ﺔﻳﺮﻗ ﻦﻣ لﺎﻔﻃ ﻞﻴﺜﻤﺗ ةدﺎﻋإ ر ّﻮﺼﻳ ﻮﻳﺪﻴﻓ 

مﺎﻋ ﻲﻓ تادﺎﺴﻟا رﻮﻧأ لﺎﻴﺘﻏا ﺔّﻴﻠﻤﻌﻟ ،ﺔﻳﺮﺼﻣ 

تﺎﻘﺑﺎﺴﻤﻟا ﺞﻣﺎﻧﺮﺑ ﻊﺟﺮﻤﻛ ﻣﺪﺨﺘﺴﻣ) ١٩٨١ 

يﺬﻟاو «ﺶﺗﺎﻤﻴﻠﻴﺗ» ّﻴﻤﻟﺎﻋ ﺮﻴﻬﺸﻟا ﻲﻧﺎﻤﻟا 

،(تﺎﻴﻨﻴﻧﺎﻤﺜﻟاو تﺎﻴﻨﻴﻌﺒﺴﻟا ﻲﻓ عاﺬﻳ نﺎﻛ 

ﻲﺘﻟا ةﺮﺘﻔﻟا ﺔﻳﺎﻬﻧ ﻰﻟإ ّﻳﺰﻣر ﻮﻳﺪﻴﻔﻟا اﺬﻫ ﺮﻴﺸﻳ 

ﻲﻓ ﺔّﻳدﺎﻳﺮﻟا ة ّﻮﻘﻟا ﺎﻬّﻧأ ﻰﻠﻋ ﺮﺼﻤﺑ ﺖﻓ ّﺮﻋ 

ةﺮﺘﻔﻟا ﻰﻟإ ﻞﻤﻌﻟا اﺬﻫ دﻮﻘﻳ .ﻲﺑﺮﻌﻟا ﻢﻟﺎﻌﻟا 

ﺔﻠﻤﻌﻟا ﺎﻤﻫ ﺔﺒﻴﺨﻟاو ﻞﻠﺤﺘﻟا ﺎﻬﻴﻓ ﺢﺒﺻأ ﻲﺘﻟا 

ﻦﻣ ﺮﺼﻣ دﺮﻃ ﺔّﻴﻠﻤﻋ ﺖّﻠﻬﺘﺳا .ﺔﻟواﺪﺘﻤﻟا 

رﻮﻧأ ﻊﻴﻗﻮﺘﺑ ﺔّﻴﺳﺎﻴﺴﻟا ﻲﺑﺮﻌﻟا ﻢﻟﺎﻌﻟا ﺔﺣﺎﺳ 

ﻲﻓ ﻞﻴﺋاﺮﺳإ ﻊﻣ مﻼﺴﻟا ﺔّﻴﻗﺎﻔﺗﻻ تادﺎﺴﻟا 

ﺮﺼﻣ ﺔّﻳﻮﻀﻋ ﺖﻘّﻠ ُﻋ .١٩٧٨ ﻲﻓ ﺪﻴﻔﻳد ﺐﻣﺎﻛ 

ةﺮﻫﺎﻘﻟا ﻦﻣ ﺎﻫ ّﺮﻘﻣ ﻞ ِﻘُﻧو ﺔّﻴﺑﺮﻌﻟا ﺔﻌﻣﺎﺠﻟا ﻲﻓ 

ةﺮﺘﻔﻟا هﺬﻫ ﺖﻣ ّﺪﻗ ،اﺬﻫ ﻦﻣ ﻢﻫا .ﺲﻧﻮﺗ ﻰﻟإ 

تارﺎﺴﺨﻟاو بوﺮﺤﻟاو ءﺎﻣﺪﻟا فﺰﻧ ﻦﻣ ﺪﻘﻋ 

بﺮﺤﻟا ﺖﻔّﻠﻜﻓ ،راﺮﻘﺘﺳﻻا ماﺪﻌﻧاو ﺮﻴﺠﻬﺘﻟاو 

ﺔّﻳﺮﺸﺒﻟا تارﺎﺴﺨﻟا ﻦﻣ ﺮﻴﺜﻜﻟا ﺔّﻴﻧاﺮﻳا ﺔّﻴﻗاﺮﻌﻟا 

ﺔّﻴﻗاﺮﻌﻟا تا ّﻮﻘﻟا لﻼﺘﺣا ﺎﻬﻌﺒﺗو ﺔّﻳدﺎﺼﺘﻗﻻاو 

ﺔّﻴﻠﻫا بﺮﺤﻟا تﺮ ّﻣد .١٩٩٠ مﺎﻋ ﻲﻓ ﺖﻳﻮﻜﻠﻟ 

ﺪﻠﺒﻟا ﻲﻠﻴﺋاﺮﺳﻻا لﻼﺘﺣﻻﺎﺑ ﺔﺑﻮﺤﺼﻣ نﺎﻨﺒﻟ ﻲﻓ 

ﻰﻟإ ت ّدأو ،حاورا ﻦﻣ ﺮﻴﺜﻜﻟا ﻰﻠﻋ ﺖﻀﻗو ،ﻪّﻠﻛ 

ﺲﻧﻮﺗ ﻰﻟإ ﺔّﻴﻨﻴﻄﺴﻠﻔﻟا ﺮﻳﺮﺤﺘﻟا ﺔﻤﻈﻨﻣ دﺮﻃ 

ﺖﻛﺮﺘﻓ ،ﺎﻬﺗﺎّﻴﻠﻤﻋو ﺎﻫﺮﻴﺛﺄﺗ ﺖﻔﻌﺿأ ﻲﻟﺎﺘﻟﺎﺑو 

لﻼﺘﺣﻻا ﺖﺤﺗ نﻮﺸﻴﻌﻳ ﻦﻳﺬﻟا ﻦﻴﻴﻨﻴﻄﺴﻠﻔﻟا 

.ة ّﺮﻤﻟا ةرﺎﺴﺨﻟاو ﺔﻟﺰﻌﻟا ﺮﻋﺎﺸﻣ ﻊﻣ ﻲﻠﻴﺋاﺮﺳا 

ﺔ ّﺸﻘﻟا ﻲﻫ ﺖﻧﺎﻜﻓ ﻼﻴﺗﺎﺷو اﺮﺒﺻ ﺔﺤﺑﺬﻣ ﺎ ّﻣأ

Brotherhood’s armed insurgency 

(1976 - 1982) in Hama put a definite 

end to any challenger to the Baath 

party rule there. Jordan witnessed 

the most severe protests and social 

upheavals in its history during the 

1980s, and the People’s Democratic 

Republic of Yemen sustained some 

60,000 casualties in the violent 

clashes of 1986. Sudan witnessed 

two coup d’états and the escalation 

of the civil war between the south 

and the north. And these are only a 

partial account of what happened 

in the eighties. The nineties 

witnessed still other horrific stories, 

catastrophes and fiascos but no 

less than those of the last decade. 

Hopelessness, helplessness and 

a very bleak prospect, if any, for a 

better future leaves many people in 

the Arab world desperate and angry, 

resentful and, if not bitter, deeply 

cynical at the very least. 

There are several references to 

monuments in this exhibition and 

each one is saturated in its own 

way with the prevalent sense of 

disdain, conflict and division. Beirut 

Caoutchouc Caoutchouc Caoutchouc by Marwan Rechmaoui 

is fraught with these divisions, 

and the societal fragmentation of 

Lebanon. A map made of thick, 

flattened rubber is etched to divide 

it into 60 pieces, not simply to 

delineate different neighborhoods 

of Beirut, but to delve deeper into 

the history of the sociopolitical, 

and economic causes of the 

movement, settlement, and division 

of this complex urban cartography. 

Rechmaoui investigates architecture 

and cartography to try to make 

sense of demography and society, 

working like an anthropologist, to 

reveal strata after strata of the city’s 

pseudo-unity. Rechmaoui’s second 

work in the exhibition, A Monument 

for for for the the the living living living is a three-dimensional 

human-size scaled replica of Burj 

Al Murr, a skyscraper at the edge of 

Beirut that was left unfinished due 

to structural weaknesses, and used 

by various militia factions during the 

civil war in Lebanon as a sniper’s 

nest, a prison and a place to hold 

hostages. The building, a landmark 

in the city in a strategic position, was 

left unused and dilapidated after the 

war, with its tower too tall to knock 

down and too dense to implode. 

Thus it became an indestructible 

monument of a civil war that has 

never been resolved or reconciled, 

living on as a hulking memorial in 

the city’s horizon. The monument 

becomes a monument not for the 

dead of the civil war, but for those 

who survived, and in recreating it 

Rechmaoui speaks to the different 

power manifestations a monument 

can allude to, or inhabit. 

Beirut is almost a miniature model 

of Arab countries where different 

classes, ethnicities, and religions 

seem to collide in their attempts 

to reconcile, where migrants and 

refugees - Armenians, Palestinians, 

Iraqis and others - are in constant 

flux, and where corruption and 

power struggles are at play. Yet it 

is very important here to halt the 

flow of the exhibition, to interrupt 

this evolving quasi-narrative of 

the contemporary history of the 

Arab world. One pauses as if to 

observe the minute of silence 

demanded from an audience in 

honour and memory of the dead 

and the martyred in any other 

public event. In Disorientation II 

we are silent in memory of the 

Sabra and Shatila massacre. 

There is no need to explain the 

background and tell the story of the 

massacre in this text, but it is very 

important to mark this event which 

so poignantly encompasses the 

plight and calamities of refugees 

and migrants, while also marking 

a pinnacle of achievement for the 

juntas in their struggle for power. 

Monika Borgmann’s film Massaker 

allows us this possibility, for the 


ﺣﺮﺻ ﻞﺑ ،ﺐﺴﺤﻓ ﺔّﻴﻠﻫا بﺮﺤﻟا ﻰﺗﻮﻤﺑ ﺮ ّﻛﺬﻳ 

.ءﺎﻴﺣا ﻊﻣ ّﺮﻤﺘﺴﻳ 

ﻦﻣ ﺮ ّﻐﺼﻣ جذﻮﻤﻧ ﺎﻬّﻧﺄﻛو ﺔﻨﻳﺪﻣ توﺮﻴﺑ 

نﺎﻳداو تﺎّﻴﻨﺛا مﺪﻄﺼﺗ ﺚﻴﺣ ﺔّﻴﺑﺮﻌﻟا لوﺪﻟا 

،ﻲﻗﻼﺘﻠﻟ ﺔﻟوﺎﺤﻣ ﻲﻓ ﺔّﻴﻋﺎﻤﺘﺟﻻا تﺎﻘﺒﻄﻟاو 

ﻦﻳﺮﺟﺎﻬﻤﻟاو ﻦﻴﺌﺟﻼﻟا تﺎﻋﻮﻤﺠﻣ ّﺮﻤﺘﺴﺗ ﺚﻴﺣو 

(ﻢﻫﺮﻴﻏو نﻮّﻴﻗاﺮﻋو نﻮّﻴﻨﻴﻄﺴﻠﻓو ﻦﻣرأ) 

ىﻮﻘﻟا تﺎﻋاﺮﺻو دﺎﺴﻔﻟا ﺐﻌﻠﻳو ،ﺎﻬﻴﻟإ حوﺰﻨﻟﺎﺑ 

..ﺎﻨﻫ ﻒ ّﻗﻮﺘﻧ نأ ﻢﻬﻤﻟا ﻦﻣ ،ﻚﻟذ ﻢﻏر .ﺎﻫراودأ 

دﺮﺳ ﻪّﻧﺄﻛو وﺪﺒﻳ يﺬﻟا ضﺮﻌﻤﻟا ﺮﻴﺳ ﻊﻄﻘﻧ نأ 

ﻒﻗﻮﺘﻧ نأ .ﺮﺻﺎﻌﻤﻟا ﻲﺑﺮﻌﻟا ﺎﻨﺨﻳرﺎﺗ ﻦﻣ ﺔﻴﺋﺰﺠﻟ 

ﺎﻬﻣ ّﺪﻘﻧ ﺖﻤﺻ ﺔﻈﺤﻟ ﺔﻴﻧﺎﺛ ةﺮﻣ باﺮﺘﻏا ﻲﻓ 

عاد ﻦﻣ كﺎﻨﻫ ﺲﻴﻟ .ﻼﻴﺗﺎﺷو اﺮﺒﺻ ﺔﺤﺑﺬﻤﻟ 

اﺬﻫ ﻲﻓ ﺔﺤﺑﺬﻤﻟا هﺬﻫ ﺔ ّﺼﻗو ﺔّﻴﻔﻠﺧ ﺮﻴﺴﻔﺘﻟ 

ثﺪﺤﻟا اﺬﻫ زﺮﺒﻧ نأ ﻢﻬﻤﻟا ﻦﻣ ﻦﻜﻟو ،ﺺﻨﻟا 

ﻒﻠﺘﺨﻣ ﻪﻟ ضﺮﻌﺘﻳ نأ ﻦﻜﻤﻳ ﺎﻣ ﻰﺴﻗﺄﻛ 

ثراﻮﻛو ٍسﺂﻣ ﻦﻣ ﻦﻳﺮﺟﺎﻬﻤﻟاو ﻦﻴﺌﺟﻼﻟا 

تﺎﻴﺸﻴﻠﻴﻤﻟا تازﺎﺠﻧإ ةورﺬﻛ ﻀﻳأو ،ﻞﻴﻜﻨﺗو 

ﺎﻨﻟ ﺮ ّﻓﻮﻳ .ىﻮﻘﻟا ﻮﺤﻧ ﺎﻬﻋاﺮﺻ ﻲﻓ ﺔّﻳﺮﻜﺴﻌﻟا 

،ﺔﺻﺮﻔﻟا هﺬﻫ "ﺔﺤﺑﺬﻤﻟا" نﺎﻤﻏرﻮﺑ ﺎﻜﻴﻧﻮﻣ ﻞﻤﻋ 

ﻦﻴﻠﻋﺎﻔﻟا تﺎﻓاﺮﺘﻋا ﺮﺒﻋ ﻰﻟوا ة ّﺮﻤﻠﻟو ﻦﻜﻟو 

اﻮﻛرﺎﺷ ﻦﻤﻣ صﺎﺨﺷأ ﺔﺘﺳ يوﺮﻳ .ﻢﻬﺴﻔﻧأ 

ﻼﻴﺗﺎﺷو اﺮﺑﺎﺻ ﻢّﻴﺨﻣ نﺎ ّﻜﺳ ﺔﺤﺑﺬﻣ ﻲﻓ 

ﻢﻬﻟﺎﻌﻓأ ﻞﻴﺻﺎﻔﺗ ﻦﻴﻴﻨﻴﻄﺴﻠﻔﻟا ﻦﻴﺌﺟﻼﻟ 

ﺬﻴﻔﻨﺗ ﻦﻣ ﻦﻴﻳﻮﺘﺴﻤﻟا ﻼﻛ ﻰﻠﻋ» ،ﺔﻴﺸﺣﻮﻟا 

ﻲﻓ ىﺮﻧ ﺎﻤﻛ «،ﺔّﻴﺼﺨﺸﻟا تاردﺎﺒﻤﻟاو ﺮﻣاوا 

ﻦﻴﺑ ﺔﻗﻼﻌﻟا عﻮﻧ ﻦﻋ نﻮﻔﺸﻜﻳ ﺎﻤﻛ .ﻢﻠﻴﻔﻟا 

ﺔﺤﺑﺬﻤﻟا تﺬ ّﻔﻧ ﻲﺘﻟا ﺔّﻴﺤﻴﺴﻤﻟا ﺔﻴﻧﺎﻨﺒﻠﻟا تا ّﻮﻘﻟا 

ﺔﺘﺴﻟا نﺎﻤﻏرﻮﺑ ﻢﻠﻴﻓ صﺎﺨﺷأ نﺎﻛ ﻲﺘﻟاو) 

نﺎﻛ يﺬﻟا ﻲﻠﻴﺋاﺮﺳا ﺶﻴﺠﻟاو (ﺎﻬﺋﺎﻀﻋأ ﻦﻣ 

طﺎﺣأ يﺬﻟاو توﺮﻴﺑ ﻰﻠﻋ ﺮﻄﻴﺴﻣ (١٩٨٢) ﺎﻬﺘﻗو 

تاﻮﻘﻟا لﻮﺧﺪﻟ ﺔﻳﺎﻤﺤﻟا ءﺎﻄﻏ ﺮ ّﻓوو تﺎﻤّﻴﺨﻤﻟﺎﺑ 

.ﺔﺤﺑﺬﻤﻟا ﺬﻴﻔﻨﺗو تﺎﻤّﻴﺨﻤﻠﻟ ﺔﻴﻧﺎﻨﺒﻠﻟا 

.ةﺪﻴﺣﻮﻟا عاﺮﺼﻟا ضرأ توﺮﻴﺑ ﺖﺴﻴﻟ ،ﻦﻜﻟ 

ﻰﻟوا ﺔﻠﻫﻮﻠﻟ وﺪﺒﺗ ﺪﻗ ىﺮﺧأ ﻦﻛﺎﻣأ كﺎﻨﻫ 

ﺮﻳاﺮﻫ لﺎﻤﻋأ ﻦﻣ كرﺪﻧ ﺎﻨّﻨﻜﻟ ،ﺔّﻴﻤﻠﺳو ﺔﺋدﺎﻫ 

ﻰﻠﻋ تﺎﻋاﺮﺼﻟﺎﺑ ﺔﻠﻘﺜﻣ ﺎﻬّﻧأ نﺎﻴﺴﻴﻛﺮﺳ 

نﺎﻴﺴﻴﻛﺮﺳ رﻮﺻ ﻂﻘﺘﻠﺗ .ف ّﺮﻄﺘﻟاو ىﻮﻘﻟا 

ﻲﻓ ﺔّﻴﻨﻳﺪﻤﻟا تﺎﺣﺎﺴﻟا ﻦﻣ دﺪﻋ ﺔّﻴﻓاﺮﻏﻮﺗﻮﻔﻟا 

(ﻖﺸﻣدو ﺔّﻴﻗذﻼﻟاو ﺐﻠﺣ) ﺔّﻳرﻮﺳ نﺪﻣ ثﻼﺛ 

ﻦﻴﻣﺮﺠﻤﻟا ﻖﺤﺑ ماﺪﻋا مﺎﻜﺣأ ﺬ ّﻔﻨُﺗ ﺚﻴﺣ 

حﺎﺒﺼﻟا ﻲﻓ ﺪﻫﺎﺸﻤﻟا هﺬﻫ ﺚﻌﺒﺗ .ﻦﻴﻴﻧﺪﻤﻟا 

ﺲﻜﻋو ،ﺔﺒﻫﺮﻟاو ﻖﻠﻘﻟﺎﺑ ﺎﺳﺎﺴﺣإ ،ﺮﻛﺎﺒﻟا 

ﺔﺌﻴﻠﻣو ﺔﻤﺣدﺰﻣ نﻮﻜﺗ ﺚﻴﺣ رﺎﻬﻨﻟا ءﺎﻨﺛأ ﺎﻬﻟﺎﺣ 

.ةﺮﺗﻮﺘﻣو ﺔﻏرﺎﻓ تﺎﺣﺎﺴﻟا هﺬﻫ وﺪﺒﺗ ،ﺞﻴﺠﻀﻟﺎﺑ 

ﺎﻬﻔﺘﺣ ﺖﻗﻻ ﻲﺘﻟا ةﺎﻴﺤﻟا ﺮﺛأ ءﺎﻔﺘﺧاو غاﺮﻔﻟا 

ﻞﻤﻋ ﻊﻣ ﺔﻀﻗﺎﻨﺘﻣ ﻲﺗﺄﺗ تﺎﺣﺎﺴﻟا هﺬﻫ ﻲﻓ 

نﺎﻴﺴﻴﻛﺮﺳ لوﺎﺤﻳ .«ءﺎﻴﺣﻟ ﺐﺼﻧ» يوﺎﻤﺷر 

ﻲﻓ ﻢﻬﺗﺎﻴﺣ ﺖﻬﺘﻧا ﻦﻳﺬﻟا ﻚﺌﻟوأ ﻞﺜﻤﻳ نأ ﺎﻨﻫ 

ﻲﺘﻟا ﺔﻴﻓاﺮﻏﻮﺗﻮﻔﻟا هرﻮﺻ ﺮﺒﻋ ،تﺎﺣﺎﺴﻟا هﺬﻫ 

ّنﺄﺑ كرﺪﻧ ﻦﺤﻧ .غاﺮﻔﻟا اﺬﻫ ﻲﻓ حﺮﺼﻟﺎﻛ تﺪﺑ 

ﺰ َﻣر .ﺶﻌﻨﻟا ﻲﻓ ﺮﻴﺧا رﺎﻤﺴﻤﻟا ﺎﻬّﻧﺄﻛو ،ةﺮﻴﺧا 

ﻦﻣ ل ّوأ نﻮﻧﺎﻛ ﻲﻓ ﺮﺋاﺰﺠﻟا ﻦﻳﺪﻣﻮﺑ يراﻮﻫ تﻮﻣ 

،اروﺪﻧﺎﺑ قوﺪﻨﺻ ﺢﺘﻓ ﻰﻟإ ،ﺮﺧﺂﺑ وأ ﻞﻜﺸﺑ ،١٩٧٨ 

مﺪﻟا ﻦﻣ ﺮﻴﺜﻜﻟا رﺪﻬﺗ تﺎﻌﺒﺗ ﻰﻟإ يدﺆﻴﺳ يﺬﻟاو 

ﻦﻳﺪﻘﻌﻟ ﺔﻟوﺪﻟا راﺮﻘﺘﺳا ﻰﻠﻋ ﻲﻀﻘﺗو يﺮﺋاﺰﺠﻟا 

ﺎﻬﻴﻓ ﻞﻣﺎﻌﺗ ﻲﺘﻟا ﺔﻘﻳﺮﻄﻟا ﺖﻀﻗ .ﺮﺜﻛأوأ 

ﻦﻴﻤﻠﺴﻤﻟا ناﻮﺧا ﺔﻛﺮﺣ ﻊﻣ يرﻮﺴﻟا مﺎﻈﻨﻟا 

ءﺎﻀﻗ (١٩٨٢ – ١٩٧٦) ةﺎﻤﺣ ﻲﻓ ﺔﺤّﻠﺴﻤﻟا 

ﻲﺜﻌﺒﻟا مﺎﻈﻨﻟا ﻢﻜﺤﻟ ٍﺪﺤﺘ ُﻣ ّيأ ﻰﻠﻋ ّﻣﺎﺗ 

ﻞﻗﻼﻗو تاﺮﻫﺎﻈﻣ ﺪﺷأ ندرا تﺪﻬﺷ .كﺎﻨﻫ 

ﺖﻔّﻠﺧو ،تﺎﻴﻨﻴﻧﺎﻤﺜﻟا ﻲﻓ ﺎﻬﺨﻳرﺎﺘﺑ ﺔّﻴﻋﺎﻤﺘﺟا 

ﻦﻤﻴﻟا ﺔّﻳرﻮﻬﻤﺟ ﻲﻓ ﺔﻔﻴﻨﻌﻟا ١٩٨٦ مﺎﻋ تﺎﻋاﺮﺻ 

.ﺔّﻴﺤﺿ ٦٠٠٠٠ ﻦﻣ ﺮﺜﻛأ ﺔّﻴﺒﻌﺸﻟا ﺔّﻴﻃاﺮﻘﻤﻳﺪﻟا 

بﺮﺤﻟا ﺪﻋﺎﺼﺗو ﻦﻴﺑﻼﻘﻧا نادﻮﺴﻟا تﺪﻬﺷو 

ﺐﺴﺤﻓ ءﺰﺟ اﺬﻫ .ﺎﻬﺑﻮﻨﺟو ﺎﻬﻟﺎﻤﺷ ﻦﻴﺑ ﺔّﻴﻠﻫا 

تﺎﻴﻨﻴﻌﺴﺘﻟا تور .تﺎﻴﻨﻴﻧﺎﻤﺜﻟا ﻲﻓ ثﺪﺣ ﺎﻤﻣ 

ﻦﻜﻟو ،ﻞﺸﻓو ثراﻮﻛ ،ىﺮﺧأ ﺔﻌﻳﺮﻣ ﺎﺼﺼﻗ ﻀﻳأ 

ﻦﻣ ل ّوا ﺪﻘﻌﻟا ﺎﻫﺪﻬﺸﻳ ﻲﺘﻟا ﻚﻠﺗ ﻦﻋ ّﻞﻘﺗ ﻻ 

ناﺪﻘﻓو ﺔﺒﻴﺨﻟﺎﺑ رﻮﻌﺸﻟا كﺮﺗ .ﺔﺜﻟﺎﺜﻟا ﺔّﻴﻔﻟا 

ًًﺔﺿﺮﻋ 

ﻲﺑﺮﻌﻟا ﻢﻟﺎﻌﻟا ﻲﻓ ﻦﻳﺪﻳﺪﻌﻟا ،ﻞﻣا 

.لاﻮﺣا ﺮّﻴﻐﺘﺑ ﻚﺸﻟاو هﺮﻜﻟاو ﺐﻀﻐﻟاو سﺄﻴﻠﻟ 

اﺬﻬﺑ ﺎﻣ ﻞﻜﺸﺑ ﺔﻌّﺒﺸﻣ ﺔّﻳرﺎﻛﺬﺘﻟا ﺐﺼﻨﻟا وﺪﺒﺗ 

.مﺎﺴﻘﻧﻻاو عاﺮﺼﻟاو رﺎﻘﺘﺣﻻﺎﺑ ﻊﺋﺎﺸﻟا سﺎﺴﺣا 

ضﺮﻌﻤﻟا اﺬﻫ ﻲﻓ ﺐﺼﻨﻠﻟ تارﺎﺷإ ة ّﺪﻋ كﺎﻨﻫ 

"كﻮﺸﺗوﺎﻛ توﺮﻴﺑ" يوﺎﻤﺷر ناوﺮﻣ ﻞﻤﻋو 

ﻚﻜﻔﺘﻟاو تﺎﻣﺎﺴﻘﻧﻻا هﺬﻬﺑ ﻞﻘﺜﻣ ﻞﻤﻋ 

ﻦﻣ ﺔﻋﻮﻨﺼﻣ ﺔﻄﻳﺮﺧ .نﺎﻨﺒﻟ ﻲﻓ ﻲﻋﺎﻤﺘﺟﻻا 

ﺔﻤ ّﺴﻘﻣ ،ﺢ ّﻄﺴﻤﻟا (كﻮﺸﺗوﺎﻜﻟا) طﺎﻄﻤﻟا 

.ﻚﻴﻤﺴﻟا طﺎﻄﻤﻟا ﻲﻓ ﺮﻔﺤﻟﺎﺑ ﺔﻌﻄﻗ ٦٠ ﻰﻟإ 

توﺮﻴﺑ ﻲﻓ ﺔﻔﻠﺘﺨﻤﻟا ﻖﻃﺎﻨﻤﻟا ﻞﻤﻌﻟا دﺪﺤﻳ ﻻ 

بﺎﺒﺳا ﺦﻳرﺎﺗ ﻲﻓ ﻘﻴﻤﻋ صﻮﻐﻳ ﻞﺑ ،ﺐﺴﺤﻓ 

نﺎﻄﻴﺘﺳﻼﻟ ﺔّﻳدﺎﺼﺘﻗﻻاو ﺔّﻴﺳﺎﻴﺴﻟاو ﺔّﻴﻋﺎﻤﺘﺟﻻا 

ﺔﻄﻳﺮﺨﻟا هﺬﻫ ﺔﻋﺎﻨﺻ ﻲﻓ ﻢﻴﺴﻘﺘﻟاو 

يوﺎﻤﺷر ﻞﻤﻋ ى ّﺮﺤﺘﻳ .ةﺪ ّﻘﻌﻤﻟا ﺔّﻴﻨﻳﺪﻤﻟا 

ﻢﻬﻔﻟ ﻴﻌﺳ ﻂﺋاﺮﺨﻟا ﺔﻋﺎﻨﺻو ةرﺎﻤﻌﻟا ﻲﻓ 

ﻢﻟﺎﻌﻛ ﻞﻤﻌﻳ .ﻊﻤﺘﺠﻤﻟاو ﻲﻧﺎ ّﻜﺴﻟا ﻊﻳزﻮﺘﻟا 

ىﺮﺧا ﻮﻠﺗ ﺔﻘﺒﻃ ﻦﻋ ﻒﺸﻜﻴﻓ ﻲﺟﻮﻟﻮﺑوﺮﺜﻧأ 

يوﺎﻤﺷر ﻞﻤﻋ .ﺔﻨﻳﺪﻤﻟا هﺬﻫ ةﺪﺣو ﻪﺒﺷ ﻦﻣ 

جذﻮﻤﻧ ﻮﻫ "ءﺎﻴﺣﻟ ﺐﺼﻧ" ضﺮﻌﻤﻟا ﻲﻓ ﻲﻧﺎﺜﻟا 

ﻮﻫو ، ّﺮﻤﻟا جﺮﺑ ﺪّﻠﻘﻳ يﺮﺸﺑ سﺎﻴﻘﻤﺑ دﺎﻌﺑا ﻲﺛﻼﺛ 

ﻂﺳو فرﺎﺸﻣ ﻰﻠﻋ ﺔﻴﻟﺎﻌﻟا ﻖﺑاﻮﻄﻟا ﻦﻣ جﺮﺑ 

ّﻲﻠﻜﻴﻫ ﻞﻠﺧ ﺐﺒﺴﺑ ﻞﻤﺘﻜﻣ ﺮﻴﻏ ك ِﺮُﺗ توﺮﻴﺑ 

ءﺎﻨﺛأ ﺎﻴﺸﻴﻠﻴﻤﻟا ﻞﺋﺎﺼﻓ ﻦﻣ ﺪﻳﺪﻌﻟا ﻪﺘﻠﻤﻌﺘﺳاو 

ﺰﺠﺤﻟ ﻦﺠﺳو ﻦﻴﺻﺎّﻨﻘﻠﻟ ّﺶﻌﻛ ،ﺔّﻴﻠﻫا بﺮﺤﻟا 

ّﻴﺠﻴﺗاﺮﺘﺳا ﺰﻛﺮﻣ ةرﺎﻤﻌﻟا هﺬﻫ ّﻞﺘﺤﺗ .ﻦﺋﺎﻫﺮﻟا 

ﺚﻴﺣ ،ﺎﻬﻤﻟﺎﻌﻣ ﻦﻣ ﺖﺤﺒﺻأ ﺪﻗو ﺔﻨﻳﺪﻤﻟا ﻲﻓ 

ﺎﻣ ﺔﻠﺣﺮﻣ ﻲﻓ ﺔﻠﻤﻌﺘﺴﻣ ﺮﻴﻏو ﺔﻠﻤﻬﻣ ﺖﻛﺮُﺗ 

ﺔّﻴﻠﻤﻋ ﺎﻬﻤﻳﺪﻬﺗ ّنأ ﺢﻀﺗا نأ ﺪﻌﺑ ،بﺮﺤﻟا ﺪﻌﺑ 

ﺖﺤﺒﺻﺄﻓ ،ﺔﻄﻴﺤﻤﻟا ءﺎﻴﺣا ﻰﻠﻋ ﺮﻄﺧ ﻞ ّﻜﺸﺗ 

ﻲﺘﻟا ﺔّﻴﻠﻫا بﺮﺤﻠﻟ ﻪﻤﻴﻄﺤﺗ ﻦﻜﻤﻳ ﻻ ﺣﺮﺻ 

ّيرﺎﻛﺬﺗ ﺐﺼﻧ ،ﺎﻬﻤﻬﻓ وأ ﺎﻬّﻠﺣ ﻊﻗاﻮﻟﺎﺑ ّﻢﺘﻳ ﻢﻟ 

ﻻ ﺣﺮﺻ ،حﺮﺼﻟا ﺢﺒﺼﻳ .ﺔﻨﻳﺪﻤﻟا ﻖﻓأ ﻰﻠﻋ ﺮﻄﻴﺴﻳ

first time, through the confessions 

of the perpetrators. Six people 

who took part in the massacre 

of the Sabra and Shatila refugee 

camps’ Palestinian inhabitants, 

“both on orders and on their own 

personal initiative” as we learn in 

the film, narrate the particulars 

of their heinous acts. They also 

reveal details of the relationship 

between the Lebanese Forces 

Christian militia who perpetrated 

the massacre - the six protagonists 

of Borgmann’s film were members 

- and the Israeli army which was 

in control of Beirut in September, 

1982, and which surrounded the 

camps and provided protected entry 

for the Lebanese Forces Christian 

militia to carry out the genocide. 

Beirut is not the only site of 

conflict though. We learn from 

Hriar Sarkissian’s Execution 

Squares Squares Squares that other places that 

might at first glance seem tranquil 

and serene are fraught with 

power struggles and extremes. 

Sarkissian’s photographs depict a 

number of urban squares in three 

Syrian cities, Aleppo, Latakia, and 

Damascus, where public executions 

of civil criminals take place. These 

landscapes in the early morning 

give a sense of foreboding, and in 

contrast to the busy clamor of the 

day, the squares are empty and 

tense. The untraceable ending of 

lives in those squares comes as 

a counterpoint to Rechmaoui’s 

Monument Monument Monument for for for the the the living. living Here 

Sarkissian attempts to represent 

those whose lives have been 

taken, using the monumental 

photographic format of emptiness. 

We know that the squares and 

streets will soon be filled with life; 

yet there is a certain eeriness to 

the photographs in places which at 

this early hour instead of portraying 

the dawning of a new day ironically 

represent the ending of life. 

Along comparable lines, Rochers 

Carrés, Carrés the photographic series by 

Kader Attia, investigates the human 

interaction with an architecture 

fraught with a history of colonialism, 

a present cursed with poverty, 

and dreams of a future that may 

never be fulfilled. Rochers Carrés 

is a breakwater beach constructed 

by the administration of Algerian 

President Houari Boumediene, of 

huge concrete blocks whose sides 

can be as high as 3 or 4 meters. 

Attia explores the meaning of 

boundary, the space that separates 

the young people who sit staring at 

the sea from the prospect of a better 

life in the continent beyond the vast 

sea. It is ironic, Attia writes, that the 

young Algerians’ exasperation at 

Rochers Carrés is not so different 

from that in the French banlieues 

where most emigrants from Algiers 

end up living, with “the same lack 

of hope in the future, same sexual 

misery, same frustration, same 

lack of social acknowledgement, 

same feeling of failure and same 

suffering.” 

Boundaries, borders and delineated 

territories are an important part of 

the construct of Disorientation II. 

As is the case with Marwan 

Rechmaoui’s Beirut Caoutchouc 

- a map trampled with factional 

divisions and social fragmentation 

- Mona Hatoum’s Present Tense 

speaks of the map awarded to the 

Palestinians as part of the interim 

agreement in Oslo. A simple look at 

Present Tense says it all. Drawn on 

olive oil soap, a perishable material, 

it alludes to the fact that as a 

foundation for the map it is destined 

to dissolve. And it may also allude to 

Pilate’s washing his hands with the 

soap, as if declaring, “I have nothing 

to do with this arrangement or 

agreement. I wash my hands of it.” 

What seems at first to be a strange 

disease that disfigured the surface 

of the soap is actually tiny red glass 


،ةﺎﻴﺤﻟﺎﺑ ﺊﻠﺘﻤﺘﺳ ﺎﻣ نﺎﻋﺮﺳ تﺎﺣﺎﺴﻟا هﺬﻫ 

رﻮﺼﻟا هﺬﻫ ﻲﻓ ﺔﺒﻫﺮﻟا ﻦﻣ عﻮﻧ كﺎﻨﻫ ّﻦﻜﻟ 

.رﺎﻬﻨﻟا ﺔﻳاﺪﺑ ةﺎﻴﺤﻟا ﺔﻳﺎﻬﻧ ﺮﻳﻮﺼﺗ ﻲﻓ ﺔﻠﺜﻤﺘﻤﻟا 

ﺔّﻴﻄﻋ ردﺎﻗ ﺔﻠﺴﻠﺳ لوﺎﻨﺘﺗ ،ﻪﺗاذ قﺎﻴ ّﺴﻟا ﻲﻓ 

ﻲﻧﺎﺴﻧا ﻞﻋﺎﻔﺘﻟا "ﻪﻳرﺎﻛ ﻪﻴﺷور" ﺔّﻴﻓاﺮﻏﻮﺗﻮﻔﻟا 

ﺮﺿﺎﺣ ،يرﺎﻤﻌﺘﺳﻻا ﺦﻳرﺎﺘﻟﺎﺑ ﺔﻠﻘﺜﻤﻟا ةرﺎﻤﻌﻟا ﻊﻣ 

ﻪﻴﺷور .ﺐﺋﺎﺧ ﻞﺒﻘﺘﺴﻤﺑ مﻼﺣأو ،ﺮﻘﻔﻟﺎﺑ نﻮﻌﻠﻣ 

ةرادإ ﻪﺗﺪّﻴﺷ جاﻮﻣا ﺮﻴﺴﻜﺘﻟ ﺊﻃﺎﺷﻮﻫ ﻪﻳرﺎﻛ 

ﻦﻣ عﻮﻨﺼﻣ ،ﻦﻳﺪﻣﻮﺑ يرا ّﻮﻫ يﺮﺋاﺰﺠﻟا ﺲﻴﺋﺮﻟا 

ﻞﺼﺗو ﺮﺤﺒﻟا ﻪﺟاﻮﺗ ﺔﻤﺨﺿ ﺔّﻴﺘﻨﻤﺳإ تﺎﺒ ّﻌﻜﻣ 

ﻒﺸﻜﺘﺴﻳ .رﺎﺘﻣأ ٤ وأ ٣ عﺎﻔﺗرا ﻰﻟإ ﺎﻬﺒﻧاﻮﺟ 

ﻞﺼﻔﺗ ﻲﺘﻟا ﺔﺣﺎﺴﻤﻟا ،دوﺪﺤﻟا ﻰﻨﻌﻣ ﺔّﻴﻄﻋ 

،ﺮﺤﺒﻟﺎﺑ ﻦﻴﻗ ّﺪﺤﻣ نﻮﺴﻠﺠﻳ ﻦﻳﺬﻟا بﺎﺒﺸﻟا ﻦﻴﺑ 

ﺪﻌﺑ ﺎﻣ ةّرﺎﻗ ﻲﻓ ﻞﻀﻓأ ةﺎﻴﺣ لﺎﻤﺘﺣا ﻦﻴﺑو 

ﺔﺒﻴﺨﻟا ّنإ ،ﺔّﻴﻄﻋ ﺐﺘﻜﻳ ،ﺮﺧﺎﺳ ﺮﻣا .ﺮﺤﺒﻟا 

ﺔﻔﻠﺘﺨﻣ ﺖﺴﻴﻟ ﻪﻳرﺎﻛ ﻪﻴﺷور ﺪﻨﻋ ﺐﻀﻐﻟاو 

ﻦﻜﺴﻳ ﺚﻴﺣ ،ﺔﻴﺴﻧﺮﻔﻟا ﻮﻴﻟ نﻮﺒﻟا ﻲﻓ ﺎﻬﻨﻣ 

ناﺪﻘﻓ» ،ﺮﺋاﺰﺠﻟا ﻦﻣ ﻦﻳﺮﺟﺎﻬﻤﻟا ﻢﻈﻌﻣ 

ﺔّﻴﺴﻨﺠﻟا ﺔﺳﺎﻌﺘﻟاو ،ﻪﺗاذ ﻞﺒﻘﺘﺴﻤﻟا ﻦﻣ ﻞﻣا 

ﺶﻴﻤﻬﺘﻟﺎﺑ رﻮﻌﺸﻟا تاذو ،ﺎﻬﺗاذ ﺔﺒﻴﺨﻟاو ،ﺎﻬﺗاذ 

«.ةﺎﻧﺎﻌﻤﻟاو ﻞﺸﻔﻟا ﺲﻔﻧو ﻲﻋﺎﻤﺘﺟﻻا 

ﺔ ّﻤﻬﻣ ءاﺰﺟأ ﻲﻫ ﺔ ّﻤﺴﻘﻤﻟا ﻲﺿاراو دوﺪﺤﻟا 

لﺎﺣ ﻲﻓ ﺎﻤﻛ .ﺔﻴﻧﺎﺛ ةﺮﻣ باﺮﺘﻏا ﺐﻴﻛﺮﺗ ﻦﻣ 

،"كﻮﺸﺗوﺎﻛ توﺮﻴﺑ" يوﺎﻤﺷر ناوﺮﻣ ﻞﻤﻋ 

تﺎﺌﻳﺰﺠﺘﻟاو تﺎﻤﻴﺴﻘﺘﻟﺎﺑ ﺔﻃﻮﻐﻀﻣ ﺔﻄﻳﺮﺧ 

ﺮّﺗﻮﺗ" مﻮﻃﺎﺣ ﻰﻨﻣ ﻞﻤﻋ لوﺎﻨﺘﻳ ،ﺔّﻴﻋﺎﻤﺘﺟﻻا 

ﻦﻴﻴﻨﻴﻄﺴﻠﻔﻠﻟ ﺖﺤﻨ ُﻣ ﻲﺘﻟا ﺔﻄﻳﺮﺨﻟا "ﺮﺿﺎﺣ 

.ﻮﻠﺳوأ ﻲﻓ ﺔّﻴﻠﺣﺮﻤﻟا ﺔّﻴﻗﺎﻔﺗﻻا ﻦﻣ ءﺰﺠﻛ 

،ءﻲﺷ ﻞﻛ ﻞﻤﻌﻟا يوﺮﻳو ةﺪﺣاو ةﺮﻈﻧ 

،(ﺔﺒﺋاذ ةدﺎﻣ) نﻮﺘﻳﺰﻟا ﺖﻳز نﻮﺑﺎﺻ لﺎﻤﻌﺘﺳا 

هﺬﻫ تﺎﺳﺎﺳأ ﺮﻴﺼﻣ ّنأ ﺔﻘﻴﻘﺣ ﻰﻟإ ةرﺎﺷإ 

نأ ﻞﻤﻌﻠﻟ ﻦﻜﻤﻳ ﺎﻤﻛ ،لاوﺰﻟا ﻮﻫ ﺔﻄﻳﺮﺨﻟا 

(نﻮﺑﺎﺼﻟﺎﺑ) ﻪﻳﺪﻳ ﺲﻃﻼﻴﺑ ﻞﺴﻏ ﻰﻟإ ﺮﻴﺸﻳ 

ﺐﻴﺗﺮﺘﻟا) ﺮﻣا اﺬﻬﺑ ﺔﻗﻼﻋ ﻲﻟ ﺖﺴﻴﻟ» ﻨﻠﻌﻣ 

ﺮﻣا ئدﺎﺑ ﻲﻓ وﺪﺒﻳ يﺬﻟا .«(ﺔّﻴﻗﺎﻔﺗﻻا وأ 

ﻮﻫ ،نﻮﺑﺎﺼﻟا ﺢﻄﺳ بﺎﺻأ ﺐﻳﺮﻏ ضﺮﻣ ﻪّﻧﺄﻛو 

دوﺪﺣ ﻢﺳﺮﺗ ّﻲﺟﺎﺟز زﺮﺧ تﺎّﺒﺣ ﻊﻗاﻮﻟا ﻲﻓ 

.ﺔّﻴﻨﻴﻄﺴﻠﻔﻟا ةﺮﻄﻴﺴﻠﻟ ﺖﺤﻨ ُﻣ ﻲﺘﻟا ﻖﻃﺎﻨﻤﻟا 

ﻢﻜﺤﻟا ﻖﻃﺎﻨﻣ ءاﺮﻤﺤﻟا ﺮﺋاوﺪﻟا هﺬﻫ ﻞ ّﻜﺸﺗ 

ةﺪﺣاو ةﺮﻈﻨﺑ وﺪﺒﺗ ﻲﺘﻟاو ،ﻲﻨﻴﻄﺴﻠﻔﻟا 

ﺔﻋﻮﻤﺠﻣ ﻦﻣ ءاﺰﺟأ ﺎﻬّﻧﺄﻛو ﺔﻄﻳﺮﺨﻟا ﻰﻟإ 

ﻰﻟإ ﺔﻠﺼﺑ ﺎﻬﻴﻓ ةﺪﺣاﻮﻟا ﺖﻤﺗ ﻻ ﺔﻠﺼﻔﻨﻣ 

ﻊﺳاو ﺮﺤﺑ ﻲﻓ ةﺮﺛﺎﻨﺘﻣ ر ُﺰ ُﺟ ﺎﻬّﻧﺄﻛو ىﺮﺧا 

نﻮﻜﺗ نأ ّيﺮﺤﻟا ﻦﻣ نﺎﻛ .ﻞﻴﺋاﺮﺳا ﻪّﻠﺘﺤﺗ 

ﺚﻴﺣ ﺖﻴﺒﻟاو ﺔﻟﻮﻔﻄﻟﺎﺑ ﺮ ّﻛﺬﺗ ﺔﺤﺋار نﻮﺑﺎﺼﻠﻟ 

ﺪﻴﺣﻮﻟا عﻮﻨﻟا) نﻮﺘﻳﺰﻟا ﺖﻳز نﻮﺑﺎﺻ ﺔﺤﺋار ﻲﺗﺄﺗ 

ءفﺪﻟﺎﺑ سﺎﺴﺣا ﻚﻟﺬﺑ (كاﺬﻧآ ﺮﻓﻮﺘﻤﻟا 

ﺮﻤﻌﻟا ّنأ ءﺮﻤﻟا كرﺪﻳ ﺎﻣ ﻌﻳﺮﺳ ﻦﻜﻟ ،ءﺎﻤﺘﻧﻻاو 

ّﻒﺨﺗ ﺚﻴﺣ ،ﻀﻳأ نﻮﺑﺎﺼﻟا ﻰﻠﻋ اﺮّﺛأ ﺪﻗ ﻦﻣﺰﻟاو 

.ﻞﻣا ﺎﻤﻛ ،مﻮﻳ ﺪﻌﺑ ﻣﻮﻳ هاﺮﻛذ

eads outlining the areas that were 

handed over to the Palestinians to 

control. These red circles form the 

Palestinian Authority territories on 

the ground, and they come across 

with a single glance at the map 

as totally disconnected, forming a 

noncontiguous group of scattered 

islands in a vast sea of land occupied 

by Israel. The soap should have 

had some scent to it, reminiscent 

of childhood and home when the 

odor of olive oil, the foundation for 

the only soap available then, brings 

to mind a feeling of warmth and 

belonging. But one soon notices that 

time and age have taken their toll 

and now the scent is only a memory 

fading by the day along with hope. 

Ayreen Anastas and Rene 

Gabri take us to investigate the 

Palestinian territories. For their 

project What everybody knows, 

they travel across the country 

talking and video-recording 

conversations with a good number 

of people over a 16-day period. 

The people they meet are from 

many backgrounds - a professor, 

a former detainee, a geographer, 

a Bedouin, an architect... The 

outcome is presented as 16 

one-day trips or journeys which 

together outline a map “about the 

social, psychological, and political 

dimensions of contemporary 

life for Palestinians in occupied 

Palestine.” 

Zooming in on one particular 

location in Palestine, Wafa Hourani 

recreates a model of Qalandia 

refugee camp from cut-out 

photographs and cardboard 

boxes. Qalandia, situated north of 

Jerusalem, gained infamy from one 

of the main checkpoints situated at 

its entrance connecting Ramallah 

and its vicinity to the east and 

south of the country. Yet Hourani’s 

Qalandia Qalandia Qalandia 2047 2047 2047 brings with it a twist. 

His model attempts to represent 

the Qalandia refugee camp in 2047, 

one hundred years after its original 

inhabitants were expelled from their 

homes following the 1948 war, to 

find on this spot of land a temporary 

refuge, hastily setup at that time 

by the UNRWA, which tragically 

appears now more like a permanent 

arrangement. Hourani’s satirical 

solution to the claustrophobic 

situation in the camp is to devise 

mirrors on the separation wall that 

towers over the camp and suffocates 

its residents, thus giving the illusion 

of an uninterrupted skyline and an 

infinite open space. In the context 

of Disorientation Disorientation Disorientation II, II this work can 

be seen as a monument to the 

steadfastness of all those living in 

refugee camps who are determined 

not to leave their arduous living 

conditions for a temporary, 

comfortable life outside the camp; 

instead, they stand by their resolve 

to go only to the homes they were 

driven from in 1948. 

Tarek Al Ghoussein picks up on 

the ramifications of the events 

in 1948 and addresses some of 

the UN resolutions pertaining to 

the Palestinian cause in his most 

recent work (D (D (D II II II series). series) In contrast 

to Hourani’s attempts to address 

issues pertaining to refugees 

and displacement, Al Ghoussein 

inserts himself in the work as a 

son of diaspora Palestinians who 

is not permitted by the Israelis 

to enter Palestine. In this way he 

creates a certain tension between 

the still, desolate landscape, the 

sun-weathered inanimate objects, 

and his intervention, which together 

with the industrial-looking green 

fabric he brings along represent 

a disquieting interference. A level 

of dislocation ensues from his 

presence and his actions, and 

yet in aggregate it doesn’t alter 

much in the vast, uncompromising 

landscape. It is only a matter of time 

before a sand dune will swallow 


ﻦﻣﺰﻟا روﺮﻤﺑو ،ﺪﻴﻨﻌﻟاو ﻊﺳاﻮﻟا ﻲﻌﻴﺒﻄﻟا 

.رﺎﺛا ﻚﻠﺗ ﻊﻠﺘﺒﺗو ﺔّﻴﻠﻣر نﺎﺒﺜﻛ ﻮﻤﻨﺗ فﻮﺳ 

ﺔﻘﻳﺮﻄﺑ ﺮﻣا ﺔﻳؤر ﻦﻜﻤﻤﻟا ﻦﻣ نﺎﻛ ﻮﻟ ﻰّﻨﻤﺗأ 

ﻲﺘﻟا ١٨١ دﺪﻌﻟا ﺎﻬﻴﻠﻋو ﺔﺣﻮﻠﻟا ﻦﻜﻟو ،ىﺮﺧأ 

ﺪﻳﺪﻌﻟا ﻰﻟإ ةرﺎﺷإ ﻲﻫ ،ﻆﺤﻟا ءﻮﺴﻟو ،ﺎﻬﻠﻤﺤﻳ 

ﺔ ّﻘﻠﻌﺘﻤﻟا ةﺪﺤﺘﻤﻟا ﻢﻣا ﺔﺌﻴﻫ تاراﺮﻗ ﻦﻣ 

ﺎﻬّﻧﺄﻛو نا وﺪﺒﺗ ﻲﺘﻟاو ،ﺔّﻴﻨﻴﻄﺴﻠﻔﻟا ﺔّﻴﻀﻘﻟﺎﺑ 

تاراﺮﻗ ﻦﻣ ﺔﻣﻮﻛ ﺎﻬﻌﻠﺘﺒﺗ ﺎﻣ نﺎﻋﺮﺳو ﻲﻔﺘﺨﺗ 

حﺎﻳر ﻊﻣ ،ﻢﻣا ﺔﺌﻴﻬﻟ ﺔﻘﻘﺤﺘﻣ ﺮﻴﻏ ىﺮﺧأ 

ﺎﻬﻴﻠﻤﺗ ﻲﺘﻟا وأ ﺔﺿوﺮﻔﻤﻟا تاراﺮﻘﻟا ﻦﻣ ﺔّﻳﻮﻗ 

.ﺎﻴﻠﻋ تﺎﻄﻠﺳ 

نﻮﺗﺄﻳ ﻦﻳﺬﻟا ﺔﻟوﺪﻟا ﻮﻔ ّﻇﻮﻣو ةدﺎﻘﻟا ﻢﻬّﻧإ 

نﻮﺿﺮﻔﻳ ،ﺔﻟﺰﻨ ُﻤﻟا تاراﺮﻘﻟاو لﻮﻠﺤﻟا هﺬﻬﺑ 

.ﻣﺎﻫوأ نﻮﻋﺮﺘﺨﻳو سﺎﻨﻟا ﻰﻠﻋ ﺔﻨّﻴﻌﻣ ﻊﺋﺎﻗو 

ﺶﺘﻴﻓورﺪﻧﺎﺴﻜﻟأ يرﻮﻐﻳﺮﻏ اﺬﻬﺑ مﺎﻗ 

ﺔّﻴﺳوﺮﻟا ةرﻮﻃاﺮﺒﻣا ﻢﻜﺣ ءﺎﻨﺛأ ﺮﻳزو) ﻦﻜﻤﻴﺗﻮﺑ 

ﺎﻣﺪﻨﻋ ١٧٨٧ ﻲﻓ ﺪﻳﺪﺤﺗ ،(ﺔﻤﻴﻈﻌﻟا ﻦﻳﺮﺛﺎﻛ 

،ﺎـﻴﻤﻳﺮـﻛ ةرﺎﻳز ﻦﻳﺮﺛﺎـﻛ ةرﻮﻃاﺮﺒﻣا ترﺮﻗ 

ﻊﺑرأ ﻞـﺒﻗ ﺎﻴـﺳوﺮﺑ ﺖﻘﺤﻟأ ﺪﻗ ﺖﻧﺎﻛ ﻲﺘﻟاو 

ﻲﺿارا هﺬﻬﻟ ّنﺄﺑ ﺎﻬﻟ ﻦﻜﻤﻴﺗﻮﺑ ﺖﺒﺜﻴﻟ .تاﻮﻨـﺳ 

ﺎﺑﻮﻨﺟ ﺪﺘﻤﺗو مﻮﻴﻟا ﺎﻴﻧاﺮﻛوأ ،ةﺮﻳﺰﺟ ﻪﺒﺷ) 

ﻦﻣ ﺔﻠﺴﻠﺳ ﻰﻨﺑ ،ﺔﻤﻴﻗ (دﻮﺳا ﺮﺤﺒﻟا ﻲﻓ 

داﺪﺘﻣا ﻰﻠﻋ ﺔّﻴﻤﻫﻮﻟا ةﺮﻫدﺰﻤﻟا تﺎﻨﻃﻮﺘﺴﻤﻟا 

ﻲﻓ ﺐﺼﻳو ﺎﻴﺳور ﻦﻣ أﺪﺒﻳ يﺬﻟا) بﻮﻧاﺪﻟا ﺮﻬﻧ 

تﺎﻨﻃﻮﺘـﺴـﻤﻟا هﺬﻫ ﻦﻜﺗ ﻢﻟ ،(دﻮـﺳا ﺮﺤﺒﻟا 

ﺔﻋﻮﺿﻮﻣ ناﺮﻴﻧو ﺔّﻴﻤﻫو تﺎﻳﺎﻨﺒﻟ تﺎﻬﺟاو ّﻻإ 

ءﺎﻨﺛأ ﺎﻬﺘﻳؤﺮﻟ ﻚﻟذو ،ﺔّﻴﺠﻴﺗاﺮﺘــﺳا ﻊﻗاﻮﻣ ﻲﻓ 

ﺰـّﻴﻤﺗ نأ ةرﻮﻃاﺮـﺒﻣا ﻰﻠﻋ ﺐﻌﺼﻳ ﺚﻴﺣ ﻞﻴﻠﻟا 

.ﺎﻬﻨﻣ ﺔّﻴﻤﻫﻮﻟا 

"ﻮﻣﺰﻳرﻮﺗ لﺎﻳور ناﺮﻏ" ةدا ّﺮﺑ ﻮﻃإ ﻞﻤﻋ كرﺎﺸﻳ 

ﺐﻛﻮﻣ ّﺮﻤﻳ ﻦﻴﺣ عاﺪﺨﻟا ﻦﻣ ﺔﻬﻴﺒﺷ ﺔﻟﺎﺤﺑ 

ﻦﻣ) ءادﻮﺳ سﺪﻴﺳﺮﻣ تارﺎّﻴﺳ ثﻼﺛ ﻦﻣ 

(ﺔّﻴﻤﺳﺮﻟا تﺎّﻴﺼﺨﺸﻟا ﻦﻣ ﺎﻬﻴﺒﻛار ّنأ ﺢﺿاﻮﻟا 

.ﺔﺨﺴﺘﻣ نارﺪﺟو ﺔﻔﺻرأ تاذ ءادﺮﺟ ةﺪﻠﺑ ﺮﺒﻋ 

ﺔﻔﺻرا ﺐﻠﻘﻨﺗو ﻞﻴﺨﻧ رﺎﺠﺷأ ةﺄﺠﻓ ﺮﻬﻈﺗ 

ﺔﻔﻴﻈﻧ ﺢﻄﺳأ ﺎﻬﻧﺎﻜﻣ ﻞﺤﻴﻟ نارﺪﺠﻟاو 

،ﻦﻜﻟ .مﻼﻋﺎﺑ ﺔﻓﻮﻔﺼﻣو نﺎﻫﺪﻟا ﺔﺜﻳﺪﺣو 

رﺎﺠﺷا ﻲﻔﺘﺨﺗ ،ةﺪﻠﺒﻟا ﺐﻛﻮﻤﻟا كﺮﺘﻳ ﺎﻣﺪﻨﻋ 

ﺎﻬﺘﻟﺎﺣ ﻰﻟإ دﻮﻌﺗو ﺚﻳﺪﺤﻟا نﺎﻫ ّﺪﻟاو مﻼﻋاو 

ﻞﻤﻋ ﺔّﻴﺻﻮﺼﺧ .ﺔﺨﺴّﺘﻤﻟاو ﺔﺴﻴﻌﺘﻟا ﻰﻟوا 

ﺐ ّﻛﺮﻣ ﻪﻧﻮﻛ ﻲﻓ "ﻮﻣﺰﻳرﻮﺗ لﺎﻳور ناﺮﻏ" ةدا ّﺮﺑ 

ةرﺮﻜﺘﻣ لﺎﺣ ﻖﻠﺨﻴﻓ ّيﺮﺋاد قﺎﺒﺳ رﺎﻤﻀﻤﻛ 

ﺮﻴﻴﻐﺘﻠﻟ ﺔﺻﺮﻓ ّيأ ﻦﻋ ةﺪﻴﻌﺑ ﺔﻏرﺎﻓ ﺔّﻳﺪﺑأ 

ﺾﻌﺑ ﺐﻴﻟﺎﺳأ ﻰﻟإ ﻲﻟﺎﺘﻟﺎﺑ ةﺮﻴﺸﻣ ،ﻲﻘﻴﻘﺤﻟا 

تﺎّﻴﻠﻤﻋ ﻰﻟإ ﺄﺠﻠﺗ ﻲﺘﻟا تﺎﻄﻠﺴﻟاو لوﺪﻟا 

ﻲﺘﻟا ﺔﺴﻴﻌﺘﻟا عﺎﺿوا ﺔﻴﻄﻐﺘﻟ ﺔﻌﻳﺮﺳ ﻒﻴﻈﻨﺗ 

ﺔﻘﻄﻨﻣ ﻲﻓ ﺔﻟوﺪﻟا نﺎﻜﺳ ﺾﻌﺑ ﺎﻬﺑ ﺶﻴﻌﻳ 

ﺪﻨﻋ تاﺬﻟﺎﺑو ،ﺔﻨﻳﺪﻤﻟا ﻦﻣ ﺔﻠﻤﻬﻣ وأ ةﺮﻴﻘﻓ 

ﺪﻴﺣﻮﻟا ﻮﻫو ،ﻪﺗاذ ﺔﻟوﺪﻟا ﺪﺋﺎﻗ روﺮﻣ وأ ةرﺎﻳز 

ﺮﻴﻴﻐﺘﻟا ﻖﻴﻘﺤﺗ ﻰﻠﻋ ةرﺪﻘﻟا ﻚﻠﻤﻳ يﺬﻟا 

ﺔﺒﻴﺧ ﻰﻟإ ي ّدﺆﺗ ﺎﻣ نﺎﻋﺮﺳ ﺎﻬّﻨﻜﻟو ،ﻲﻠﻌﻔﻟا 

هﺬﻫ يﺮﺑﺎﺟ ﻪﻴﻨﻳرو سﺎﻄﺴﻧأ ﻦﻳﺮﻳأ ﻒﺸﻜﺘﺴﺗ 

ﻦﻋ ﺪﻳﺰﺗ ةﺪﻤﻟ ﺪﻠﺒﻟا نﺎﺑﻮﺠﻳ ﺚﻴﺣ ،ﻲﺿارا 

سﺎﻨﻟا ﻦﻣ ﺮﻴﺒﻛ دﺪﻋ ﻊﻣ نﻮﺛ ّﺪﺤﺘﻳو ﻣﻮﻳ ١٦ 

زﻮﺠﺑ" ﻞﻤﻋ ﻮﺤﻧ ﻮﻳﺪﻴﻔﻟﺎﺑ ﺚﻳدﺎﺣا نﻮﻠ ّﺠﺴﻳو 

ﻦﻤﻣ سﺎﻨﻟا ﺔﻋﻮﻤﺠﻣ ّﻢﻀﺗ ."فﺮ ْﻌﺑ ﻞﻜﻟا 

،ﻖﺑﺎﺳ ﻞﻘﺘﻌﻣو ،ﺔﻌﻣﺎﺟ ذﺎﺘﺳأ ..ﻢﻬﻴﻟإ اﻮﺛﺪﺤﺗ 

١٦ ﻲﻫ ﺔﺠﻴﺘﻨﻟاو ، ّيرﺎﻤﻌﻣو ، ّيوﺪﺑو ، ّﻲﻓاﺮﻐﺟو 

وأ ﻌﻣ ّﻂﺨﺗ ،ﺪﺣاو ﻣﻮﻳ ﺔﻠﺣر ﻞﻛ ﻞّﺜﻤﺗ ،ﺔﻠﺣر 

ﺔّﻴﺴﻔﻨﻟاو ﺔّﻴﻋﺎﻤﺘﺟﻻا دﺎﻌﺑا ﻦﻋ» ﺔﻄﻳﺮﺧ ﻒّﻟﺆﺗ 

ﻲﻓ ةﺮﺻﺎﻌﻤﻟا ﻦﻴﻴﻨﻴﻄﺴﻠﻔﻟا ةﺎﻴﺤﻟ ﺔّﻴﺳﺎﻴﺴﻟاو 

.«ﺔّﻠﺘﺤﻤﻟا ﻦﻴﻄﺴﻠﻓ 

ﻊﻨﺼﻳ ،ﺎﻣ ﻊﺿو وأ ﻦّﻴﻌﻣ ﻊﻗﻮﻣ ﻰﻠﻋ ﻂﻴﻠﺴﺘﻟﺎﺑ 

ﻦﻣ ﺎﻳﺪﻨﻠﻗ ﻢّﻴﺨﻣ ﻦﻋ ﺎﺟذﻮﻤﻧ ﻲﻧارﻮﺣ ﺎﻓو 

.نﻮﺗﺮﻛ ﻖﻳدﺎﻨﺻو ﺔّﻴﻓاﺮﻏﻮﺗﻮﻓ رﻮﺻ تﺎﺻﺎﺼﻗ 

،سﺪﻘﻟا لﺎﻤﺷ ﻊﻘﺗ ﻲﺘﻟا ،ﺎﻳﺪﻨﻠﻗ ﺖﺒﺴﺘﻛا 

ﻢﻫأ ىﺪﺣإ ﺐﺒﺴﺑ رﺎﺸﺘﻧﻻا ﺔﻌﺳاﻮﻟا ﺎﻬﺘﻌﻤﺳ 

،ﺎﻬﻠﺧﺪﻣ ﺪﻨﻋ ﺔﻋﻮﺿﻮﻤﻟا ﺶﻴﺘﻔﺘﻟا طﺎﻘﻧ 

قﺮﺷ ﻊﻣ ﺎﻬﻴﺣاﻮﺿو ا مار ﻦﻴﺑ ﻂﺑﺮﺗ ﻲﺘﻟاو 

ﺎﻳﺪﻨﻠﻗ" ﻲﻧارﻮﺣ ﻞﻤﻋ ّنأ ّﻻإ .ﻦﻴﻄﺴﻠﻓ بﻮﻨﺟو 

ﺎﻳﺪﻨﻠﻗ ﻢّﻴﺨﻤﻟ ﺟذﻮﻤﻧ مﺪﻘﻳ نأ لوﺎﺤﻳ "٢٠٤٧ 

ﻰﻠﻋ ﺔﻨﺳ ﺔﺋﺎﻣ روﺮﻣ ﺪﻌﺑ يأ ،٢٠٤٧ ﻲﻓ ﻦﻴﺌﺟﻼﻟ 

بﺎﻘﻋأ ﻲﻓ ﻢﻬﺗﻮﻴﺑ ﻦﻣ ﻢّﻴﺨﻤﻟا نﺎ ّﻜﺳ دﺮﻃ 

ﻰﻠﻋ ﺘ ّﻗﺆﻣ ً ﺄﺠﻠﻣ ﻲﻟﺎﺘﻟﺎﺑ اوﺪﺠﻴﻟ ١٩٤٨ بﺮﺣ 

اوﺮﻧا ﺎﻬﺘﺒﺗر ﻲﺘﻟا ،ضرا ﻦﻣ ﺔﻌﻘﺒﻟا هﺬﻫ 

ﺒﻴﺗﺮﺗ ﺢﺒﺻأ ﻪّﻧأ ﻒﺳﻟ وﺪﺒﻳ يﺬﻟاو ،ﻞﺠﻋ ﻰﻠﻋ 

ﻊﺿﻮﻠﻟ ﺮﺧﺎﺳ ًﻼﺣ ﻲﻧارﻮﺣ حﺮﺘﻗا .ﺪﻣا ﻞﻳﻮﻃ 

راﺪﺠﻟا ﻰﻠﻋ ﺎﻳاﺮﻣ ﺐﻴﻛﺮﺘﺑ ﻢّﻴﺨﻤﻟا ﻲﻓ ﻖﻧﺎﺨﻟا 

ﻖﻨﺨﻳو ﻢّﻴﺨﻤﻟا ﻰﻠﻋ ﻦﻤﻴﻬﻳ يﺬﻟاو ،ﻞﺻﺎﻔﻟا 

ﻘﻓأ ﻲﻤﻫو ﻞﻜﺸﺑ ﻖﻠﺨﻳ ﻲﻟﺎﺘﻟﺎﺑو ،ﻪﻧﺎ ّﻜﺳ 

.ﺔّﻴﺋﺎﻬﻧ ﻻ ﺔﺣﻮﺘﻔﻣ ﺔﺣﺎﺴﻣو ﻊ ّﻄﻘﺘﻣ ﺮﻴﻏ 

ﺔﻴﻧﺎﺛ ةﺮﻣ باﺮﺘﻏا قﺎﻴﺳ ﻲﻓ ﻞﻤﻌﻟا ﺔﻳؤر ﻦﻜﻤﻳ 

نﺎ ّﻜﺳ ّﻞﻛ ﺔﻤﻳﺰﻋ ﻰﻠﻋ ﺪﻬﺸﻳ حﺮﺻ ﻪّﻧأ ﻰﻠﻋ 

كﺮﺗ مﺪﻋ ﻰﻠﻋ ﻦﻴﻤﻤﺼﻤﻟاو ﻦﻴﺌﺟﻼﻟا تﺎﻤّﻴﺨﻣ 

ﺎﻬﻟاﺪﺒﺘﺳاو ،هﺬﻫ ﺔﺒﻌﺼﻟا ﺔﺸﻴﻌﻤﻟا فوﺮﻇ 

ﻰﻟإ ﻞﺑ ،ﻢّﻴﺨﻤﻟا جرﺎﺧ ﺘ ّﻗﺆﻣ ﺔﺤﻳﺮﻣ ةﺎﻴﺤﺑ 

.١٩٤٨ ﻲﻓ ﺎﻬﻨﻣ اودﺮ ُﻃ ﻲﺘﻟا ﻢﻬﺗﻮﻴﺑ 

(١٩٤٨) ةﺮﺘﻔﻟا ﻚﻠﺗ تﺎﻌﺒﺗ ﻦﻴﺼﻐﻟا قرﺎﻃ لوﺎﻨﺘﻳ 

ةﺪﺤﺘﻤﻟا ﻢﻣا ﺔﺌﻴﻫ تاراﺮﻗ ﺾﻌﺑ ﺐﻃﺎﺨﻳو 

ﻪﻠﻤﻋ ﻲﻓ ﺔّﻴﻨﻴﻄﺴﻠﻔﻟا ﺔﻴﻀﻘﻟﺎﺑ ﺔﻘّﻠﻌﺘﻤﻟا 

تﻻوﺎﺤﻣ ﻊﻣ ﺔﻧرﺎﻘﻤﻟﺎﺑ ."(٢ د ﺔﻠﺴﻠﺳ)" ﺮﻴﺧا 

ﻖّﻠﻌﺘﺗ ﺎﻳﺎﻀﻗ ﻰﻠﻋ دﺮﻟا وأ لوﺎﻨﺘﻟ ﻲﻧارﻮﺣ 

ﻪﺴﻔﻧ ﻦﻴﺼﻐﻟا ﺲﻤﻐﻳ ،ةﺮﺠﻬﻟاو ﻦﻴﺌﺟﻼﻟﺎﺑ 

ﻦﻣ ﺔﻴﻨﻴﻄﺴﻠﻓ ﺔﻠﺋﺎﻌﻟ ﻦﺑا ﻪﻧﻮﻛ) ﻞﻤﻌﻟا ﻲﻓ 

لﻮﺧﺪﻟﺎﺑ نﻮّﻴﻠﻴﺋاﺮﺳا ﻪﻟ ﺢﻤﺴﻳ ﻻو تﺎﺘ ّﺸﻟا 

ﻦﻴﺑ ﺮّﺗﻮﺘﻟا ﻦﻣ ﻋﻮﻧ ﻖﻠﺨﻳ ﺎﻤﻣ (ﻦﻴﻄﺴﻠﻓ ﻰﻟإ 

ءﺎﻴﺷاو ﺮﻔﻘﻤﻟا ﻦﻛﺎﺴﻟا ﻲﻌﻴﺒﻄﻟا ﺪﻬﺸﻤﻟا 

ﻲﺼﺨﺸﻟا ﻪﻣﺎﺤﺘﻗاو ،ﺲﻤﺸﻟا ﺎﻬﺘﻠﺑذأ ﻲﺘﻟا 

شﺎﻤﻘﻟا ﻰﻟإ ﺔﻓﺎﺿﺎﺑ ،ﺪﻬﺸﻤﻠﻟ ﺢﻳﺮﻤﻟا ﺮﻴﻏ 

ﻪﻟﺎﻌﻓأو هرﻮﻀﺣ ي ّدﺆﻳ .ﻪﺑ ﻲﺗﺄﻳ يﺬﻟا ﺐﻳﺮﻐﻟا 

،ﻚﻟذ ﻢﻏر ،ﺎﻬّﻨﻜﻟ ،ﻖﻠﻘﻟا ﻦﻣ ىﻮﺘﺴﻣ ﻖﻠﺧ ﻰﻟإ 

ﺪﻬﺸﻤﻟا اﺬﻫ ﻲﻓ ﺮﻴﺜﻛ ﺮّﻴﻐﺗ ﻻ ﺎﻬﺘﻠ ّﺼﺤﻤﺑ

whatever trace he leaves behind. 

One wishes to see it otherwise - 

but the sign that he holds with the 

number 181 is just a trace of one 

of many UN Resolutions pertaining 

to the Palestinian cause, which 

seem now to be weathering away. 

Soon they will be swallowed up in 

the heap of many other unfulfilled 

UN Resolutions, drifting, formless, 

flattened and scattered by the strong 

winds of a dictated, compromised 

and forced solution that will fall 

from above. 

It is leaders and officials who 

come up with these parachutedin 

solutions and resolutions that 

impose certain realities on people 

and concoct illusions. Grigori 

Potemkin, a minister during the 

reign of Russian Empress Catherine 

the Great, concocted a brilliant 

illusion in 1787 when Catherine the 

Great visited Crimea, which had 

been annexed by Russia four years 

earlier. In order to show her that 

these lands, part of a peninsula 

in present day Ukraine stretching 

south into the Black Sea, were worth 

something, he erected a series 

of fake, prosperous settlements 

along the Dnieper River which were 

really nothing more than facades of 

buildings and strategically-placed 

fires that could be seen during the 

night when the Empress would be 

less likely to spot the fakes. 

Yto Barrada’s Gran Royal Turismo 

partakes in a somewhat similar 

deception when a convoy of three 

black Mercedes cars, obviously 

carrying officials, passes through a 

little treeless town with dirt-ridden 

sidewalks and walls. Palm trees 

suddenly pop up and the sidewalks 

and walls flip to reveal fresh paint 

and clean surfaces draped with 

flags. When the convoy leaves town, 

the trees, flags and fresh paint 

disappear and the town is back to 

its sad and dirty old appearance. 

The beauty of Barrada’s Gran Royal 

Turismo Turismo Turismo is that it’s constructed as 

a circular racing track, creating an 

infinite hollow notion of repetition 

without any possibility for real 

change, thus alluding to tactics that 

some countries and authorities use 

when the country’s own leader, the 

one and only person with the power 

to effect change, visits a poor area 

or a rundown part of town. Instant 

cleanup disguises dismal living 

conditions, and then to the great 

disappointment of the residents, 

all the dress-up weathers and 

disappears soon after the official is 

gone. There are times and places 

when authorities actually remove 

palm trees they planted in order to 

save them in fresh condition for the 

next visit. 

The element of circular movement 

and the notion of hollow infinite 

repetition in Barrada’s Gran Royal 

Turismo Turismo Turismo makes a subtle connection 

with Diana Al Hadid’s work, which 

echoes a rotary movement with a 

spiral in a dilapidated Babel-like 

sculpture. Her Portal to a Black 

Hole Hole Hole consists of a spiral staircase 

made of organ keys positioned in 

the center of the sculpture leading 

to the oculus of the dome. The 

oculus in the Pantheon was the 

only source of light other than the 

door and represented a central 

sun within a concrete sky. It was 

originally a temple to all gods, but 

it was converted into a church. It is 

generally credited to Apollodorus 

of Damascus, a Greek architect, 

born in Damascus, Syria. Al Hadid’s 

sculpture is conceived as a pseudotemple, 

or an “architectural black 

hole” that emits the sounds of B 

Flat, which cannot be heard by 

the human ear. Al Hadid states 

“My structure, while culling from 

the architecture of Greek temples 

and Gothic Cathedrals, purports 

to form a line, not to God, but to 

another undiscovered, impossible 


،(بﺎﻄﺨﻟا ﺮﺒﻋ رﺎﻜﻓا ﺾﻌﺑ ةﺎﻋإ ﻲﻓ ﻰّﻠﺠﺘﻳ) 

ﺔﻐﻠﻟا ﻲﻓ ﻒ ّﻇﻮﻳ ،راﺮﻜﺘﻟا يأ ،ﻪّﻧأ ﻢﻏر يﺬﻟاو 

ﺔﻋﺎﻨﻗ وأ أﺪﺒﻣ ﺪﻴﻛﺄﺘﻟ ةدﺎﻋ ﺔﻓﺎﻘﺜﻟاو ﺔّﻴﺑﺮﻌﻟا 

ﻞﻠﻤﻟاو غاﺮﻔﻟا ﻰﻟإ ﺮﻴﺸﻳ ﺎﻬﺘﻟﺎﺣ ﻲﻓ ﻪّﻧأ ّﻻإ ،ﺎﻣ 

،ﺔّﻴﺳﺎﻴﺴﻟا تﺎّﻴﺼﺨﺸﻟا ﺾﻌﺑ ءادأ ﻲﻓ ﺚﺒﻌﻟاو 

ةرﺮﻜﺘﻤﻟا ﺔّﻳﺮﺋاﺪﻟا ﺔﻛﺮﺤﻟا ﻲﻓ ﻀﻳأ ﻞّﺜﻤﺘﻳ يﺬﻟاو 

ﻚﻟﺎﻬﺘﻤﻟا ﻲﺒﻟﻮﻠﻟا ﺪﻳﺪﺤﻟا جردو ةدا ّﺮﺑ ﻞﻤﻋ ﻲﻓ 

.ﺔﻳﺎﻬﻨﻟا ﻲﻓ دﻮﺳأ ﺐﻘﺛ ﻰﻟإ ّﻻإ ي ّدﺆﻳ ﻻ يﺬﻟاو 

ﻲﻓ يﻮﻄﻋ قرﺎﻃ ﻲﻬﻨﻳ .ﻪﺗاذ ر ّﺮﻜﻳ ﺦﻳرﺎﺘﻟاو 

ﻦﻜﻤﻳ ﺔﻄﻘﻧ ﺾﻔﺧﺄﺑ "ﻲﻨﻴ ّﺼﻟا ّﺪﻤﻟا :٢ ﻢﻤﺻ" 

ﻲﻘﻴﺳﻮﻤﻟا ﻢّﻠﺴﻟا ﻲﻓ ﺎﻬﻋﺎﻤﺳ ةد ّﺮﺠﻣ نذ 

ة ّﺪﻋ تﺎﻴﻨﻘﺗو تﺎﺳرﺎﻤﻣ ﻦﻴﺑ ﺔّﻳﺪﺤﺘﻣ ﺔﻗﻼﻌﺑو 

ﻢﻟﺎﻌﻟا ﻲﻓ ﺔّﻴﺒﻌﺷ ﺔّﻴﺳﺎﻴﺳ تﺎﻛﺮﺣو ،لود 

ﻰﻘﻴﺳﻮﻤﻟا ةﺬﺗﺎﺳأ تﺎﻤﻛﺎﺤﻣو ،ﻲﺑﺮﻌﻟا 

ﻞﺒﻗ ﻦﻣ اﻮﻨﻳد ُ أ ﻦﻳﺬﻟا ﻲﺘﻟا ،اﺮﺑواو نﻮﻨﻔﻟاو 

ﺔّﻳوﺎﻤﻟا ةرﻮﺜﻟا ءﺎﻨﺛأ ﻲﻋﻮﻴﺸﻟا بﺰﺤﻟا ﻲﻓ بﺎﺒﺸﻟا 

ﺐﻌﺼﻟا ،ﻲﺗﻮﺼﻟا ءادا ﺲﻜﻌﻳ .ﻦﻴﺼﻟا ﻲﻓ 

ﻲﺼﺨﺸﻟا ﻪﻋاﺮﺻ ،يﻮﻄﻋ ﻪﻣﺪﻘﻳ يﺬﻟا ،ّﻳﺪﺴﺟ 

ﺔّﻴﻓﺎﻘﺜﻟاو ﺔّﻴﻋﺎﻤﺘﺟﻻاو ﺔّﻴﺳﺎﻴﺴﻟا تاﺮّﻴﻐﺘﻟا ﻊﻣ 

ﺔّﻴﻧوﺮﺘﻜﻟإ ﺔﻫ ّﻮﺸﻣو ﺔﻔﻴﺜﻛ تاﻮﺻأ ﺮﺒﻋ ﺔﻘﻠﻘﻤﻟا 

تﺎﻓﺎﺘﻫو ﻢﻛﺎﺤﻤﻟا ﻚﻠﺗ تاﻮﺻأ ﻊﻣ مدﺎﺼﺘﺗ 

ﻊﻀﻨﻟ ﺎﻧر ّﻮﺼﺘﺑ ﻊ ّﺳﻮﺘﻧ نأ ﺎﻨﻨﻜﻤﻳ .يوﺎﻤﻟا مﻼﻋا 

ﺐﻨﺟ ﻰﻟإ ﺒﻨﺟ بﺎﻄﺨﻠﻟ ﻲﺋادا يوﺎﺠﺣ ﻞﻤﻋ 

ةﺮﺷﺎﺒﻣ ﺮﻴﻏ ﺔﻘﻳﺮﻄﺑ ،ﻲﺗﻮﺼﻟا يﻮﻄﻋ ءادأ ﻊﻣ 

.ﻪﻨﻣ ى ّﺬﻐﺘﻳو ﺮﺧا ﻰﻟإ ي ّدﺆﻳ ﻢﻫﺪﺣأ نﺄﻛو 

ﺔّﻳﺮﺋاد ﺔﻛﺮﺣ ﻲﻓ ﺔﻴﻧﺎﺛ ةﺮﻣ باﺮﺘﻏا ك ّﺮﺤﺘﻳ 

ﺔﻤﻳﺪﻘﻟا ءﺎﻄﺧا راﺮﻜﺗ ةﺮﻜﻓ ﻰﻠﻋ ﺪ ّﻛﺆﻣ 

،ىﻮﻘﻟا ﻰﻠﻋ تﺎﻋاﺮﺼﻟاو ﺔﻌﺋﺎﻀﻟا صﺮﻔﻟاو ،ﺎﻬﺗاذ 

تﺎﻌﻤﺘﺠﻣو ﺔﻌﺋﺎﺿ ةﺎﻴﺣ ﻰﻟإ ّﻻإ ي ّدﺆﺗ ﻻ ﻲﺘﻟاو 

ﻮﻟو .ﺔّﻴﻧﺎﺴﻧا ﻢﻴﻘﻟا ﺔﻧﺎﻴﺧو ةراﺮﻤﻟﺎﺑ ﺮﻌﺸﺗ 

ﺪﺣاﻮﻟا نﺮﻘﻠﻟ ّﺢﺼﺗ نوﺪﻠﺧ ﻦﺑا ﺔﻳﺮﻈﻧ ّنأ 

ءﺎﺑﻮﻟ ّﻲﻤﺘﺤﻟا ماﺰﻬﻧﻻا ﺎﻧﺪﻬﺸﻟ ،ﻦﻳﺮﺸﻌﻟاو 

ﻞﺒﻗ ﻦﻣ ،ﺰﻴﻴﻤﺘﻟاو ﻢﻠﻈﻟاو ،ﺪﺋﺎﺴﻟا دﺎﺴﻔﻟا 

.ﺔﻴﻣﺎﺴﻟا ﻢﻴﻘﻟاو قﻼﺧاو ئدﺎﺒﻤﻟا بﺎﺤﺻأ 

بﺮﻋ نﻮﻧﺎﻨﻓ ،باﺮﺘﻏا" ـﻟ ﺔّﻳراﺮﻤﺘﺳﺎﻛ ﺔﻴﻧﺎﺜﻟا ﺔﻠﺣﺮﻤﻟا ﻲﺗﺄﺗ @ 

تﺎﻓﺎﻘﺛ ﺖﻴﺑ ﻲﻓ ﻢﻴﻗأ يﺬﻟاو ،"ﻂﺳوا قﺮﺸﻟا ﻦﻣ نوﺮﺻﺎﻌﻣ 

.٢٠٠٣ ﻲﻓ ﻦﻴﻟﺮﺑ ﻲﻓ ﻢﻟﺎﻌﻟا 

ﺶـﻴﻌﻳ ،سﺪﻘﻟا ﻲﻓ ﺪـﻟو ،نﺎﻴﻜــﺳﺮﺑ كﺎﺟ 

،ﺞﺘﻨﻣو ﻢّﻴﻗ .ﺔﻗرﺎـﺸـﻟاو سﺪﻘﻟا ﻲﻓ ﻞﻤﻌﻳو 

ﺔﺴﺳﺆﻣو ،ﻞﻳدﺎﻧأ يﺮﻴﻟﺎﺠﻟ ﺲـﺳﺆﻤﻟا ﺮﻳﺪﻤﻟاو 

ﻦـﻳزو سﺪﻘـﻟا ﻲﻓ ﺮﺻﺎـﻌﻤﻟا ﻦـﻔﻠﻟ ﻞـﻤﻌﻤـﻟا 

ﺮﻳﺪﻣو ،ﺔﻗرﺎـﺸــﻟا ﻲﻟﺎـﻨﻴﺒـﻟ ﻲـّﻨﻔﻟا ﺮﻳﺪـﻤﻟا .جﺎـﺘﻧﻟ 

ﺔـّﻴﺑﺮﻌﻟا تارﺎﻣا ،نﻮـﻨﻔﻠﻟ ﺔﻗرﺎـﺸـﻟا ﺔـﺴـﺳﺆﻣ 

.ةﺪﺤﺘﻤﻟا 

ﺪﻌﺑ ﻌﻳﺮﺳ ﻖﻳوﺰﺘﻟا اﺬﻫ ّﻞﻛ لاوﺰﺑ ﺔّﻴﻘﻴﻘﺣ 

ﺾﻌﺑ ﻲﻓ ﻪّﻧأ ﺮﺧﺎﺴﻟا ﻦﻣ .لوﺆﺴﻤﻟا بﺎﻫذ 

رﺎﺠﺷأ تﺎﻄﻠﺴﻟا ﻊﻠﺨﺗ (ﻦﻛﺎﻣا وأ) تﻻﺎﺤﻟا 

لوﺆﺴﻣ ةرﺎﻳﺰﻟ ﺮﻴﻀﺤﺗ ﺎﻬﺘﻋرز ﻲﺘﻟا ﻞﻴﺨﻨﻟا 

.ﺔﻴﻟﺎﺘﻟا ةرﺎﻳﺰﻟا ﻰّﺘﺣ ﺎﻬﺑ ﻆﻔﺘﺤﺘﻟ 

راﺮﻜﺘﻟا لﺎﺣو ﺔّﻳﺮﺋاﺪﻟا ﺔﻛﺮﺤﻟا ﺮﺼﻨﻋ ﻊﻨﺼﻳ 

ﻊﻣ ﺔﺻﺎﺧ ﺔﻗﻼﻋ ،ةدا ّﺮﺑ ﻞﻤﻋ ﻲﻓ غرﺎﻔﻟا يﺪﺑا 

ناروﺪﻟا ﺔﻛﺮﺣ ﺲﻜﻌﻳ يﺬﻟاو ،ﺪﻳﺪﺤﻟا ﺎﻧﺎﻳد ﻞﻤﻋ 

ﻒّﻟﺄﺘﻳ .ﻞﻜﺸﻟا ﻲﻠﺑﺎﺑ ّﻲﺒﻟﻮﻟ عاﺪﺘﻣ ﺖﺤﻧ ﻊﻣ 

ّﻲﺒﻟﻮﻟ جرد ﻦﻣ "دﻮﺳا ﺐﻘﺜﻟا ﺔﺑاﻮﺑ" ﺎﻬﻠﻤﻋ 

ﺰﻛﺮﻣ ﻲﻓ ﺔﻋﻮﺿﻮﻣ ﻦﻏرآ ﻊﺑﺎﺻأ ﻦﻣ عﻮﻨﺼﻣ 

ﺖﻧﺎﻛ .ﺔّﺒﻘﻟا ةﺬﻓﺎﻧ ﻰﻟإ ي ّدﺆﺗو ﻲﺘﺤﻨﻟا ﻞﻤﻌﻟا 

ﺪﻴﺣﻮﻟا ةءﺎﺿا رﺪﺼﻣ ﻲﻫ نﻮﻴﺜﻧﺎﺒﻟا ﺔﺒﻗ ةﺬﻓﺎﻧ 

ءﺎﻤﺳ ﻲﻓ ﺔّﻳﺰﻛﺮﻣ ﺴﻤﺷ ﻞّﺜﻤﺗو (بﺎﺒﻟا ﻦﻋ اﺪﻋ) 

اﺪﺒﻌﻣ ﻞﺻا ﻲﻓ ﻰﻨﺒﻤﻟا اﺬﻫ نﺎﻛ .ﺔّﻴﺘﻨﻤﺳإ 

ﺐﺴﻨﻳ .ﺔّﻴﺋارﺪﺗﺎﻛ ﻰﻟإ ل ّﻮﺤﺗ ﻪّﻨﻜﻟو ﺔﻬﻟا ّﻞﻜﻟ 

«ﻲﻘﺸﻣﺪﻟا سرودﻮﻟﻮﺑأ» ﻰﻟإ ﻣﻮﻤﻋ ﻪﻤﻴﻤﺼﺗ 

.ﻖﺸﻣد ﻲﻓ دﻮﻟﻮﻣ ّﻴﻧﺎﻧﻮﻳ ّﻳرﺎﻤﻌﻣ نﺎﻛ يﺬﻟاو 

،ﺪﺒﻌﻣ ﻪﺒﺷ ﻪّﻧأ ﻰﻠﻋ ﻲﺘﺤﻨﻟا ﻞﻤﻌﻟا ﻢ ّﻤﺻ 

تاﻮﺻأ ﻪﻨﻋ رﺪﺼﺗ «يرﺎﻤﻌﻣ دﻮﺳأ ﺐﻘﺛ» وأ 

.ةد ّﺮﺠﻤﻟا نذﺎﺑ ﻊﻤﺴﺗ نأ ﻦﻜﻤﻳ ﻻ ﺔﻀﻔﺨﻨﻣ 

ﻦﻣ ﻲﻘﺘﻨﻳ ﻦﻴﺣ ﻲﻓ ،اﺬﻫ ﻲﺋﺎﻨﺑ» ﺪﻳﺪﺤﻟا لﻮﻘﺗ 

،ﺔّﻴﻃﻮﻘﻟا تﺎّﻴﺋارﺪﺗﺎﻜﻟاو ﺔّﻴﻧﺎﻧﻮﻴﻟا ﺪﺑﺎﻌﻤﻟا ةرﺎﻤﻋ 

ﻊﻗﻮﻣ ﻮﺤﻧ ﻞﺑ ،ا ﻮﺤﻧ ﻻ ،ﺮﻤﻣ ﻞﻴﻜﺸﺗ حﺮﺘﻘﻳ 

ٌﺐﻘﺛ ،ﻪﻴﻟإ لﻮﺻﻮﻟا ﻞﻴﺤﺘﺴﻳو ﻒﺸﺘﻜ ُﻣ ﺮﻴﻏ ﺮﺧآ 

ﺎﻨﻤﻟﺎﻋ ﻦﻋ ﻣﺎﻤﺗ لوﺰﻌﻣ ّﻲﺿﺮﻓ نﺎﻜﻣ ،دﻮﺳأ 

ﻲﻓ نﺎﻛ ﻪّﻧﺄﻛو ﺮ ّﻣﺪﻤﻟا ﻞﻜﻴﻬﻟا وﺪﺒﻳ .ﺎﻨﺨﻳرﺎﺗو 

«.ﻞﻤﻬﻣو ﺖﻣﺎﺻ مﻮﻴﻟا ﻪﻨﻜﻟو ًﻻﺎ ّﻌﻓ ﺎﻣ مﻮﻳ 

ﻦﻣ ر ّﻮﺼﺗ يﺬﻟا ﻲﺒﻟﻮﻠﻟا دﻮﺳا ﺐﻘﺜﻟا اﺬﻫ ّﻞﻌﻟ 

ﻰﻟإ ﺮﻴﺸﻳ مﺆﺷ لﺄﻓ ﺔّﻴﺋارﺪﺗﺎﻜﻟا هﺬﻫ ﻪﻟﻼﺧ 

ر ّﻮﺼﺘﻟا اﺬﻫ ﻰﻠﻋ ﻖﻴﻠﻌﺗو ،ﺪﻋاﻮﻟا ﺮﻴﻏ ﻞﺒﻘﺘﺴﻤﻟا 

.ﺦﻳرﺎﺘﻠﻟ ﻢﺋﺎﺸﺘﻤﻟا 

ﻲﻓ "؟بﺮﻌﻟا ﻦﻳو" لﺄﺴﺗ يوﺎﺠﺣ حﺎﻤﺳ ّنأ ﺮﻴﻏ 

دﻮﻌﺘﻓ ﺔﻘﻠﺤﻟا ﻚﻟﺬﺑ ﻞﻤﺘﻜﺗو ﻲﺤﻟا ﺎﻬﺋادأ 

تﺎﻳاﺪﺑ ﻰﻟإ ،ﺮﺻﺎﻨﻟا ﺪﺒﻋ لﺎﻤﺟ ﺔﺒﻘﺣ ﻰﻟإ ﺎﻨﺑ 

ﻦﻴﺣ ﺔﻤﻴﻈﻌﻟا ﺔّﻴﻟﺎﺜﻤﻟا ﺔﻈﺤﻠﻟا ﻰﻟإ ،ضﺮﻌﻤﻟا 

.ﻨﻜﻤﻣ ﻤﻠﺣ ﺔّﻴﺑﺮﻌﻟا ةﺪﺣﻮﻟاو ﺔّﻴﻣﻮﻘﻟا ﺖﻧﺎﻛ 

ﺎﻬﺑﺎﻄﺧ ﻲﻓ ﻦﻄﺒﻣ راﺮﻜﺘﻟا نﺈﻓ ،ﻚﻟذ ﻢﻏر

to reach location - a black hole, a 

hypothetical place completely cut off 

from our world and our history. The 

ruined structure appears to have 

been operational one day, but is now 

silent and dysfunctional.” The spiral 

black hole in which Al Hadid depicts 

this church is perhaps ominous as 

to the unpromising future ahead, 

and a commentary on a nihilistic 

view of history. 

Where Where Where are are are the the the Arabs? Arabs? Arabs? asks Samah 

Hijawi in a performance, taking us 

back full circle to Jamal Abdel- 

Nasser’s era, to the beginning 

of the exhibition, to that utopian 

and glorious moment when Arab 

nationalism and unity was still a 

possible dream. However, repetition 

is imbedded in her oratory, identified 

in the recurrence of certain ideas 

throughout the length of the speech, 

and even though in the Arabic 

language and culture repetition 

is normally used to emphasize 

conviction, in her case it can only 

allude to emptiness, boredom 

and futility of the performance of 

certain political figures, as is also 

manifest in the circular movement 

of Barrada’s piece and Al Hadid’s 

dilapidated spiral staircase that 

leads to a black hole. 

And history repeats itself. Tarek 

Atoui Undrum II: the Chinese 

Connection Connection Connection ends with the lowest 

point humanly audible in the musical 

scale, creating a challenging 

connection between the practices of 

several popular political movements 

in the Arab world and the trials of 

opera, music and art masters who 

were adjudicated and condemned by 

the youth of the Chinese communist 

party during the Maoist revolution. 

His physically challenging sound 

performance mirrors his personal 

struggle with the flux of unsettling 

political, social and cultural 

changes, as rough, dense and 

distorted electronic sound textures 

collide with the sounds of trials and 

Maoist propaganda. We can stretch 

our imagination to place Hijawi’s 

speech performance next to Atoui’s 

sound performance in a twisted, 

complimentary way, as if one leads 

up to the other and possibly feeds 

from the other. 

Disorientation Disorientation Disorientation II II II follows a circular 

path, emphasizing the notion of 

repetition of familiar shortcomings, 

the squandered opportunities and 

violent power struggles that lead 

to wasted lives, bitter societies 

and the betrayal of human values. 

If only Ibn Khladoun’s theory 

on the movement of history as 

exemplified in the life of a city, 

would hold in the 21st century, for 

us to witness the inevitable defeat of 

rampant corruption, injustices and 

discrimination and the reappearance 

of people with higher morals, ethics 

and values. 

* This second edition comes as a continuation of 

Disorientation – contemporary Arab artists from 

the the the Middle Middle Middle East, East which was held at the House of 

World Cultures in Berlin in 2003. 

Jack Persekian; Born in Jerusalem, 

living in Jerusalem and Sharjah. 

Curator and Producer, Founding 

Director of Anadiel Gallery, 

the Al-Ma’mal Foundation for 

Contemporary Art in Jerusalem and 

XEIN Productions. Artistic director of 

the Sharjah Biennial and director of 

the Sharjah Art Foundation, UAE. 


BIOS

Tarek Al-Ghoussein 

Tarek Al-Ghoussein is an artist 

based in the United Arab Emirates. 

He obtained a BFA from NYU 

and an MA in Photography from 

the University of New Mexico in 

1987. His work has appeared in 

international exhibits throughout 

Europe, the United States and the 

Middle East. 

His work is featured in several art 

anthologies and a monograph of 

his work “In Absentia” has recently 

been published by Page One and 

The Third Line. Al-Ghoussein’s 

work is in permanent collections 

at the Victoria and Albert Museum 

in London, Royal Museum of 

Photography in Copenhagen, 

Darat Al-Fanun in Amman, and the 

Sharjah Art Foundation in Sharjah. 

Tarek Al-Ghoussein is currently 

Associate Professor of Photography 

at the School of Architecture and 

Design at the American University 

of Sharjah. 

ﻦﻴﺼﻐﻟا قرﺎﻃ 

تارﺎﻣا ﻲﻓ ﻢﻴﻘﻣ نﺎﻨﻓ ﻦﻴﺼﻐﻟا قرﺎﻃ 

ﻲﻓ سﻮﻳرﻮﻟﺎﻜﺑ ﻰﻠﻋ ﻞﺼﺣ ،ةﺪﺤﺘﻤﻟا ﺔﻴﺑﺮﻌﻟا 

ﻰﻠﻋو ،كرﻮﻳﻮﻴﻧ ﺔﻌﻣﺎﺟ ﻦﻣ ﺔﻠﻴﻤﺠﻟا نﻮﻨﻔﻟا 

ﻦﻣ ﺔﻠﻴﻤﺠﻟا نﻮﻨﻔﻟا ﻲﻓ ﺮﻴﺘﺴﺟﺎﻤﻟا ﺔﺟرد 

.١٩٨٧ مﺎﻋ ﻮﻜﻴﺴﻜﻣ ﻮﻴﻧ ﺔﻌﻣﺎﺟ 

ﺔﻴﻟود ضرﺎﻌﻣ ﻲﻓ ﻦﻴﺼﻐﻟا لﺎﻤﻋأ تﺮﻬﻇ 

،ﻂﺳوا قﺮﺸﻟاو ةﺪﺤﺘﻤﻟا تﺎﻳﻻﻮﻟاو ﺎﺑوروأ ﻲﻓ 

ﺚﻴﺣ ،ةرﺎﺘﺨﻣ ﺔﻴﻨﻓ لﺎﻤﻋأ ةﺪﻋ ﻪﻟ تزﺮﺑ ﺪﻗو 

ﺚﻟﺎﺜﻟا ﻂﺨﻟا يﺮﻴﻟﺎﻏو نو ﺞﻴﺑ يﺮﻴﻟﺎﻏ ﺮﺸﻧ 

ﻲﻓ ﻦﻴﺼﻐﻟا لﺎﻤﻋأ ﺪﺟﻮﺗ .«بﺎﻴﻐﻟا ﻲﻓ» ﻪﻠﻤﻋ 

تﺮﺒﻟأو ﺎﻳرﻮﺘﻜﻓ ﻒﺤﺘﻣ ﻲﻓ ﺔﻤﺋاد تﺎﻋﻮﻤﺠﻣ 

ﻲﻓ ﺮﻳﻮﺼﺘﻠﻟ ﻲﻜﻠﻤﻟا ﻒﺤﺘﻤﻟا ﻲﻓو ،نﺪﻨﻟ ﻲﻓ 

ﺔﺴﺳﺆﻣو ،نﺎﻤﻋ ﻲﻓ نﻮﻨﻔﻟا ةرادو ﻦﺟﺎﻬﻨﺑﻮﻛ 

.ﺔﻗرﺎﺸﻟا ﻲﻓ نﻮﻨﻔﻠﻟ ﺔﻗرﺎﺸﻟا 

ﺔﻗرﺎﺸﻟا ﻲﻓ ﺎﻴﻟﺎﺣ ﻞﻤﻌﻳو ﻦﻴﺼﻐﻟا ﺶﻴﻌﻳ 

ﺔﻴﻠﻛ ﻲﻓ ﺮﻳﻮﺼﺘﻟا ﻲﻓ كرﺎﺸﻣ ذﺎﺘﺳﺄﻛ 

ﺔﻌﻣﺎﺠﻟا ﻲﻓ ﻢﻴﻤﺼﺘﻟاو ﺔﻳرﺎﻤﻌﻤﻟا ﺔﺳﺪﻨﻬﻟا 

.ﺔﻗرﺎﺸﻟا ﻲﻓ ﺔﻴﻜﻳﺮﻣا 


Diana Al-Hadid 

Diana Al-Hadid was born 1981 in 

Aleppo, Syria and currently lives 

and works in Brooklyn, New York. 

She received a BFA in Sculpture, 

Kent State University, Kent, Ohio 

and an MFA in Sculpture, Virginia 

Commonwealth University, 

Richmond, Virginia. In 2007 

she attended the Skowhegan 

School of Painting and Sculpture, 

Skowhegan, Maine. 

She was named a New York 

Foundation for the Arts Fellow 

in Sculpture in 2009 and was a 

recipient of the Pollock-Krasner 

Grant in 2007. Solo exhibitions 

include “Reverse Collider”, Perry 

Rubenstein Gallery, New York, NY 

(2008) and “The Gradual Approach 

of My Disintegration”, Priska C. 

Juschka Fine Art, New York, NY 

(2006). Her work has been included 

in numerous international group 

exhibitions including, “The Station 

2008”, Midblock East, Miami, 

“Unveiled: New Art from the Middle 

East,” The Saatchi Gallery, London, 

UK (2009), the 9th Sharjah Biennial, 

UAE (2009), and “In the Between”, 

Istanbul Turkey (2009). 

ﺪﻳﺪﺤﻟا ﺎﻧﺎﻳد 

مﺎﻋ ﺎﻳرﻮﺴﺑ ﺐﻠﺣ ﻲﻓ ﺪﻳﺪﺤﻟا ﺎﻧﺎﻳد تﺪﻟو 

،ﻦﻴﻠﻛوﺮﺑ ﻲﻓ ﻴﻟﺎﺣ ﻞﻤﻌﺗو ﺶﻴﻌﺗ .١٩٨١ 

سﻮﻳرﻮﻟﺎﻜﺑ ﻰﻠﻋ ﺪﻳﺪﺤﻟا ﺖﻠﺼﺣ .كرﻮﻳﻮﻴﻧ 

ﺖﻨﻛ ﺔﻌﻣﺎﺟ ﻦﻣ ﺖﺤﻨﻟا ﻲﻓ ﺔﻠﻴﻤﺠﻟا نﻮﻨﻔﻟا 

نﻮﻨﻔﻟا ﺮﻴﺘﺴﺟﺎﻣو .ﻮﻳﺎﻫوأ ،ﺖﻨﻛ ،ﺔﻴﻣﻮﻜﺤﻟا 

ﺎﻴﻨﻴﺟﺮﻓ ﺔﻌﻣﺎﺟ ﻦﻣ ﺖﺤﻨﻟا ﻲﻓ ﺔﻠﻴﻤﺠﻟا 

مﺎﻋ ﻲﻓ .ﺎﻴﻨﻴﺟﺮﻓ ،ﺪﻧﻮﻤﺸﺘﻳر ،ﺚﻟﻮﻨﻣﻮﻛ 

ﻢﺳﺮﻠﻟ ﻦﻴﻐﻴﻫﻮﻜﺳ ﺔﺳرﺪﻤﺑ ﺖﻘﺤﺘﻟا ،٢٠٠٧ 

ﻰﻠﻋ ﺖﻠﺼﺣو .ﻦﻳﺎﻣ ،ﻦﻴﻐﻴﻫﻮﻜﺳ ،ﺖﺤﻨﻟاو 

ﺖﺤﺷُر ﺎﻤﻛ .٢٠٠٧ مﺎﻋﺮﻨﺳﺮﻛ-كﻮﻟﻮﺑ ﺔﺤﻨﻣ 

ﻲﻓ نﻮﻨﻔﻟا ﺔﻟﺎﻣﺰﻟ كرﻮﻳﻮﻴﻧ ﺔﺴﺳﺆﻤﻟ ٢٠٠٩ مﺎﻋ 

.ﺖﺤﻨﻟا 

،«ﻲﺴﻜﻌﻟا مدﺎﺼﻟا» ﺔﻳدﺮﻔﻟا ﺎﻬﺿرﺎﻌﻣ ﻦﻤﻀﺘﺗ 

ﺞﻬﻨﻟا«و .٢٠٠٨ كرﻮﻳﻮﻴﻧ ،ﻦﻳﺎﺘﺸﻨﺑور يﺮﺑ يﺮﻴﻟﺎﻏ 

ﺎﻜﻴﺸﺳﻮﺟ ﻲﺳ ﺎﻜﺳﺮﺑ «ﻲﻟﺎﺼﻔﻧﻻ ﻲﺠﻳرﺪﺘﻟا 

ﺖﻛرﺎﺷ ﺎﻤﻛ .٢٠ ٠٦ كرﻮﻳﻮﻴﻧ ،ﺔﻠﻴﻤﺠﻟا نﻮﻨﻔﻠﻟ 

:ﺎﻬﻨﻤﺿ ﻦﻣ ﺔﻴﻋﺎﻤﺟ ضرﺎﻌﻣ ةﺪﻋ ﻲﻓ ﺪﻳﺪﺤﻟا 

نوﺪﺑ» ،ﻲﻣﺎﻴﻣ قﺮﺷ ،كﻮﻠﺑﺪﻣ ،«٢٠٠٨ ﺔﻄﺤﻤﻟا» 

،«ﻂﺳوا قﺮﺸﻟا ﻦﻣ ﺔﻠﻴﻤﺟ نﻮﻨﻓ :بﺎﺠﺣ 

.٢٠٠٩ ةﺪﺤﺘﻤﻟا ﺔﻜﻠﻤﻤﻟا ،نﺪﻨﻟ ،ﻲﺸﺗﺎﺳ يﺮﻴﻟﺎﻏ 

.٢٠٠٩ ةﺪﺤﺘﻤﻟا ﺔﻴﺑﺮﻌﻟا تارﺎﻣا ،٩ ﺔﻗرﺎﺸﻟا ﻲﻟﺎﻨﻴﺑ 

.٢٠٠٩ ﺎﻴﻛﺮﺗ ،لﻮﺒﻨﻄﺳا ،«ﻦﻴﺑ ﺎﻣ ﻲﻓ«و

Ayreen Anastas & Rene Gabri 

Ayreen Anastas writes in fragments 

and makes films and videos. Her 

recent text, audio, web, and video 

works have focused on the evolving 

legal and discursive shifts around 

different notions of security and 

the subsequent effects on everyday 

life. She is one of the organizers of 

16 Beaver Group (16beavergroup. 

org). She has no affection for the 

proclamation of victory. Troubled by 

any image of herself, suffers when 

she is named. 

Rene Gabri is interested in the 

complex mechanisms which 

constitute the world around us, 

he is often working alone or 

with others within the folds of 

cultural practice, social thought, 

and politics. Much of his practice 

springs from contact with others, 

dialogues and conversations with 

friends, colleagues, thinkers, 

and individuals he encounters 

by chance. Organizing public 

discussions, readings, and social 

activities has happened largely 

through his involvement with 16 

Beaver. 

يﺮﺑﺎﺟ ﻪﻴﻨﻳر و سﺎﻄﺴﻧأ ﻦﻳﺮﻳآ 

صﻮﺼﻨﻟا ﺔﺑﺎﺘﻜﺑ سﺎﻄﺴﻧأ ﻦﻳﺮﻳآ مﻮﻘﺗ 

تﺰﻛر ﺪﻗو ،ﻮﻳﺪﻴﻔﻟاو مﻼﻓا ﺔﻋﺎﻨﺻو 

ﺔﻴﻌﻤﺴﻟا ﺎﻬﻟﺎﻤﻋأو ةﺮﻴﺧا ﺎﻬﺻﻮﺼﻧ ﻲﻓ 

ﻰﻠﻋ ،ﻮﻳﺪﻴﻔﻟا مﻼﻓأو ﺔﻴﻧوﺮﺘﻜﻟا ﺎﻬﺘﺤﻔﺻو 

لﻮﺣ ﺔﺌﺷﺎﻨﻟا ﺔﻴﺳﺎﻴﺴﻟاو ﺔﻴﻧﻮﻧﺎﻘﻟا تاﺮﻴﻴﻐﺘﻟا 

ﻪﺗاﺮﻴﺛﺄﺗو ﻦﻣﺎﺑ ﻰ ّﻤﺴُﻳ ﺎﻤﺑ ﺔﻘﻠﻌﺘﻣ ﻊﻴﺿاﻮﻣ 

سﺎﻄﺴﻧأ ﺮﺒﺘﻌﺗ .ﺔﻴﻣﻮﻴﻟا ﺎﻨﺗﺎﻴﺣ ﻰﻠﻋ ﺔﻘﺣﻼﻟا 

ﺔﻋﻮﻤﺠﻤﻟ تﺎﻤﻈﻨﻤﻟاو ﻦﻴﻤﻈﻨﻤﻟا ﻦﻣ ةﺪﺣاو 

ﻞﻴﻤﺗﻻو ،(16beavergroup.org) ١٦ ﺮﻔﻴﺑ 

ﺎﻬﻟ ةرﻮﺻ ي ﻦﺌﻤﻄﺗ ﻻو ،ﻲﺗاﺬﻟا ﺢﻳﺪﻤﻠﻟ 

.ﺎﻬﻤﺳا ﻖﻠﻃُا ﺎﻣ اذإ ﻲﻧﺎﻌﺗو 

ﻲﺘﻟا ةﺪﻘﻌﻤﻟا تﺎﻴﻟﺎﺑ يﺮﺑﺎﺟ ﻪﻴﻨﻳر ﻢﺘﻬﻳ 

هﺪﺣﻮﻟ ﻞﻤﻌﻳ ﺎﻣ ﺎﺒﻟﺎﻏو ،ﺎﻨﻟﻮﺣ ﻢﻟﺎﻌﻟا ﻞﻜﺸﺗ 

ﺮﻜﻔﻟاو ﻲﻓﺎﻘﺜﻟا ﻞﻤﻌﻟا ﻦﻤﺿ ﻦﻳﺮﺧآ ﻊﻣ وأ 

ﻊﺒﻨﺗ ﻪﻟﺎﻤﻋأ ﻦﻣ ﺮﻴﺜﻜﻟا .ﺔﺳﺎﻴﺴﻟاو ﻲﻋﺎﻤﺘﺟا 

ﻊﻣ ﻪﺜﻳدﺎﺣأو ﻪﺗاراﻮﺣو ﻦﻳﺮﺧﺎﺑ ﻪﻟﺎﺼﺗإ ﻦﻣ 

ﻦﻳﺬﻟا داﺮﻓاو ﻦﻳﺮﻜﻔﻤﻟاو ءﻼﻣﺰﻟاو ءﺎﻗﺪﺻا 

ﻲﻓ ﻪﻃاﺮﺨﻧا لﻼﺧ ﻦﻣو .ﺔﻓﺪﺻ ﻢﻬﺑ ﻲﻘﺘﻠﻳ 

تاراﻮﺤﻟا ﻦﻣ ﺪﻳﺪﻌﻟا ﻢﻈﻧ ،١٦ ﺮﻔﻴﺑ ﺔﻋﻮﻤﺠﻣ 

.ﺔﻴﻋﺎﻤﺘﺟﻻا ﺔﻄﺸﻧاو تاءاﺮﻘﻟاو 


Tarek Atoui 

Tarek Atoui was born in Lebanon 

in 1980 and moved to Paris in 1998 

where he studied contemporary 

and electronic music at the French 

National Conservatory of Reims. 

He worked in the Netherlands as 

co-artistic director of the STEIM 

Studios in Amsterdam in 2008 and 

has released his first solo album 

on the esteemed Mort Aux Vaches 

series of the Staalplaat label 

(Amsterdam/Berlin). 

Atoui is an electro-acoustic 

musician who initiates and curates 

multidisciplinary interventions, 

events, concerts and workshops 

in Europe and the Middle East. 

He builds new software for each 

project he works on and specializes 

in creating computer tools for 

interdisciplinary art forms and 

youth education. 

He has played and performed at 

many contemporary art events 

and festivals in the Middle East 

and Europe such as the Today’s 

Art Festival (the Hague), Club 

Transmediale (Berlin), The Sharjah 

Biennial (UAE), the New Museum 

(New-York), and is currently 

the artist in residency at the 

Sharjah Art Foundation that has 

been closely following his work 

since 2008. Much of Atoui’s work 

references the social and political 

and presents electronic music and 

new technologies as powerful tools 

of expression and identity. 

يﻮﻄﻋ قرﺎﻃ 

ﻞﻘﺘﻧاو نﺎﻨﺒﻟ ﻲﻓ ١٩٨٠ مﺎﻋ يﻮﻄﻋ قرﺎﻃ ﺪﻟو 

ﻰﻘﻴﺳﻮﻤﻟا سرد ﺚﻴﺣ ١٩٨٨ مﺎﻋ ﺲﻳرﺎﺑ ﻰﻟإ 

راﻮﺘﻓﺮﺴﻧﻮﻜﻟا ﻲﻓ ﺔﻴﻧوﺮﺘﻜﻟاو ةﺮﺻﺎﻌﻤﻟا 

١٩٨٠ مﺎﻋ ﻲﻓ .ﻦﻳر ﻲﻓ ﻲﺴﻧﺮﻔﻟا ﻲﻨﻃﻮﻟا 

كرﺎﺸﻣ ﻲﻨﻓ ﺮﻳﺪﻤﻛ اﺪﻨﻟﻮﻫ ﻲﻓ يﻮﻄﻋ ﻞﻤﻋ 

ﻖﻠﻃأو ،مادﺮﺘﺴﻣأ ﻲﻓ ﻢﻳﺎﺘﺷ تﺎﻫﻮﻳدﻮﺘﺳﻻ 

وأ ترﻮﻣ ﺔﻠﺴﻠﺳ لﻮﺣ دﺮﻔﻨﻣ مﻮﺒﻟأ لوأ 

تﻼﺒﻟﺎﺘﺳ ﻖﺼﻠﻤﻟ Mort Aux Vaches ﻪﻴﺷﺎﻓ 

يﻮﻄﻋو .(ﻦﻴﻟﺮﺑ/مادﺮﺘﺴﻣأ) Staalplaat 

ﻢﻴﻈﻨﺘﺑ مﻮﻘﻳ ﻲﻧوﺮﺘﻜﻟإ تﻮﺻ رﺎﻘﻴﺳﻮﻣ 

تﻼﻔﺣو تﺎﻴﻟﺎﻌﻓو ﻢﻈﻨﻟا ةدﺪﻌﺘﻣ تﻼﺧﺪﺗ 

.ﻂﺳوا قﺮﺸﻟاو ﺎﺑوروأ ﻲﻓ ﻞﻤﻋ شروو 

،عوﺮـﺸﻣ ﻞﻜﻟ ﺔﻴﺑﻮـﺳﺎﺣ ﺞﻣاﺮﺑ يﻮﻄﻋ ﻲﻨﺒﻳ 

لﺎﻜﺷ ﺔﻴﺑﻮـﺳﺎﺣ تاودأ ﻖﻠـﺧ ﻲﻓ ﺺﺼﺨﺘﻳو 

.بﺎﺒﺸﻟا ﺔﻓﺎﻘﺜﻟو ﻢﻈﻨﻟا ةدﺪﻌﺘﻣ ﺔـّﻴﻨﻓ 

تﺎﻴﻟﺎﻌﻓ ﻲﻓ ﻲﻘﻴﺳﻮﻤﻟا ﻪﺋادﺄﺑ كرﺎﺷ 

قﺮﺸﻟا ﻲﻓ ةﺮﻴﺜﻛ ةﺮﺻﺎﻌﻣ ﺔﻴﻨﻓ تﺎﻧﺎﺟﺮﻬﻣو 

ﻦﻔﻟا نﺎﺟﺮﻬﻣ :ﺎﻬﻨﻤﺿ ﻦﻣ ﺎﺑوروأو ﻂﺳوا 

،(ﻦﻴﻟﺮﺑ) لﺎﻳﺪﻴﺴﻧاﺮﺗ بﻮﻠﻛ ،(يﺎﻫﻻ) مﻮﻴﻟا 

،(ةﺪﺤﺘﻤﻟا ﺔﻴﺑﺮﻌﻟا تارﺎﻣا) ﺔﻗرﺎﺸﻟا ﻲﻟﺎﻨﻴﺑ 

ﻴﻟﺎﺣ ﻮﻫو ،(كرﻮﻳﻮﻴﻧ) ﺪﻳﺪﺠﻟا ﻒﺤﺘﻤﻟا ﻲﻓو 

نﻮﻨﻔﻠﻟ ﺔﻗرﺎﺸﻟا ﺔﺴﺳﺆﻣ ﻲﻓ ﻢﻴﻘﻣ نﺎﻨﻓ 

.٢٠٠٨ مﺎﻌﻟا ﺬﻨﻣ بﺮﻗ ﻦﻋ ﻪﻟﺎﻤﻋأ ﻊﺑﺎﺘﻳ ﺚﻴﺣ 

ﺔﻴﻋﺎﻤﺘﺟا ﺔﻤﺳ ﺎﻬﻟ يﻮﻄﻋ لﺎﻤﻋأ ﻢﻈﻌﻣ 

ﺔﻴﻧوﺮﺘﻜﻟإ ﻰﻘﻴﺳﻮﻣ مﺪﻘﻳ ﻮﻫو ،ﺔﻴﺳﺎﻴـﺳو 

ﺮﻴﺒﻌﺘﻠﻟ ﺔﻳﻮﻗ تاودﺄﻛ ةﺪﻳﺪﺟ تﺎـﻴﺟﻮﻟﻮﻨﻜﺗو 

.ﺔﻳﻮﻬﻟاو

Kader Attia 

Kader Attia was born in 1970 in 

Dugny, in Seine-Saint-Denis, 

France. He lives and works in 

Berlin. He studied at at the Ecole 

Supérieure des Arts Appliqués in 

Paris, at the Massana School of 

Applied Arts in Barcelona and the 

Ecole Nationale Supérieure des 

Arts Décoratifs in Paris. 

He works in the various mediums 

of photography, video, sculpture, 

drawings, and installation. His 

work has been shown in numerous 

museums worldwide, like Centro 

de Arte Contemporano, Huarte in 

Spain, the ICA in Boston, the Henry 

Art Gallery in Seattle, the Kitchen 

and Artist Space in New York, CNP 

in Paris, at the Kunstwerke in Berlin, 

the Palais de Tokyo in Paris, the 

Sternersen Museum in Oslo. 

He has also taken part in the 50th 

Biennale in Venice in 2003, the 8th 

Biennale in Lyon in 2005, the Havana 

Biennale in 2009 and the Sydney 

Biennale in 2010. In 2009 he was 

one of the winners of the Abraaj Art 

Capital Prize and one of the fellows 

of the Smithsonian Institution’s 

Artist Research Program. 

ﺔﻴﻄﻋ ردﺎﻗ 

ﻦﻴﺳ ﻲﻓ ،ﻲﻧﻮﻏد ﻲﻓ ١٩٧٠ مﺎﻋ ﺔﻴﻄﻋ ردﺎﻗ ﺪﻟو 

ﻴﻟﺎﺣ ﻞﻤﻌﻳو ﺶﻴﻌﻳ .ﺎﺴﻧﺮﻔﺑ ﺲﻴﻧد ﺖﻧﺎﺳ 

نﻮﻨﻔﻟا ﺔﺳرﺪﻣ ﻲﻓ ﺔﻴﻄﻋ سرد .ﻦﻴﻟﺮﺑ ﻲﻓ 

ﺔﺳرﺪﻣ ﻲﻓو ،ﺲﻳرﺎﺑ ﻲﻓ ﺎﻴﻠﻌﻟا ﺔﻴﻘﻴﺒﻄﺘﻟا 

ﻲﻓو ،ﺔﻧﻮﻠﺷﺮﺑ ﻲﻓ ﺔﻴﻘﻴﺒﻄﺘﻟا نﻮﻨﻔﻠﻟ ﺎﻧﺎﺴﻣ 

ﻲﻓ ﺔﻴﻓﺮﺧﺰﻟا نﻮﻨﻔﻠﻟ ﺎﻴﻠﻌﻟا ﺔﻴﻨﻃﻮﻟا ﺔﺳرﺪﻤﻟا 

ﺔﻔﻠﺘﺨﻤﻟا ﻂﺋﺎﺳﻮﻟا ﻲﻓ ﺔﻴﻄﻋ ﻞﻤﻌﻳ .ﺲﻳرﺎﺑ 

لﺎﻤﻋاو ﻢﺳﺮﻟاو ﺖﺤﻨﻟاو ﻮﻳﺪﻴﻔﻟاو ﺮﻳﻮﺼﺘﻠﻟ 

.ﺔﻴﺒﻴﻛﺮﺘﻟا 

ﻒﻠﺘﺨﻣ ﻲﻓ ةﺪﻋ ﻒﺣﺎﺘﻣ ﻲﻓ ﻪﻟﺎﻤﻋأ ﺖﺿﺮ ُﻋ 

،ﺎﻴﻧﺎﺒﺳا ،ﺮﺻﺎﻌﻤﻟا ﻦﻔﻟا ﺰﻛﺮﻣ ﻞﺜﻣ ،ﻢﻟﺎﻌﻟا ءﺎﺤﻧأ 

ﻲﻓ ترآ يﺮﻨﻫ يﺮﻴﻟﺎﻏ ،ﻦﻄﺳﻮﺑ ﻲﻓ آ ﻲﺳ يأ 

،كرﻮﻳﻮﻴﻧ ﻲﻓ سﺎﺒﺳ ترآ ﺪﻧأ ﻦﺸﺘﻛ اذ ،ﻞﺗﺎﻴﺳ 

،ﻦﻴﻟﺮﺑ ﻲﻓ كرﻮﺘﺴﻧﻮﻜﻟا ،ﺲﻳرﺎﺑ ﻲﻓ ﻲﺑ نا ﻲﺳ 

ﻦﺳﺮﻧﺮﺘﺷ ﻒﺤﺘﻣ ،ﺲﻳرﺎﺑ ﻲﻓ ﻮﻴﻛﻮﻃ ﺮﺼﻗ 

.ﻒﺣﺎﺘﻤﻟا ﻦﻣ ﺎﻫﺮﻴﻏو ،ﻮﻠﺳوأ ﻲﻓ 

كرﺎﺷو ،٥٠ ﺎﻴﺴﻨﻴﻓ ﻲﻟﺎﻨﻴﺑ ﻲﻓ كرﺎﺷ ٢٠٠٣ مﺎﻋ 

ﺎﻧﺎﻓﺎﻫ ﻲﻟﺎﻨﻴﺑ ﻲﻓو ،٢٠٠٥ مﺎﻋ ٨ نﻮﻴﻟ ﻲﻟﺎﻨﻴﺑ ﻲﻓ 

ﻦﻳﺰﺋﺎﻔﻟا ﺪﺣأ ﺔﻴﻄﻋ نﺎﻛ ،٢٠٠٩ مﺎﻋ .٢٠٠٩ مﺎﻋ 

ﺞﻣﺎﻧﺮﺑ ءﻼﻣز ﺪﺣأو ،لﺎﺘﻴﺑﺎﻛ ترآ جاﺮﺑأ ةﺰﺋﺎﺠﺑ 

.ﻦﻴﻧﻮﺴﺜﻴﻤﺳ ﺔﺴﺳﺆﻤﺑ صﺎﺨﻟا ﻦﻴﻧﺎﻨﻔﻟا ثﺎﺤﺑأ 


Yto Barrada 

Yto Barrada was born in Paris in 

1971 and educated in Tangier. She 

later studied history and political 

science at the Sorbonne, Paris and 

photography in New York. 

Her recent exhibitions include 

Art Dubai, the Fowler Museum 

(Los Angeles), the MoMA (San 

Francisco and New York), Jeu 

de Paume (Paris), and the 2007 

Venice Biennale. In 2006, Barrada 

was awarded the first Ellen 

Auerbach Award in Berlin and 

was shortlisted for the Deutsche 

Börse Photography Prize. Her 

book, “A Life Full of Holes - The 

Strait Project,” was published by 

Autograph ABP in 2005. 

She is the director and co-founder 

of the Cinémathèque de Tanger in 

Tangier, Morocco. 

ةداﺮﺑ ﻮﻃإ 

ﺖﻤﻠﻌﺗ ،١٩٧١ مﺎﻋ ﺲﻳرﺎﺑ ﻲﻓ ةداﺮﺑ ﻮﻃإ تﺪﻟو 

مﻮﻠﻌﻟاو ﺦﻳرﺎﺘﻟا ﻚﻟذ ﺪﻌﺑ ﺖﺳردو ،ﺔﺠﻨﻃ ﻲﻓ 

ﺎﻤﻛ ،ﺲﻳرﺎﺑ ،نﻮﺑرﻮﺴﻟا ﺔﻌﻣﺎﺟ ﻲﻓ ﺔﻴﺳﺎﻴﺴﻟا 

.كرﻮﻳﻮﻴﻧ ﻲﻓ ﺮﻳﻮﺼﺘﻟا ﺖﺳرد 

سﻮﻟ) ﺮﻟﻮﻓ ﻒﺤﺘﻣ ،ﻲﺑد ترآ ﻲﻓ ﺖﻛرﺎﺷو 

،(كرﻮﻳﻮﻴﻧو ﻮﻜﺴﻴﺴﻧاﺮﻓ نﺎﺳ) ﺎﻣﻮﻣ ،(سﻮﻠﺠﻧأ 

.٢٠ ٠٧ ﺎﻨﻴﺴﻴﻓ ﻲﻟﺎﻨﻴﺑو ،(ﺲﻳرﺎﺑ) مﻮﺑ يدﻮﺟ 

ﻦﻟأ ةﺰﺋﺎﺟ ﻰﻠﻋ ةداﺮﺑ تزﺎﺣ ،٢٠ ٠٦ مﺎﻋ ﻲﻓ 

ﺔﻤﺋﺎﻘﻟا ﻦﻤﺿ ﺖﻧﺎﻛو ،ﻦﻴﻟﺮﺑ ﻲﻓ ﻰﻟوا خﺎﺑروأ 

ﻲﺸﺗود ﺮﻳﻮﺼﺘﻟا ةﺰﺋﺎﺠﻟ ﻦﻴﺤﺷﺮﻤﻠﻟ ةﺮﺼﺘﺨﻤﻟا 

ﺮﺸﻨﻠﻟ ﻲﺑ ﻲﺑ آ فاﺮﻏﻮﺗوأ راد تﺮﺸﻧ .ﻲﺳرﻮﺑ 

(مرﺎﺻ عوﺮﺸﻣ -ﺮﻔﺤﻟﺎﺑ ﺔﺌﻴﻠﻣ ةﺎﻴﺣ» ﺎﻬﺑﺎﺘﻛ 

.٢٠٠٥ مﺎﻋ 

ﻚﻴﺗﺎﻤﻨﻴﺴﻟ ﺔﻛرﺎﺸﻣ ﺔﺴﺳﺆﻣو ﺔﺟﺮﺨﻣ ،ةداﺮﺑ 

.بﺮﻐﻤﻟا ،ﺔﺠﻨﻃ

Monika Borgmann 

Monika Borgmann was born 

in Germany. She studied Arab 

philology and political sciences in 

Bonn and Damascus. From 1990 

– 2001 she worked as free-lance 

journalist for radio and press in 

Cairo while traveling in the Middle 

East and North Africa. In 2001 she 

co-founded the film production 

Umam Production and in 2004 

Umam Documentation & Research, 

a civil company that deals with the 

issues of civil violence and war 

memories in Lebanon. 

Monika Borgmann is the co-author 

and co-director of the award 

winning documentary Massaker 

which is portraying six men who 

killed in the massacre of Sabra and 

Shatila (1982) during the civil war 

as well as the co-director of Le 

Balcon, a short film shot during the 

summer war of 2006 in Lebanon. 

The interviews for her second 

film Sur Place – 4 Renvenants 

des Guerres Libanaises were 

carried out under the UMAM 

Documentation & Research project 

WHAT IS TO BE DONE? lebanon’s 

war-loaded memory. 

نﺎﻤﻏرﻮﺑ ﺎﻜﻴﻧﻮﻣ 

ﺖﺳردو ﺎﻴﻧﺎﻤﻟأ ﻲﻓ نﺎﻤﻏرﻮﺑ ﺎﻜﻴﻧﻮﻣ تﺪﻟو 

ﺔﻴﺳﺎﻴﺴﻟا مﻮﻠﻌﻟاو ﺔﻴﺑﺮﻌﻟا ﺔﻐﻠﻟا ﻪﻘﻓ ﻢﻠﻋ 

٢٠٠١و ١٩٩٠ ﻦﻴﺑ ﺎﻣ ةﺮﺘﻔﻟا ﻲﻓو ،ﻖﺸﻣدو نﻮﺑ ﻲﻓ 

لﺎﻤﺷو ﻂﺳوا قﺮﺸﻟا ﻲﻓ ﺎﻬﻟاﻮﺠﺗ لﻼﺧو 

ﺔﻋاذﻟ ﺔﻠﻘﺘﺴﻣ ﺔﻴﻔﺤﺼﻛ ﺖﻠﻤﻋ ﺎﻴﻘﻳﺮﻓأ 

ﺖﺴﺳأ ٢٠٠١ مﺎﻋ ﻲﻓ .ةﺮﻫﺎﻘﻟا ﻲﻓ ﺔﻓﺎﺤﺼﻟاو 

جﺎﺘﻧ ﻢﻣ ُ أ ﺔﺴﺳﺆﻣ ﺔﻛرﺎﺸﻤﻟﺎﺑ نﺎﻤﻏرﻮﺑ 

ﻖﻴﺛﻮﺘﻠﻟ ﻢﻣ ُ أ ﺖﺴﺳأ ٢٠٠٤ مﺎﻌﻟا ﻲﻓو ،مﻼﻓا 

ﺎﻳﺎﻀﻘﺑ ﻰﻨﻌﺗ ﺔﻴﻠﻫأ ﺔﺴﺳﺆﻣ ﻲﻫو ،ثﺎﺤﺑاو 

.نﺎﻨﺒﻟ ﻲﻓ بﺮﺤﻟا ﻦﻋ تﺎﻳﺮﻛذو ﻲﻠﻫا ﻒﻨﻌﻟا 

ﺔﻛرﺎﺸﻣ ﺔﺟﺮﺨﻣو ﺔﻛرﺎﺸﻣ ﺔﺒﺗﺎﻛ نﺎﻤﻏرﻮﺑ 

،ةﺰﺋﺎﺟ ﻰﻠﻋ ﺰﺋﺎﺤﻟا "ﺔﺤﺑﺬﻤﻟا" ﻲﻘﺋﺎﺛﻮﻟا ﻢﻠﻴﻔﻠﻟ 

اﺮﺒﺻ ﺔﺤﺑﺬﻣ ﻲﻓ اﻮﻠﺘ ُﻗ لﺎﺟر ﺔﺘﺳ رﻮﺼﻳ يﺬﻟاو 

ﺎﻤﻛ ،ﺔﻴﻠﻫا بﺮﺤﻟا لﻼﺧ ١٩٨٢ مﺎﻋ ﻼﻴﺗﺎﺷو 

ﻮﻫو ،نﺎﻘﻠﺒﻟا ﻢﻠﻴﻓ ﻲﻓ ﺔﻛرﺎﺸﻣ ﺔﺟﺮﺨﻣ ﺎﻬﻧأ 

بﺮﺣ ﻒﻴﺻ لﻼﺧ هﺮﻳﻮﺼﺗ ىﺮﺟ ﺮﻴﺼﻗ ﻢﻠﻴﻓ 

.نﺎﻨﺒﻟ ﻲﻓ ٢٠ ٠٦ 

Sur place ﻲﻧﺎﺜﻟا ﺎﻬﻤﻠﻴﻔﻟ تﻼﺑﺎﻘﻤﻟا 

4 Revenants des Guerres Libanaises 

ﺎﻣ" ،ثﺎﺤﺑاو ﻖﻴﺛﻮﺘﻠﻟ ﻢﻣ ُ أ عوﺮﺸﻣ ﺮﺒﻋ تﺮﺟ 

.ﺔﻠﻘﺜﻣ ةﺮﻛاذ – نﺎﻨﺒﻟ بﺮﺣ "؟ ﻪﻠﻤﻋ ﻦﻜﻤﻳ يﺬﻟا 


Hala Elkoussy 

Hala Elkoussy was born in Cairo, 

Egypt in 1974 and currently 

lives and works in Amsterdam 

where she had a residency at the 

Rijksakademie Van Beeldende 

Kunsten from 2005-2007. 

Elkoussy began work as a freelance 

photographer and went on to 

complete an MA in Image and 

Communication at Goldsmiths 

College, London in 2002. She then 

lectured on photography at the 

American University in Cairo and in 

2004 co-founded the Contemporary 

Image Collective (CiC), an 

independent initiative dedicated to 

photography and video. 

Her work focuses on Cairo as a 

metropolis that exemplifies the 

contemporanity of all large urban 

conglomerates in North Africa 

and Eurasia, often using the 

tension between photography and 

reality to explore how identity is 

created. She has been exhibited 

internationally and was part of 

‘Snap Judgments: New Positions in 

Contemporary African Photography’ 

at the International Centre for 

Photography, New York and the 

Museo Tamayo, Mexico; ‘The 

Maghreb Connection’ (2007) at 

the Centre D’Art Contemporain in 

Geneva and Townhouse Gallery in 

Cairo, and her work ‘Peripheral 

(and other stories)’ was shown 

at the Stedelijk Museum Bureau, 

Amsterdam (2006) and was part 

of the ‘Global Cities’ show at Tate 

Modern, London (2007). 

ﻲﺻﻮﻘﻟا ﺔﻟﺎﻫ 

،ةﺮﻫﺎﻘﻟا ﻲﻓ ١٩٧٤ مﺎﻋ ﻲﺻﻮﻘﻟا ﺔﻟﺎﻫ تﺪﻟو 

مادﺮﺘﺴﻣأ ﻲﻓ ﻴﻟﺎﺣ ﻞﻤﻌﺗو ﺶﻴﻌﺗ .ﺮﺼﻣ 

ﺲﻜﻳر ﻲﻓ نﺎﻨﻓ ﺔﻣﺎﻗإ ﻰﻠﻋ ﺖﻠﺼﺣ ﺚﻴﺣ 

مﺎﻋ ﻦﻣ ﻦﺘﺴﻧﻮﻛ ﻦﻳﺪﻠﻴﺑ نﺎﻓ ﻲﻤﻳدﺎﻛأ 

.٢٠٠٧ -٢٠٠٥ 

ﻦﻣو ةﺮﺣ ةرﻮﺼﻤﻛ ﺎﻬﻠﻤﻋ ﻲﺻﻮﻘﻟا تأﺪﺑ 

ﺮﻳﻮﺼﺘﻟا ﻲﻓ ﺮﻴﺘﺴﺟﺎﻤﻟا ﺔﺳارد ﺖﻌﺑﺎﺗ ﻢﺛ 

نﺪﻨﻟ ،ﺚﻴﻤﺳﺪﻟﻮﻏ ﺔﻌﻣﺎﺟ ﻲﻓ مﻼﻋاو 

ﺮﻳﻮﺼﺘﻟا ﻲﻓ ةﺮﺿﺎﺤﻣ ﺖﻠﻤﻋ ،ﻚﻟذ ﺪﻌﺑ .٢٠٠٢ 

ﻲﻓو ،ةﺮﻫﺎﻘﻟا ﻲﻓ ﺔﻴﻜﻳﺮﻣا ﺔﻌﻣﺎﺠﻟا ﻲﻓ 

ةرﻮﺼﻟا ﺰﻛﺮﻣ ﺔﻛرﺎﺸﻤﻟﺎﺑ ﺖﺴﺳأ ٢٠٠٤ مﺎﻋ 

ﺮﻳﻮﺼﺘﻠﻟ ﺔﺳﺮﻜﻣ ﺔﻠﻘﺘﺴﻣ ةردﺎﺒﻤﻛ ،ةﺮﺻﺎﻌﻤﻟا 

ﻲﻓ ﻲﺻﻮﻘﻟا ﺰﻛﺮﺗ .ﻮﻳﺪﻴﻔﻟاو ﻲﻓاﺮﻏﻮﺗﻮﻔﻟا 

ﺪﺴﺠﺗ ةﺮﻴﺒﻛ ﺔﻤﺻﺎﻌﻛ ةﺮﻫﺎﻘﻟا ﻰﻠﻋ ﺎﻬﻟﺎﻤﻋأ 

ﻲﻓ ﺔﻄﻠﺘﺨﻤﻟا ﺔﻴﻧﺪﻤﻟا تﺎﻌﻤﺠﺘﻟا ﺔﻧﺮﺼﻋ 

ﻲﻓ مﺪﺨﺘﺴﺗ .ﺎﻴﺳآو ﺎﺑوروأو ﺎﻴﻘﻳﺮﻓأ لﺎﻤﺷ 

ﻲﻓاﺮﻏﻮﺗﻮﻔﻟا ﺮﻳﻮﺼﺘﻟا ﻦﻴﺑ ﺮﺗﻮﺘﻟا نﺎﻴﺣا ﺐﻟﺎﻏ 

.ﺔﻳﻮﻬﻟا ﺔﻋﺎﻨﺻ ﻦﻋ ﺔﻟءﺎﺴﻤﻠﻟ ﻊﻗاﻮﻟاو 

ةﺪﻳﺪﻋ ﺔﻴﻟود ضرﺎﻌﻣ ﻲﻓ ﻲﺻﻮﻘﻟا ﺖﻛرﺎﺷ 

ﻒﻗاﻮﻣ :ﺔﻴﻓاﺮﻏﻮﺗﻮﻓ ﺔﻄﻘﻟ مﺎﻜﺣأ» ﺎﻬﻨﻣ 

ﻲﻓاﺮﻏﻮﺗﻮﻔﻟا ﺮﻳﻮﺼﺘﻟا ﻦﻓ ﻲﻓ ةﺪﻳﺪﺟ 

ﻲﻟوﺪﻟا ﺰﻛﺮﻤﻟا ﻲﻓ «ﺮﺻﺎﻌﻤﻟا ﻲﻘﻳﺮﻓا 

؛ﻚﻴﺴﻜﻤﻟا ،ﻮﻳﺎﻤﺗ ﻒﺤﺘﻣو ،كرﻮﻳﻮﻴﻧ -ﺮﻳﻮﺼﺘﻠﻟ 

لﺎﻤﺷ ﺮﺒﻋ ةﺎﻴﺤﻟا ﺔﻛﺮﺣ ،بﺮﻐﻤﻟا ﺔﻄﺤﻣ» 

؛ﻒﻴﻨﺟ ﻲﻓ ﺮﺻﺎﻌﻤﻟا ﻦﻔﻟا ﺰﻛﺮﻣ ﻲﻓ «ﺎﻴﻘﻳﺮﻓأ 

ضﺮ ُﻋو ،ةﺮﻫﺎﻘﻟا ﻲﻓ سوﺎﻫ نوﺎﺗ يﺮﻴﻟﺎﻏو 

ﻲﻓ «ىﺮﺧآ تﺎﻳﺎﻜﺣو ﺶﻣﺎﻬﻟا ﻰﻠﻋ» ﺎﻬﻠﻤﻋ 

ﺎﻤﻛ ،٢٠ ٠٦ مادﺮﺘﺴﻣأ ،وﺮﻴﺑ ﻢﻳزﻮﻴﻣ ﻚﻴﻟدﺎﺘـﺳ 

ﺖﻴﺗ ﻲﻓ «ﺔﻴﻤﻟﺎﻋ نﺪﻣ» ضﺮﻌﻣ ﻲﻓ ﺖﻛرﺎﺷ 

.٢٠٠٧ نﺪﻨﻟ ،نردﻮﻣ

Mona Hatoum 

Mona Hatoum was born into a 

Palestinian family in Beirut in 

1952 and since 1975 has lived and 

worked in London. She originally 

went to England on a visit and 

stayed on when the outbreak of the 

civil war in Lebanon prevented her 

returning. 

After studying at the Byam Shaw 

and the Slade School of Art in 

London, Hatoum first became 

widely known in the mid 80s for a 

series of performance and video 

works that focused with great 

intensity on the body. Since the 

beginning of the ‘90s her work 

moved increasingly towards largescale 

installation works that aim 

to engage the viewer in conflicting 

emotions of desire and revulsion, 

fear and fascination. Hatoum has 

developed a language in which 

familiar, domestic everyday objects 

like chairs, beds, cots and kitchen 

utensils are often transformed into 

foreign, threatening and sometimes 

dangerous objects. 

Hatoum’s work has been exhibited 

widely in solo exhibitions in Europe, 

the United States, Canada and 

Australia. In 1997-98 a survey of 

her work was organised by the 

Museum of Contemporary Art, 

Chicago and toured to The New 

Museum of Contemporary Art, 

New York , MoMA, Oxford and the 

Scottish National Gallery of Modern 

Art, Edinburgh (1998). Other solo 

exhibitions include Centre Georges 

Pompidou, Paris (1994), Castello 

di Rivoli, Turin (1999), ‘Domestic 

Disturbance’, Site Santa Fe and 

Mass MoCA (2000-2001), and a 

major survey of her work at the 

Centro de Arte de Salamanca 

and the Centro Galego de Arte 

Contemporanea, Spain (2002-03). 

Her exhibition ‘The Entire World as 

a Foreign Land’ was the inaugural 

exhibition for the launch of Tate 

Britain, London in 2000. 

In 2004 the largest and most 

comprehensive survey of her work 

was initiated by the Hamburger 

Kunsthalle and traveled to 

Kunstmuseum Bonn, Magasin 

3 Stockholm Konsthall and the 

Sydney Museum of Contemporary 

Art (2005). Her exhibition “Interior 

Landscape” was shown at the 

Querini Stamaplia in the context of 

the current Venice Biennale (2009). 

She has also participated in 

numerous international exhibitions, 

namely the 1995 Venice Biennale, 

the 1995 Istanbul Biennial, 

Documenta XI in 2002, the 2005 

Venice Biennale , the 15th Biennale 

of Sydney in 2006, the 3rd Auckland 

Triennial, the 8th Sharjah Biennale 

in 2007 and the 3rd Bucharest 

Biennale in 2008. Also in 2008, the 

XIII Biennale Donna in Ferrara 

was entirely devoted to a solo 

exhibition by Mona Hatoum entitled 

Undercurrents. 

Hatoum was Artist-in-Residence 

on the DAAD program (Berliner 

Künstlerprogramm, Deutscher 

Akademischer Austrauschdienst) in 

2003-2004 and has since divided her 

time between Berlin and London. 


،«ﺔﺒﻳﺮﻏ ضرﺄﻛ ﻪﻌﻤﺟﺄﺑ ﻢﻟﺎﻌﻟا» ضﺮﻌﻣ ﺎﻣأ 

ﺖﻴﺗ قﻼﻃ ﻲﺣﺎﺘﺘﻓا ضﺮﻌﻤﻟا نﺎﻛ ﺪﻘﻓ 

ﺖﻧﺎﻛ ،٢٠٠٤ مﺎﻋ ﻲﻓو ،(٢٠٠٢) نﺪﻨﻟ ،ﺎﻴﻧﺎﻄﻳﺮﺑ 

ﻻﻮﻤﺷ هﺮﺜﻛأو ﺎﻬﻟﺎﻤﻋ ضﺮﻋ ﺮﺒﻛأ ﻲﻓ ﺔﻳاﺪﺒﻟا 

ﺪﻌﺑ ﻞﻘﺘﻧا يﺬﻟا و ،لﻮﻬﺘﺴﻧﻮﻛ ﺮﻏﺮﺒﻤﻫ ﻲﻓ 

٣ ﻦﻳﺰﻏﺎﻣو ،نﻮﺑ ﺖﺴﻧﻮﻛ ﻒﺤﺘﻣ ﻰﻟإ ﻚﻟذ 

ﻲﻧﺪﻴﺳ ﻒﺤﺘﻣو لﻮﻬﺘﺴﻧﻮﻛ ﻢﻟﻮﻬﻛﻮﺘﺳ 

ﺎﻬﺿﺮﻌﻣ ﺖﺿﺮﻋ ﺎﻤﻛ .٢٠٠٥ ﺮﺻﺎﻌﻤﻟا ﻦﻔﻠﻟ 

ﻲﻓ ﺎﻴﻠﺒﻣﺎﺘﺳ ﻲﻨﻳرﻮﻗ ﻲﻓ «ﻲﻠﺧاد ﺪﻬﺸﻣ» 

.٢٠٠٩ ﺎﻴﺴﻴﻓ ﻲﻟﺎﻨﻴﺑ قﺎﻴﺳ 

ﻦﻣ ﺔﻴﻟود ضرﺎﻌﻣ ةﺪﻋ ﻲﻓ مﻮﻃﺎﺣ ﺖﻛرﺎﺷ 

لﻮﺒﻨﻄﺳا ﻲﻟﺎﻨﻴﺑ ،١٩٩٥ ﺎﻴﺴﻴﻓ ﻲﻟﺎﻨﻴﺑ :ﺎﻬﻨﻤﺿ 

،٢٠٠٥ ﺎﻴﺴﻴﻓ ﻲﻟﺎﻨﻴﺑ ،٢٠٠٢ ،١١ ﺎﺘﻨﻣﻮﻴﻛود ،١٩٩٥ 

،ﺚﻟﺎﺜﻟا ﺪﻧﻼﻛوأ ﻲﻟﺎﻴﻧﺮﺗ ،٢٠ ٠٦ ،١٥ ﻲﻧﺪﻴﺳ ﻲﻟﺎﻨﻴﺑ 

،ﺚﻟﺎﺜﻟا ﺖﺳرﺎﺧﻮﺑ ﻲﻟﺎﻨﻴﺑ ،٢٠٠٧ ،٨ ﺔﻗرﺎﺸﻟا ﻲﻟﺎﻨﻴﺑ 

ﻲﻟﺎﻨﻴﺑ ﺎﻬﻟ ﺺﺼﺧ ،ﺎﻀﻳأ ٢٠٠٨ مﺎﻋ ﻲﻓو .٢٠٠٨ 

ناﻮﻨﻌﺑ ﻳدﺮﻓ ﺿﺮﻌﻣ اراﺮﻴﻓ ﻲﻓ ﻦﻣﺎﺜﻟا ﺎﻧود 

."تارﺎﻴﺘﻟا ﺖﺤﺗ" 

مﻮﻃﺎﺣ ﻰﻨﻣ 

ﺔﻠﺋﺎﻌﻟ توﺮﻴﺑ ﻲﻓ مﻮﻃﺎﺣ ﻰﻨﻣ تﺪﻟو 

.نﺪﻨﻟ ﻲﻓ ﻞﻤﻌﺗو ﺶﻴﻌﺗ ،١٩٥٢ مﺎﻋ ﺔﻴﻨﻴﻄﺴﻠﻓ 

ﺪﻴﻠﺳ ﺔﺳرﺪﻣو ﻮﺷ مﺎﻴﺑ ﻲﻓ مﻮﻃﺎﺣ ﺖﺳرد 

ﻲﻓ ﺔﻓوﺮﻌﻣ ﺖﺤﺒﺻأو ،نﺪﻨﻟ ﻲﻓ نﻮﻨﻔﻠﻟ 

لﺎﻤﻋا ﻦﻣ ﺔﻠﺴﻠﺳ ﺪﻌﺑ تﺎﻴﻨﻴﻧﺎﻤﺜﻟا ﻒﺼﺘﻨﻣ 

ﻲﺘﻟا ﻮﻳﺪﻴﻔﻟاو ﻲﻨﻔﻟا ﻲﻛﺮﺤﻟا ءادا ﻲﻓ ﺎﻬﻟ 

ﺬﻨﻣو ،ﺮﻴﺒﻌﺗ ﺔﻠﻴﺳﻮﻛ ﺪﺴﺠﻟا لﻮﺣ ترﻮﺤﻤﺗ 

ﻮﺤﻧ ﺎﻬﻟﺎﻤﻋأ ﺖﻬﺠﺗا ،تﺎﻴﻨﻴﻌﺴﺘﻟا ﺔﻳاﺪﺑ 

،ةﺮﻴﺒﻜﻟا مﻮﺠﺤﻟا تاذ ﺔﻴﺒﻴﻛﺮﺘﻟا لﺎﻤﻋا 

ﺖﻟﻮﺤﺗ ﺔﻐﻟ ﺮﻳﻮﻄﺗ ﻰﻠﻋ مﻮﻃﺎﺣ ﺖﻠﻤﻋو 

ﻞﺜﻣ ﺔﻓﻮﻟﺄﻤﻟا ﺔﻴﻟﺰﻨﻤﻟا ءﺎﻴﺷﺎﻛ ،ءﺎﻴﺷا ﺎﻬﻴﻓ 

تاودأو لﺎﻔﻃا ةﺮﺳأو ةﺮﺳاو ﻲﺳاﺮﻜﻟا 

ﺎﻧﺎﻴﺣأو ةدﺪﻬﻣو ﺔﺒﻳﺮﻏ ءﺎﻴﺷأ ﻰﻟإ ،ﺦﺒﻄﻤﻟا 

.ةﺮﻴﻄﺧ 

ﺔﻳدﺮﻓ ضرﺎﻌﻣ ﻲﻓ ﺎﻬﻟﺎﻤﻋأ مﻮﻃﺎﺣ ﺖﺿﺮﻋ 

،ﺎﻴﻟاﺮﺘﺳأو اﺪﻨﻛو ةﺪﺤﺘﻤﻟا تﺎﻳﻻﻮﻟاو ﺎﺑوروأ ﻲﻓ 

ﻢﻴﻈﻨﺗ ىﺮﺟ ،١٩٩٨-١٩٩٧ ﻦﻣ ةﺮﺘﻔﻟا ﻲﻓو 

ﻦﻔﻟا ﻒﺤﺘﻣ ﻲﻓ مﻮﻃﺎﺣ لﺎﻤﻋ ضرﺎﻌﻣ 

ﻒﺤﺘﻤﻟا ﻲﻓ ﻢﺛ ﻦﻣو ،ﻮﻏﺎﻜﻴﺸﺑ ﺮﺻﺎﻌﻤﻟا 

،ﺎﻣﻮﻣو ،كرﻮﻳﻮﻴﻧ ﻲﻓ ﺮﺻﺎﻌﻤﻟا ﻦﻔﻠﻟ ﺪﻳﺪﺠﻟا 

ﻲﻨﻃﻮﻟا يﺪﻨﻠﺗﻮﻜﺳا يﺮﻴﻟﺎﻐﻟاو ،درﻮﻔﺴﻛوأ 

،وﺪﻴﺒﻣﻮﺑ جرﻮﺟ ﺰﻛﺮﻣ ،١٩٩٨ هﺮﺒﻧدأ ،ﺮﺻﺎﻌﻤﻟا ﻦﻔﻠﻟ 

،١٩٩٩ ﻦﻳرﻮﺗ ،ﻲﻟﻮﻔﻳر يد ﻮﻠﺘﺳﺎﻛ ،١٩٩٤ ﺲﻳرﺎﺑ 

ﺎﻛﻮﻣ سﺎﻣو ﻲﻓ ﺎﺘﻧﺎﺳ ﺖﻳﺎﺳ ،"ﻲﻟﺰﻨﻣ جﺎﻋﺰﻧا" 

ﻮﻐﻴﻟﺎﻏ ﺰﻛﺮﻣو ﻦﻔﻠﻟ ﺎﻜﻨﻣﻼﺳ ﺰﻛﺮﻣ ،(٢٠٠١-٢٠٠٠) 

.(٢٠٠٣-٢٠٠٢) ﺎﻴﻧﺎﺒﺳا ،ﺮﺻﺎﻌﻤﻟا ﻦﻔﻠﻟ

Samah Hijawi 

Samah Hijawi is a cross-disciplinary 

visual artist whose recent works 

focus on working in public spaces 

in ways that invite the participation 

of the audience. Hijawi’s work 

explores identity through history, 

politics and socio-religious 

structures questioning definitions 

of the collective identity, memory 

and the notion of a ‘sense of 

belonging’. Hijawi’s works have 

been on display in different venues 

in Jordan, Scotland, France, and 

The Netherlands; and are part of 

collections in Jordan, Dubai, Greece 

and London. 

Hijawi is also a cultural manager in 

several local independent projects 

in the visual arts, and works as a 

consultant with Makan Art Space. 

She writes on contemporary 

Jordanian art with contributions 

in several local and international 

publications, and lectures in 

contemporary Arab and western Art. 

يوﺎﺠﺣ حﺎﻤﺳ 

ﺎﻬﻟﺎﻤﻋأ ﺮﺒﻋ ﺰ ّﻛﺮﺗ ﺔﻳﺮﺼﺑ ﺔﻧﺎﻨﻓ يوﺎﺠﺣ حﺎﻤﺳ 

ﺰّﻴﺤﻟا لﺎﻤﻌﺘﺳا ﻰﻠﻋ ،ﺐﻴﻟﺎﺳا ةدﺪﻌﺘﻣ 

ﻞﻋﺎﻔﺘﻟا ﻰﻠﻋ رﻮﻬﻤﺠﻟا ﻊﺠﺸﺗ ﺚﻴﺤﺑ مﺎﻌﻟا 

ﻦﻣ ﺔّﻳﻮﻬﻟا ﺎﻬﻟﺎﻤﻋأ ﻒﺸﻜﺘﺴﺗ .ﺔﻛرﺎﺸﻤﻟاو 

ﺔّﻴﺳﺎﻴﺳو ﺔّﻴﺨﻳرﺎﺗ تﺎﺒﻴﻛﺮﺗو ﻞﻛﺎﻴﻫ لﻼﺧ 

تﺎﻔﻳﺮﻌﺘﻟا ،لؤﺎﺴﺘﻠﻟ ﻊﻀﺨُﺗو ،ﺔّﻴﻨﻳد ﺔّﻴﻋﺎﻤﺘﺟاو 

ﺔﻘّﻠﻌﺘﻤﻟا رﺎﻜﻓاو ةﺮﻛاﺬﻟاو ﺔّﻳﻮﻬﻠﻟ ﺔّﻴﻋﺎﻤﺠﻟا 

ﻲﻓ ﺎﻬﻟﺎﻤﻋأ ﺖﺿﺮ ُﻋ .«ءﺎﻤﺘﻧﻻﺎﺑ رﻮﻌﺸﻟا» ـﺑ 

،ﺎﺴﻧﺮﻓو ،اﺪﻨﻠﺗﻮﻜﺳاو ،ندرا ﻲﻓ ﻦﻛﺎﻣأ ة ّﺪﻋ 

ﻞﻛ ﻲﻓ تﺎﻋﻮﻤﺠﻣ ﻲﻓ لﺎﻤﻋأ ﺎﻬﻟو ،اﺪﻨﻟﻮﻫو 

.نﺪﻨﻟو ،نﺎﻧﻮﻴﻟاو ،ﻲﺑدو ،ندرا ﻦﻣ 

ﻲﻓ ﺔّﻴﻓﺎﻘﺜﻟا ةرادا ﻲﻓ يوﺎﺠﺣ حﺎﻤﺳ ﻞﻤﻌﺗ 

نﻮﻨﻔﻟا ﻲﻓ ﺔّﻠﻘﺘﺴﻣ ﺔّﻴﻠﺤﻣ ﻊﻳرﺎﺸﻣ ةﺪﻋ 

ّﻲﻨﻔﻟا ءﺎﻀﻔﻠﻟ ةرﺎﺸﺘﺴﻣ ﺎﻬّﻧأ ﺎﻤﻛ ،ﺔّﻳﺮﺼﺒﻟا 

ﻦﻔﻟا ﻲﻓ ﺔﺑﺎﺘﻜﻟا ﻲﻓ تﺎﻤﻫﺎﺴﻣ ﺎﻬﻟو «نﺎﻜﻣ» 

تﺎﻋﻮﺒﻄﻤﻟا ﻦﻣ دﺪﻋ ﻲﻓ ﻲﻧدرا ﺮﺻﺎﻌﻤﻟا 

ﺮﺻﺎﻌﻤﻟا ﻦﻔﻟا ﻲﻓ ﺮﺿﺎﺤﺗو ﺔّﻴﻤﻟﺎﻌﻟاو ﺔّﻴﻠﺤﻤﻟا 

.ﻲﺑﺮﻐﻟاو ﻲﺑﺮﻌﻟا 


Wafa Hourani 

Wafa Hourani, born in Hebron 

1979 studied at the Ecole d’Art et 

de Cinéma of Tunis (1998-2001), 

and has made several videos in 

his home city of Ramallah (Poster, 

Yousef) as well as in other places 

in Palestine. Along with other 

means of artistic expression he 

uses photography either as such 

or in the form of collage to produce 

composite images or environments. 

His diverse photographic and film 

experiments are organized around 

the concept of ‘Photolife’ that 

reflects the many possible ways 

of using photography (e.g. in the 

area of personal and collective 

memory or that of dreams and 

projections into a future space and 

time well away from the unbearable 

constraints experienced by today’s 

Palestine). 

His Future Cities projects - Qalandia 

2047 was exhibited with Catherine 

David at the Thessaloniki Biennial 

2007 and at Sfeir Semler Gallery – 

Beirut 2008. Hourani currently lives 

and works in Ramallah. 

ﻲﻧارﻮﺣ ﺎﻓو 

ﺶﻴﻌﻳ ،١٩٧٩ مﺎﻋ ﻞﻴﻠﺨﻟا ﻲﻓ ﻲﻧارﻮﺣ ﺎﻓو ﺪﻟو 

ﺔﺳرﺪﻣ ﻲﻓ سرد .ا مار ﻲﻓ ﻴﻟﺎﺣ ﻞﻤﻌﻳو 

ﻞﻤﻋو ،(٢٠٠١-١٩٩٨) ﺲﻧﻮﺗ ﻲﻓ ﺎﻤﻨﻴﺴﻟا نﻮﻨﻓ 

،"ﺮﺘﺳﻮﺑ") ا مار ﻪﺘﻨﻳﺪﻣ ﻲﻓ ﻮﻳﺪﻴﻓ مﻼﻓأ ةﺪﻋ 

.ﻦﻴﻄﺴﻠﻓ ﻲﻓ ىﺮﺧأ ﻦﻛﺎﻣأ ﻲﻓو ،("ﻒﺳﻮﻳ" 

ﻞﺋﺎﺳﻮﻟ ﺔﻓﺎﺿإ ،ﺮﻳﻮﺼﺘﻟا ﻲﻧارﻮﺣ مﺪﺨﺘﺴﻳ 

اﺬﻫ ﻰﻠﻋ ءاﻮﺳ ،ﻲﻨﻔﻟا ﺮﻴﺒﻌﺘﻟا ﻦﻣ ىﺮﺧأ 

تﺎﺌﻴﺑ وأ رﻮﺻ جﺎﺘﻧ جﻻﻮﻛ ﻞﻜﺷ ﻰﻠﻋ وأ ﻞﻜﺸﻟا 

ﺔﺻﺎﺨﻟاو ﺔﻳﺮﻳﻮﺼﺘﻟا ﻪﺑرﺎﺠﺗ ﻢﻈﺘﻨﺗ .ﺔﺒﻛﺮﻣ 

ةﺎﻴﺣ» مﻮﻬﻔﻣ لﻮﺣ ﻮﻳﺪﻴﻔﻟا مﻼﻓأ ﺔﻋﺎﻨﺼﺑ 

ةﺮﻴﺜﻜﻟا ﺔﻨﻜﻤﻤﻟا قﺮﻄﻟا ﺲﻜﻌﺗ ﻲﺘﻟا «ةرﻮﺼﻟا 

ﻲﻓ لﺎﺜﻤﻟا ﻞﻴﺒﺳ ﻰﻠﻋ) ،ﺮﻳﻮﺼﺘﻟا ماﺪﺨﺘﺳﻻ 

ﻚﻠﺗ وأ ﺔﻴﻋﺎﻤﺠﻟاو ﺔﻴﺼﺨﺸﻟا ةﺮﻛاﺬﻟا لﺎﺠﻣ 

ﻲﻧﺎﻜﻣ ﻞﺒﻘﺘﺴﻤﺑ ﺆﺒﻨﺘﻟاو مﻼﺣﺎﺑ ﺔﺻﺎﺨﻟا 

ﺔﻠﻤﺘﺤﻤﻟا ﺮﻴﻏ تﺎﻘﻴﻌﻤﻟا ﻦﻋ ﺪﻴﻌﺑ ﻲﻧﺎﻣزو 

.(مﻮﻴﻟا ﻦﻴﻄﺴﻠﻓ ﻲﻓ ﺔﺷﺎﻌﻤﻟا 

ﺎﻳﺪﻨﻠﻗ" – ﺔﻴﻠﺒﻘﺘﺴﻤﻟا ﻪﻧﺪﻣ ﻊﻳرﺎﺸﻣ ﺖﺿﺮ ُﻋ 

ﻲﻜﻴﻧﻮﻟﺎﺴﺛ ﻲﻟﺎﻨﻴﺑ ﻲﻓ ﺪﻴﻔﻳاد ﻦﻳﺮﺛﺎﻛ ﻊﻣ ،"٢٠٤٧ 

.٢٠٠٨ توﺮﻴﺑ ،ﺮﻠﻤﺳ ﺮﻴﻔﺻ يﺮﻴﻟﺎﻏ ﻲﻓو ٢٠٠٧

Ali Jabri 

Ali Jabri, born in Jerusalem in 1942, 

studied architecture and fine arts at 

Stanford University in California as 

well as English literature at Bristol 

University in England. 

He began full-time work as an 

artist in Cairo in 1977. After 

settling in Jordan in 1978, he 

continued drawing and painting, 

while curating museum collections, 

participating in archaeological 

excavations, leading design and 

architecture projects at major 

antiquities sites, designing 

exhibitions and supervising other 

cultural heritage preservation 

projects. Until his death in 2002 

he lived and worked as an artist in 

Amman. 

A large cache of previously unseen 

work, now conserved by the Ali 

Jabri Human Heritage Foundation 

in Amman, reflects the depth and 

diversity of his artistic oeuvre. 

يﺮﺑﺎﺠﻟا ﻲﻠﻋ 

سردو ،١٩٤٢ مﺎﻋ سﺪﻘﻟا ﻲﻓ يﺮﺑﺎﺠﻟا ﻲﻠﻋ ﺪﻟو 

ﻲﻓ ﺔﻠﻴﻤﺠﻟا نﻮﻨﻔﻟاو ﺔﻳرﺎﻤﻌﻤﻟا ﺔﺳﺪﻨﻬﻟا 

سرد ﺎﻤﻛ ،ﺎﻴﻧرﻮﻔﻴﻟﺎﻛ ﻲﻓ درﻮﻔﻧﺎﺘﺳ ﺔﻌﻣﺎﺟ 

ﻲﻓ لﻮﺘﺴﻳﺮﺑ ﺔﻌﻣﺎﺟ ﻲﻓ يﺰﻴﻠﺠﻧا بدا 

.ﺎﻴﻧﺎﻄﻳﺮﺑ 

ةﺮﻫﺎﻘﻟا ﻲﻓ نﺎﻨﻔﻛ ﻞﻤﻌﻠﻟ يﺮﺑﺎﺠﻟا غﺮﻔﺗ 

مﺎﻋ ندرا ﻲﻓ ﺮﻘﺘﺳا ﻢﺛ ﻦﻣو ،١٩٧٧ مﺎﻋ 

ﺮﻳﻮﺼﺘﻟاو ﻢﺳﺮﻟا ﻲﻓ ﻪﻠﻤﻋ ًﻼﺻاﻮﻣ ١٩٧٨ 

كرﺎﺷ ﺎﻤﻛ ،ﻒﺣﺎﺘﻤﻟا ﺾﻌﺑ تﺎﻴﻨﺘﻘﻣ ﻢﻴﻈﻨﺗو 

ﻢﻴﻤﺼﺗ ﻊﻳرﺎﺸﻣ سأﺮﺗو ﺔﻳﺮﺛأ تﺎﻳﺮﻔﺣ ﻲﻓ 

،ﺔﻣﺎﻫ ﺔﻳﺮﺛأ ﻊﻗاﻮﻣ ﻲﻓ ﺔﻳرﺎﻤﻌﻣ ﺔﺳﺪﻨﻫو 

ﻰﻠﻋ فاﺮﺷاو ﺔﻴﻨﻓ ضرﺎﻌﻣ ﻢﻴﻤﺼﺘﺑ مﺎﻗو 

.ﻲﻓﺎﻘﺜﻟا ثاﺮﺘﻟا ﻰﻠﻋ ظﺎﻔﺤﻟﺎﺑ ﻖﻠﻌﺘﺗ ﻊﻳرﺎﺸﻣ 

ﻰﺘﺣ نﺎﻤﻋ ﻲﻓ نﺎﻨﻔﻛ ﻞﻤﻋو يﺮﺑﺎﺠﻟا شﺎﻋ 

ﺔﻋﻮﻤﺠﻣ يﺮﺑﺎﺠﻠﻟ ﺪﺟﻮﻳو .٢٠٠٢ مﺎﻋ ﻪﺗﺎﻤﻣ 

ﺔﻇﻮﻔﺤﻣ ،ﺪﻌﺑ ضﺮﻌﺗ ﻢﻟ لﺎﻤﻋا ﻦﻣ ﺔﻌﺳاو 

ﺔﺻﺎﺨﻟا ﻲﻧﺎﺴﻧا ثاﺮﺘﻟا ﺔﺴﺳﺆﻣ ﻲﻓ ﻴﻟﺎﺣ 

ﺔﻋﻮﻤﺠﻤﻟا ﺲﻜﻌﺗو ،نﺎﻤﻋ ﻲﻓ يﺮﺑﺎﺠﻟا ﻲﻠﻌﺑ 

.ﺔﻴﻨﻔﻟا ﻪﻟﺎﻤﻋأ عﻮﻨﺗو ﻖﻤﻋ 


Marwan Rechmaoui 

Born in 1964, Marwan Rechmaoui 

is a visual artist whose work is 

mainly concerned with urban/ 

rural dynamics and demographic 

transformations in urban space. 

Rechmaoui has been participating 

in local and international exhibitions 

since 1996, in Lebanon, Egypt, 

Turkey, and in various European 

cities, some of which "How to Live 

Together" (Sao Paulo 27th Biennal, 

2006), and Belonging, Sharjah 

Biennal 7 (UAE, 2005). 

Works include: Beirut 

Caoutchouc (Possible Narratives, 

Videobrasil, 2003; "Home Works II", 

Beirut, 2003; "Laughter", "LIFT", 

2004); A Monument for the 

Living ("Contemporary Arab 

Representations", The Bildmuseet, 

Witte de Witt, Fundaciò Antoni 

Tapiès, 2002), Spectre (Home Works 

IV, Beirut, 2008). 

Projects in public spaces include 

A Sea Promenade Story ("The 

Corniche Project", Beirut, 1999). 

يوﺎﻤﺷر ناوﺮﻣ 

يﺮﺼﺑ نﺎﻨﻓ ﻮﻫو ،١٩٦٤ مﺎﻋ يوﺎﻤﺷر ناوﺮﻣ ﺪﻟو 

تﺎﻜﻴﻣﺎﻨﻳﺪﻟﺎﺑ ﻲﺴﻴﺋر ﻞﻜﺸﺑ ﻪﻟﺎﻤﻋأ ﻰﻨﻌُﺗ 

ﻲﻓ ﺔﻴﻓاﺮﻐﻤﻳﺪﻟا تﻻﻮﺤﺘﻟاو ﺔﻴﻔﻳﺮﻟا /ﺔﻴﻧﺪﻤﻟا 

ضرﺎﻌﻣ ﻲﻓ يوﺎﻤﺷر كرﺎﺸﻳ .ﺔﻳﺮﻀﺤﻟا ﻦﻛﺎﻣا 

ﻲﻓ كرﺎﺷ ﺚﻴﺣ ،١٩٩٦ مﺎﻋ ﺬﻨﻣ ﺔﻴﻟودو ﺔﻴﻠﺤﻣ 

ﻲﻓو ﺎﻴﻛﺮﺗو ﺮﺼﻣو نﺎﻨﺒﻟ ﻲﻓ ﺖﻤﻴﻗأ ضرﺎﻌﻣ 

ﻲﻓ ﻪﺘﻛرﺎﺸﻣ ﺎﻫﺮﺧآو ﺔﻔﻠﺘﺨﻣ ﺔﻴﺑوروأ نﺪﻣ 

،(٢٠٠٦ ،٢٧ ﻮﻟوﺎﺑ وﺎﺳ ﻲﻟﺎﻨﻴﺑ) ﺎﻌﻣ ﺶﻴﻌﻧ ﻒﻴﻛ 

ﺔﻴﺑﺮﻌﻟا تارﺎﻣا) ٧ ﺔﻗرﺎﺸﻟا ﻲﻟﺎﻨﻴﺑ ،ءﺎﻤﺘﻧإو 

.(٢٠٠٥ ،ةﺪﺤﺘﻤﻟا 

ﺺﺼﻗ) كﻮﺸﺗوﺎﻛ توﺮﻴﺑ :ﻪﻟﺎﻤﻋأ ﻦﻤﻀﺘﺗ 

؛٢٠٠٣ ،توﺮﻴﺑ ،٢ ﺔﻴﻠﺧاد لﺎﻐﺷأ ؛٢٠٠٣ ،ﺔﻠﻤﺘﺤﻣ 

ةرﻮﺼﻟا ﺰﻛﺮﻣ) ءﺎﻴﺣﻟ ﺐﺼﻧ ؛(٢٠٠٤ ،ﺖﻔﻟ ،ﻚﺤﺿ 

،تو يد ﻲﺗو ،ﺖﻴﺳﻮﻣﺪﻠﻴﺒﻟا ،ةﺮﺻﺎﻌﻤﻟا ﺔﻴﺑﺮﻌﻟا 

لﺎﻐﺷأ) ﺢﺒﺸﻟا ،(٢٠٠٢ ،ﻪﺒﻳﺎﺗ ،ﻲﻧﻮﻄﻧأ ﺔﺴﺳﺆﻣ 

ﻲﺘﻟا ﻪﻌﻳرﺎﺸﻣ ﻦﻤﻀﺘﺗ .(٢٠٠٨ ،توﺮﻴﺑ ،٤ ﺔﻴﻠﺧاد 

ﺔﻳﺮﺤﺑ ﺔﻫﺰﻧ ﺔﺼﻗ ﺔﻣﺎﻌﻟا ﻦﻛﺎﻣا ﻲﻓ ﺎﻬﻣﺎﻗأ 

.(١٩٩٩ ،توﺮﻴﺑ ،ﺶﻴﻧرﻮﻜﻟا عوﺮﺸﻣ)

Hrair Sarkissian 

Hrair Sarkissian, born in Damascus, 

currently lives in Amsterdam. 

He attended the Ecole Nationale 

Supérieure de la Photographie 

in Arles, France (2003-2004) and 

in 2010 he will be completing his 

studies in Fine Arts (Photography) 

at the Gerrit Rietveld Academie in 

Amsterdam. 

He has exhibited extensively among 

other places, in Syria, Greece, 

Spain, France and Dubai. In 2008 

works from his ‘Unfinished’ series 

were shown at Kalfayan Galleries 

in Athens and Thessaloniki and 

subsequently were presented 

in the group show “New Ends, 

Old Beginnings”, curated by 

November Paynter, at The Bluecoat 

Gallery, Liverpool, UK. In 2009 

he was invited to participate at 

the 11th Istanbul Biennale where 

he first presented the series 

Execution Squares. In Sarkissian’s 

work, landscape and the urban 

environment become stages for the 

expression of historical realities 

and where human presence is 

implied but never overtly depicted. 

Employing traditional documentary 

techniques, his photographs are 

eloquent expressions of a hidden 

paradox that exists between 

the beauty and constancy of the 

surroundings and the social 

realities that they conceal. 

نﺎﻴﺴﻴﻛﺮﺳ ﺮﻳاﺮﻫ 

ﺶﻴﻌﻳو ﻖﺸﻣد ﻲﻓ نﺎﻴﺴﻴﻛﺮﺳ ﺮﻳاﺮﻫ ﺪﻟو 

ﺔﺳرﺪﻤﻟا ﻲﻓ سرد .مادﺮﺘﺴﻣأ ﻲﻓ ﻴﻟﺎﺣ 

ﺎﺴﻧﺮﻓ ،ﺲﻟرآ ﻲﻓ ﺮﻳﻮﺼﺘﻠﻟ ﺎﻴﻠﻌﻟا ﺔﻴﻨﻃﻮﻟا 

مﺎﻋ نﻮﻀﻏ ﻲﻓو ،٢٠٠٤-٢٠٠٣ ﻦﻣ ةﺮﺘﻔﻟا ﻲﻓ 

ﺔﻠﻴﻤﺠﻟا نﻮﻨﻔﻟا ﻲﻓ ﻪﺘﺳارد ﻲﻬﻨﻳ فﻮﺳ ٢٠١٠ 

ﻲﻓ ﺪﻠﻔﺘﻳﺮﺘﻳﺮﻏ ﺔﻴﻤﻳدﺎﻛأ ﻲﻓ (ﺮﻳﻮﺼﺗ) 

ناﺪﻠﺑ ﻲﻓ ﻪﻟﺎﻤﻋأ نﺎﻴﺴﻴﻛﺮﺳ ضﺮﻋ .مادﺮﺘﺴﻣأ 

ﺎﺴﻧﺮﻓو ﺎﻴﻧﺎﺒﺳاو نﺎﻧﻮﻴﻟاو ﺎﻳرﻮﺳ ،ﺎﻬﻨﻣ ةﺪﻳﺪﻋ 

.ﻲﺑدو 

ﻲﺘﻟا لﺎﻤﻋا ﺾﻌﺑ ضﺮﻋ ﻢﺗ ،٢٠٠٨ مﺎﻋ ﻲﻓ 

يﺮﻴﻟﺎﻏ ﻲﻓ «ﻪﺘﻨﻣ ﺮﻴﻏ» ﺔﻠﺴﻠﺳ ﻰﻟإ دﻮﻌﺗ 

ﺖﺿﺮ ُﻋ ﻢﺛ ﻦﻣو ،ﻚﻴﻧﻮﻟﺎﺳو ﺎﻨﻴﺛأ ﻲﻓ نﺎﻴﻔﻟﺎﻛ 

تﺎﻳاﺪﺑ ،ةﺪﻳﺪﺟ تﺎﻳﺎﻬﻧ» ﻲﻋﺎﻤﺠﻟا ضﺮﻌﻤﻟا ﻲﻓ 

تﻮﻛﻮﻠﺑ ﻲﻓ ﺮﺘﻨﻴﺑ ﺮﺒﻤﻓﻮﻧ ﻪﻤﻈﻧ يﺬﻟا «ﺔﻤﻳﺪﻗ 

ﻲﻓ .ةﺪﺤﺘﻤﻟا ﺔﻜﻠﻤﻤﻟا ،لﻮﺑﺮﻔﻴﻟ ﻲﻓ يﺮﻴﻟﺎﻏ 

ﺚﻴﺣ ،١١ لﻮﺒﻨﻄﺳا ﻲﻟﺎﻨﻴﺑ ﻲﻓ كرﺎﺷ ،٢٠٠٩ مﺎﻋ 

.«ماﺪﻋا تﺎﺣﺎﺳ» ﺔﻠﺴﻠﺳ ةﺮﻣ لو ضﺮﻋ 

ﻲﻓ وﺪﺒﺗ ﺔﻳﺮﻀﺤﻟا ﺔﺌﻴﺒﻟاو ﻲﻌﻴﺒﻄﻟا ﺪﻬﺸﻤﻟا 

ﺔﻴﺨﻳرﺎﺘﻟا ﻊﺋﺎﻗﻮﻟا ﻦﻋ ﺮﺒﻌﺗ ﻞﺣاﺮﻤﻛ ﻪﻟﺎﻤﻋأ 

ﻦﻜﻟو ،ﻲﻧﺎﺴﻧا دﻮﺟﻮﻟا ﺎﻨﻤﺿ يﻮﺘﺤﺗ ﻲﺘﻟا 

.ﻲﻨﻠﻋ ﻞﻜﺸﺑ ﻚﻟذ ﺮﻳﻮﺼﺗ نود 

ﺔﻴﻘﻴﺛﻮﺘﻟا تﺎﻴﻨﻘﺘﻠﻟ نﺎﻴﺴﻴﻛﺮﺳ ماﺪﺨﺘﺳا نإ 

ﻦﻋ ﺮﻴﺒﻌﺘﻟا ةﺪﻳﺪﺷ هرﻮﺻ ﻦﻣ ﻞﻌﺠﻳ ،ﺔﻳﺪﻴﻠﻘﺘﻟا 

ﺎﻣ تﺎﺒﺛو لﺎﻤﺠﻟا ﻦﻴﺑ دﻮﺟﻮﻤﻟا ﻲﻔﺨﻟا ﺾﻗﺎﻨﺘﻟا 

ﻲﺘﻟا ﺔﻴﻋﺎﻤﺘﺟا ﻊﺋﺎﻗﻮﻟاو ،ءﺎﻴﺷأ ﻦﻣ ﺎﻨﺑ ﻂﻴﺤﻳ 

.ءﺎﻴﺷا ﻚﻠﺗ ﺎﻬﻴﻔﺨﺗ 


Wael Shawky 

Wael Shawky lives and works in 

Alexandria. Shawky completed his 

BFA at The University of Alexandria, 

followed by an MFA at the University 

of Pennsylvania in 2000. 

He has received many awards for 

his work, among others including: 

The International Commissioning 

Grant, The Lower Manhattan 

Cultural Council, New York, 2005; 

The International Award of The 

Islamic World Arts Initiative, Arts 

International, New York, 2004; 

The American Center Foundation 

Grant, Philadelphia, 2004; Honorary 

Award, Rita Longa International 

Symposium, Bayamo, Cuba, 2001 

and In 1996 won the Grand Nile 

Prize at the 6th International Cairo 

Biennial. 

Shawky has participated in many 

workshops and projects such as 

in Egypt, Lebanon, Italy, Greece, 

the Netherlands, Switzerland, 

Poland, Belgium, Germany, UK, 

Turkey, Thailand, Cuba and the 

USA, and most recently took part 

in a residency programs in Santa 

Fe, NM, 2008. Codra, Thessalonica, 

2006 and in Istanbul 2005 (based at 

Platform Garanti of Contemporary 

Art). His solo exhibitions include: 

Al Aqsa Park, The Townhouse 

Gallery of Contemporary Art, Cairo, 

2008. Telematch Sadat, Telematch 

Market, Al Aqsa Park, at KVS, 

Brussels, 2007. 

The Forty Days Road, Wet 

Culture – Dry Culture, Galeria 

Sztuki Wspolczesnej, Bunkier 

Sztukim, Krakow, 2007. The 

Green Land Circus, Factory 

Space, The Townhouse Gallery of 

Contemporary Art, Cairo, 2005. 

Loosing identity, Ludwigsburg 

Kunstverein, Ludwigsburg, 

Germany, 2005. Sidi El Asphalt’s 

Moulid 2001 and Asphalt 

Quarter (representation) 2003 

at The Townhouse Gallery of 

Contemporary Art, Cairo. 

He participated in many group 

exhibitions, among others: 

Translation, Queens Museum of 

Art, New York City, 2009. Rites 

of Passage, Schunck-Glaspaleis, 

Heerlen, 2009. 7th Santa Fe 

biennale, Santa Fe, NM, 2008. 

SCENES DU SUD II, Musée d’art 

contemporain de Nîmes, 2008, 

medium religion, ZKM, Karlsruhe, 

2008. 5th meeting points, 2007. 2nd 

Riwaq Biennale, Palestine, 2007. 

2nd Moscow biennale, 2007, Fremd 

bin ich eingezoge, Kunsthalle 

Fridericianum, Kassel. Choosing 

my religion, Kunstmuseum Thun, 

Switzerland, 2006.

ﻲﻗﻮﺷ ﻞﺋاو 

،١٩٧١ مﺎﻋ ﺔﻳرﺪﻨﻜﺳا ﻲﻓ ﻲﻗﻮﺷ ﻞﺋاو ﺪﻟو 

ﻲﻗﻮﺷ ﻞﺼﺣ .كﺎﻨﻫ ﻞﻤﻌﻳو ﺶﻴﻌﻳ ﺚﻴﺣ 

ﻦﻣ ﺔﻠﻴﻤﺠﻟا نﻮﻨﻔﻟا ﻲﻓ سﻮﻳرﻮﻟﺎﻜﺑ ﻰﻠﻋ 

ﻰﻠﻋ ﻞﺼﺣ ٢٠٠٠ مﺎﻋ ﻲﻓو ،ﺔﻳرﺪﻨﻜﺳا ﺔﻌﻣﺎﺟ 

ﺔﻌﻣﺎﺟ ﻦﻣ ﺔﻠﻴﻤﺠﻟا نﻮﻨﻔﻟا ﻲﻓ ﺮﻴﺘﺴﺟﺎﻣ 

ﻰﻠﻋ زﺎﺣ .ةﺪﺤﺘﻤﻟا تﺎﻳﻻﻮﻟا ﻲﻓ ﺎﻴﻧﺎﻔﻠﺴﻨﺑ 

ﺔﻨﺠﻠﻟا ﺔﺤﻨﻣ :ﺎﻬﻨﻤﺿ ﻦﻣ ﻪﻟﺎﻤﻋ ﺰﺋاﻮﺟ ةﺪﻋ 

،ﺎﺘﺤﺘﻟا ﻦﺗﺎﻬﻨﻤﻟ ﻲﻓﺎﻘﺜﻟا ﺲﻠﺠﻤﻟا ،ﺔﻴﻟوﺪﻟا 

نﻮﻨﻓ ةردﺎﺒﻤﻟ ﺔﻴﻟوﺪﻟا ةﺰﺋﺎﺠﻟا ؛٢٠٠٥ كرﻮﻳﻮﻴﻧ 

؛٢٠٠٤ ،كرﻮﻳﻮﻴﻧ ،ﺔﻴﻟوﺪﻟا نﻮﻨﻔﻟا ،ﻲﻣﻼﺳا ﻢﻟﺎﻌﻟا 

،ﺎﻴﻔﻟدﻼﻴﻓ ،ﻲﻜﻳﺮﻣا ﺰﻛﺮﻤﻟا ﺔﺴﺳﺆﻣ ﺔﺤﻨﻣ 

،ﺔﻴﻟوﺪﻟا ﺎﻐﻧﻮﻟ ﺎﺘﻳر ةوﺪﻧ ،ﺔﻳﺮﺨﻔﻟا ةﺰﺋﺎﺠﻟا ؛٢٠٠٤ 

ﻞﻴﻨﻟا ةﺰﺋﺎﺠﺑ زﺎﻓ ،١٩٩٦ مﺎﻋ ﻲﻓو ٢٠٠١ ،ﺎﺑﻮﻛ ،ﻮﻣﺎﻴﺑ 

.سدﺎﺴﻟا ﻲﻟوﺪﻟا ةﺮﻫﺎﻘﻟا ﻲﻟﺎﻨﻴﺑ ﻲﻓ ىﺮﺒﻜﻟا 

يﺮﻴﻟﺎﻏ ،كرﺎﺑ ﻰﺼﻗا :ﺔﻳدﺮﻔﻟا ﻪﺿرﺎﻌﻣ ﻦﻤﻀﺘﺗ 

؛٢٠٠٨ ةﺮﻫﺎﻘﻟا -ﺮﺻﺎﻌﻤﻟا ﻦﻔﻠﻟ سوﺎﻫ نوﺎﺗ 

،ﺖﻛرﺎﻣ ﺮﺑﻮﺳ ﺶﺗﺎﻤﻴﻠﻴﺗ ،تادﺎﺴﻟا ﺶﺗﺎﻤﻴﻴﻠﺗ 

؛٢٠٠٧ ﻞﺴﻛوﺮﺑ -سإ ﻲﻓ ك ﻲﻓ كرﺎﺑ ﻰﺼﻗا 

ﺔﻓﺎﻘﺛ – ﺔﺒﻃر ﺔﻓﺎﻘﺛ ،ﺎﻣﻮﻳ ﻦﻴﻌﺑرا ﻖﻳﺮﻃ 

،ﺞﻴﻨﺳﺰﺴﻟﻮﺒﺳو ﻲﻛﻮﺗﺰﺳ يﺮﻴﻟﺎﻏ ،ﺔﻓﺎﺟ 

ضرا كﺮﻴﺳ ؛٢٠٠٧ ﻮﻛاﺮﻛ -ﻢﻴﻛﻮﺗﺰﺳﺮﻴﻜﻧﻮﺑ 

سوﺎﻫ نوﺎﺗ يﺮﻴﻟﺎﻏ ؛ﻊﻨﺼﻤﻟا نﺎﻜﻣ ،ءاﺮﻀﺨﻟا 

،ﺔﻳﻮﻬﻟا ناﺪﻘﻓ ؛٢٠٠٥ ةﺮﻫﺎﻘﻟا ،ﺮﺻﺎﻌﻤﻟا ﻦﻔﻠﻟ 

ﺎﻴﻧﺎﻤﻟا ،غﺮﺑﺰﻏودﻮﻟ ،ﻦﻳﺮﻔﺘﺸﻧﻮﻛ غﺮﺑﺰﻏودﻮﻟ 

ﺖﻠﻔﺳأو ،٢٠٠١ ،ﺪﻟﻮﻣ ﺖﻠﻔﺳا يﺪﻴﺳ ؛٢٠٠٥ 

ﻦﻔﻠﻟ سوﺎﻫ نوﺎﺗ يﺮﻴﻟﺎﻏ ﻲﻓ ٢٠٠٣ ،ﺮﺗرﻮﻛ 

ﻲﻓ ﻲﻗﻮﺷ كرﺎﺷ ﺎﻤﻛ .ةﺮﻫﺎﻘﻟا ،ﺮﺻﺎﻌﻤﻟا 

.تﺎﻴﻟﺎﻨﻴﺒﻟاو ﺔﻴﻋﺎﻤﺠﻟا ضرﺎﻌﻤﻟا ﻦﻣ ﺪﻳﺪﻌﻟا 

Disorientation II 34

SHARJAH ART FOUNDATION 

is a new initiative committed to 

supporting the development of 

a flourishing arts environment 

in the Gulf by nurturing artistic 

opportunities and actively pursuing 

both a regional and international 

program of cultural exchange. 

The Foundation builds on the 

pioneering role Sharjah has 

played in the artistic and cultural 

development of the UAE and the 

region. Recognizing the central 

and distinctive contribution that 

art makes to society, Sharjah 

Art Foundation focuses on the 

production and presentation of the 

contemporary visual arts. 

At the core of the Foundation are 

the programmes developed over 

the past nine Biennials including 

the acclaimed artist production 

programme, residencies and the 

internationally attended March 

Meetings. Cultivating the spirit of 

research, experimentation and the 

accumulation of knowledge and 

experience, Sharjah Art Foundation 

will continue the Biennial’s role as 

artistic and cultural think-tank for 

the region. 

Inspired by the cross-fertilization 

and rich cultural diversity of the 

Emirates, Sharjah Art Foundation 

provides both national and 

international leadership in art 

production while acting as a catalyst 

for cultural exchange both within the 

region and beyond. 

ﺔﻴﻋﻮﻧ ةردﺎﺒﻣ نﻮﻨﻔﻠﻟ ﺔﻗرﺎﺸﻟا ﺔﺴﺳﺆﻣ 

ﻲﻨﻔﻟا كاﺮﺤﻟا ةﺪﻧﺎﺴﻣو ﻢﻋﺪﺑ مﺰﺘﻠﺗ ،ةﺪﻳﺪﺟ 

ﺰﻳﺰﻌﺗ لﻼﺧ ﻦﻣ ،ﺞﻴﻠﺨﻟا ﺔﻘﻄﻨﻣ ﻲﻓ ﺊﺷﺎﻨﻟا 

،ةﺮﻤﺘﺴﻤﻟاو ﺔﻟﺎﻌﻔﻟا ﺔﻴﻨﻔﻟا ﺔﻛرﺎﺸﻤﻟا صﺮﻓ 

ﻦﻳﺪﻴﻌﺼﻟا ﻰﻠﻋ ﻲﻓﺎﻘﺜﻟا لدﺎﺒﺘﻟا ﺞﻣاﺮﺑ ﻞﻴﻌﻔﺗو 

.ﻲﻟوﺪﻟاو ﻲﻤﻴﻠﻗا 

ﻲﺨﻳرﺎﺘﻟا روﺪﻟا ﻦﻣ ﻗﻼﻄﻧا ﺔﺴﺳﺆﻤﻟا ﺖﺴﺳﺄﺗ 

ﺮﻳﻮﻄﺗ ﻲﻓ ﺔﻗرﺎﺸﻟا ﻪﺘﺒﻌﻟ يﺬﻟا يدﺎﻳﺮﻟاو 

؛ﺔﻘﻄﻨﻤﻟاو تارﺎﻣا ﻲﻓ نﻮﻨﻔﻟاو ﺔﻓﺎﻘﺜﻟا 

ﺔﻤﻫﺎﺴﻤﻟاو يﺰﻛﺮﻤﻟا روﺪﻟا ﺔﻴﻤﻫﺄﺑ ﻧﺎﻤﻳإو 

ﺔﺴﺳﺆﻣ نﺈﻓ ،ﻊﻤﺘﺠﻤﻟا ﻲﻓ نﻮﻨﻔﻠﻟ ﺔﻴﻋﻮﻨﻟا 

جﺎﺘﻧا ﻊﻳرﺎﺸﻣ ﻰﻠﻋ ﺰ ّﻛﺮﺗ نﻮﻨﻔﻠﻟ ﺔﻗرﺎﺸﻟا 

.ةﺮﺻﺎﻌﻤﻟا ﺔﻳﺮﺼﺒﻟا نﻮﻨﻔﻟﺎﺑ ﻒﻳﺮﻌﺘﻟاو 

ﻪﺗاداﺪﺘﻣﺎﺑ ﺔﻗرﺎﺸﻟا ﻲﻟﺎﻨﻴﺑ ﺞﻣﺎﻧﺮﺑ ﻞ ّﻜﺸﻳ 

،ةﺪﻳﺪﺠﻟا ﺔﺴﺳﺆﻤﻟا هﺬﻬﻟ ةاﻮﻧ ﺔﻌﺳاﻮﻟا 

ﺬﻨﻣو ﻪﺗﺮﻴﺴﻣ لﻼﺧ ﻲﻟﺎﻨﻴﺒﻟا عﺎﻄﺘﺳا ﺪﻘﻓ 

هرﻮﺷﻮﻣ ﺮﺒﻋ ﺮ ّﻄﻘﻳ نأ ،١٩٩٣ مﺎﻋ ﻪﺘﻗﻼﻄﻧا 

،ﺔﻴﻓﺎﻘﺜﻟاو ﺔﻳﺮﻜﻔﻟا فﺎﻴﻃا ﻒﻠﺘﺨﻣ صﺎﺨﻟا 

ﻲﻓ ثﺪﺣ ﻢﻫأ ﻰﻟإ ةﺮﻫﺎﻈﺘﻟا هﺬﻫ ًﻻ ّﻮﺤﻣ 

ﻲﺑﺮﻌﻟا ﻪﻌﺑﺎﻃو ﻪﺘّﻴﻠﺤﻤﺑ ﺲﻴﻟ ﺔﻘﻄﻨﻤﻟا 

ﻪﺗرﺪﻗو ﺮﺧا ﻰﻠﻋ ﻪﺣﺎﺘﻔﻧﺎﺑ ﺎﻤﻧإ ،ﺐﺴﺤﻓ 

ﺔﻳﺮﻜﻔﻟاو ﺔﻴﻟﺎﻤﺠﻟا تﻻﻮﺤﺘﻟا ﻢﻫأ هﺪﺻر ﻰﻠﻋ 

هزوﺎﺠﺗ ﺐﻧﺎﺟ ﻰﻟإ ،ﻢﻟﺎﻌﻟا ﺎﻬﺑ ﻞﻔﺤﻳ ﻲﺘﻟا 

زاﺮﺑإو ،ﺔﻴﺣﺎﻴﺴﻟا ﺔﻳﺮﺼﺒﻟا ضوﺮﻌﻟا مﻮﻬﻔﻤﻟ 

؛يﺮﺼﺑ ٍفﺮﺘﻛ ﺲﻴﻟو ،ﺔﻠﻴﺻأ ﺔﺟﺎﺤﻛ ثﺪﺤﻟا 

ﺪﻤﺘﺴﺗ نﻮﻨﻔﻠﻟ ﺔﻗرﺎﺸﻟا ﺔﺴﺳﺆﻣ نﺈﻓ ﺎﻨﻫ ﻦﻣ 

ﺮﺒﻋو ،ﻲﻟﺎﻨﻴﺒﻟا ﺔﻟﺎﺳر ﻦﻣ ﺎﻬﻓاﺪﻫأو ﺎﻬﻤﻴﻗ 

نﺎﻨﻔﻟا ﺞﻣﺎﻧﺮﺑو ،سرﺎﻣ ءﺎﻘﻠﻛ ةدﺪﻌﺘﻤﻟا ﻪﺠﻣاﺮﺑ 

ﻰﻟإ ،جﺎﺘﻧا ﺞﻣاﺮﺑو ،ﻲﻤﻴﻠﻌﺘﻟا ﺞﻣﺎﻧﺮﺒﻟاو ،ﻢﻴﻘﻤﻟا 

ﺎﻬﻣﺪﻗ ﻲﺘﻟا ﺔﻴﻋﻮﻨﻟا ضوﺮﻌﻟا ﻒﻠﺘﺨﻣ ﺐﻧﺎﺟ 

.ﺮﺻﺎﻌﻤﻟا ﻲﻨﻔﻟا ﺪﻬﺸﻤﻟا تﺮﺛأ ﻲﺘﻟاو ﻲﻟﺎﻨﻴﺒﻟا 

ﻞ ّﻜﺸﺗ ﻲﺘﻟا ﺔﻗرﺎﺸﻟا ةرﺎﻣإ ﻊﻣ ﻴﻫﺎﻤﺗو 

ﻲﻓ نﻮﻨﻔﻟاو ﺔﻓﺎﻘﺜﻠﻟ ﺔﻴﺳﺎﺳأ ﺔﻴﻌﺟﺮﻣ 

ﺐﻳﺮﺠﺘﻟاو ﺚﺤﺒﻟا حور ﺰﻳﺰﻌﺗ ﺮﺒﻋو ،ﺔﻘﻄﻨﻤﻟا 

ﻰﻌﺴﺗ ،ﺔﻴﻨﻔﻟاو ﺔﻴﻓﺮﻌﻤﻟا ةﺮﺒﺨﻟا ﻢﻛاﺮﺗو 

ﺎﻫدﻮﺟو ﻖﻴﻤﻌﺘﻟ نﻮﻨﻔﻠﻟ ﺔﻗرﺎﺸﻟا ﺔﺴﺳﺆﻣ 

ﺔﻳدﺪﻌﺘﻟاو ﻚﺑﺎﺸﺘﻟا ﻦﻣ ﻪﺗﺎﻧﻮﻜﻣ ﺪﻤﺘﺴﻳ يﺬﻟا 

ﺎﻬﻨﻴﺑ جزﺎﻤﺘﻟا ﻦﻣو تارﺎﻣا ﻲﻓ ﺔﻴﻨﻐﻟا ﺔﻴﻓﺎﻘﺜﻟا 

.عاﺪﺑاو ﺮﻴﺒﻌﺘﻟا لﺎﻜﺷأ ﻒﻠﺘﺨﻣ ﻦﻴﺑو 

Disorientation II 36


TOURISM DEVELOPMENT AND 

INVESTMENT COMPANY (TDIC) is 

a master developer of key cultural, 

residential and tourism destinations 

in Abu Dhabi. The principal goal 

of its cultural programme, up 

to and including the creation 

of the Saadiyat Island Cultural 

District – the world’s largest single 

concentration of premier cultural 

institutions, is to establish an 

international platform in the UAE 

for arts and culture. 

Unprecedented in scale and scope, 

the Saadiyat Island Cultural District 

will include museums such as 

Zayed National Museum, Louvre 

Abu Dhabi, and the Guggenheim 

Abu Dhabi Museum, all due 

for completion in 2012/2013. 

Education is essential to create 

opportunities for the local and 

regional community. 

TDIC’s mission is to engage the 

community in the city’s urban, 

cultural and artistic development 

and help widen professional 

skills and knowledge in the 

community through a dialogue with 

representatives from the world’s 

leading cultural organisations. 

Alongside the Cultural District 

project, TDIC presents a diversified 

programme of art exhibitions, 

events and talks to further engage 

audiences in the arts including 

public discussions with many of the 

world’s greatest artists, curators, 

scholars and museum leaders. 

Already, TDIC has showed a series 

of path-breaking exhibitions: the 

first Middle East showing of the 

great Nasser D. Khalili collection 

of Islamic arts. The first Middle 

East retrospective of the work 

of Pablo Picasso, and the first 

comprehensive survey exhibition of 

the contemporary art of the United 

Arab Emirates and most recently, 

the Talking Art: Louvre Abu Dhabi. 

ﻲﻫ ﻲﺣﺎﻴﺴﻟا رﺎﻤﺜﺘﺳﻻاو ﺮﻳﻮﻄﺘﻟا ﺔﻛﺮﺷ 

ﺔﻴﺣﺎﻴﺴﻟا تﺎﻬﺟﻮﻟا ﻢﻫ ﻲﺴﻴﺋﺮﻟا رﻮﻄﻤﻟا 

ﻰﻌﺴﺗ .ﻲﺒﻇﻮﺑأ ﻲﻓ ﺔﻴﺠﻴﺗاﺮﺘﺳا ﺔﻴﻓﺎﻘﺜﻟاو 

ءﺎﺸﻧإ ﻰﻟإ ،ﻲﻓﺎﻘﺜﻟا ﺎﻬﺠﻣﺎﻧﺮﺑ ﺮﺒﻋ ،ﺔﻛﺮﺸﻟا 

،تارﺎﻣا ﺔﻟود ﻲﻓ ﺔﻓﺎﻘﺜﻟاو نﻮﻨﻔﻠﻟ ﻲﻟود ﺮﺒﻨﻣ 

“ﺔﻴﻓﺎﻘﺜﻟا ﺔﻘﻄﻨﻤﻟا” حﺎﺘﺘﻓﺎﺑ ﺎﻬﺠﻣﺎﻧﺮﺑ جﻮﺘﺘﺳو 

ىﺪﻟ ﺢﺒﺼﺘﺳ ﻲﺘﻟا ،تﺎﻳﺪﻌﺴﻟا ةﺮﻳﺰﺟ ﻲﻓ 

تﺂﺸﻨﻤﻟاو ﻒﺣﺎﺘﻤﻠﻟ ﺰﻛﺮﻣ ﺮﺒﻛأ ﺎﻬﻟﺎﻤﺘﻛا 

.ﻢﻟﺎﻌﻟا ﻲﻓ ﺔﻴﻓﺎﻘﺜﻟا 

ﺪﻳﺮﻓ ﻋوﺮﺸﻣ “ﺔﻴﻓﺎﻘﺜﻟا ﺔﻘﻄﻨﻤﻟا” ﺮﺒﺘﻌﺗو 

ﻢﻀﻴﺳ ﺚﻴﺣ ،ﺔﻳؤﺮﻟاو ﻢﺠﺤﻟا ﺔﻴﺣﺎﻧ ﻦﻣ 

،“ﻲﺒﻇﻮﺑأ ﺮﻓﻮﻠﻟا ﻒﺤﺘﻣ” ،“ﻲﻨﻃﻮﻟا ﺪﻳاز ﻒﺤﺘﻣ” 

رﺮﻘﻤﻟاو ،“ﻲﺒﻇﻮﺑأ ﻢﻳﺎﻬﻨﺟﻮﺟ ﻒﺤﺘﻣ“و 

.٢٠١٣/٢٠١٢ ﻲﻣﺎﻋ لﻼﺧ ﻞﺣاﺮﻣ ﻰﻠﻋ ﺎﻬﺣﺎﺘﺘﻓا 

ﺔﻳﻮﻴﺣ ةروﺮﺿ ﻢﻴﻠﻌﺘﻟا ﺮﺒﺘﻌﻳ ﻦﻴﺣ ﻲﻓو 

ﻲﻠﺤﻤﻟا ﻊﻤﺘﺠﻤﻟا مﺎﻣأ ﻊﺳوأ صﺮﻓ ﻖﻠﺨﻟ 

ﻓﺪﻫ ﺎﻬﻴﻨﻴﻋ ﺐﺼﻧ ﺔﻛﺮﺸﻟا ﻊﻀﺗ ،ﻲﻤﻴﻠﻗاو 

ﻲﻠﺤﻤﻟا ﻊﻤﺘﺠﻤﻟا كاﺮﺷإ ﻲﻓ ﻞﺜﻤﺘﻳ ﺤﺿاو 

،ﻲﻨﻔﻟاو ﻲﻓﺎﻘﺜﻟاو ﻲﻧاﺮﻤﻌﻟا رﻮﻄﺘﻟا ةﺮﻴﺴﻣ ﻲﻓ 

ﺔﻴﻓﺎﻘﺜﻟا ﺔﻓﺮﻌﻤﻟﺎﺑ ءﺎﻘﺗرﻻا ﻲﻓ ةﺪﻋﺎﺴﻤﻟاو 

حﻮﺘﻔﻣ راﻮﺣ قﻼﻃإ ﺮﺒﻋ ﺔﻴﻨﻬﻤﻟا تارﺎﻬﻤﻟاو 

تﺎﺴﺳﺆﻤﻟا ﻲﻠﺜﻤﻣو ﻦﻳﺮﻜﻔﻣو ﻦﻴﻧﺎﻨﻓ ﻊﻣ 

.ﻢﻟﺎﻌﻟا ﻲﻓ ةﺪﺋاﺮﻟا ﺔﻴﻓﺎﻘﺜﻟا 

ﺔﻘﻄﻨﻤﻟا” عوﺮﺸﻣ ﻊﻣ ﺐﻨﺟ ﻰﻟإ ﺒﻨﺟو 

ﻋﻮﻨﺘﻣ ﺠﻣﺎﻧﺮﺑ ﺔﻛﺮﺸﻟا ﻢﻈﻨﺗ ،“ﺔﻴﻓﺎﻘﺜﻟا 

كاﺮﺷ تاراﻮﺤﻟاو تﺎﻴﻟﺎﻌﻔﻟاو ضرﺎﻌﻤﻟا ﻦﻣ 

ﺔﻛﺮﺤﻟا ﻲﻓ ﻊﻤﺘﺠﻤﻟا ﻦﻣ ﻦﻜﻤﻣ عﺎﻄﻗ ﺮﺒﻛأ 

ﺔﻣﺎﻋ تاﺮﻇﺎﻨﻣ ءاﺮﺟإ ﻚﻟذ ﻲﻓ ﺎﻤﺑ ،ﺔﻴﻨﻔﻟا 

ءﺎﻨﻣأو ﻢﻟﺎﻌﻟا ﻲﻧﺎﻨﻓ ﻢﻈﻋأ ﻦﻣ ﺪﻳﺪﻌﻟا ﻊﻣ 

ً .ﺎﻴﻟودو ﻴﻤﻴﻠﻗإ يأﺮﻟا ةدﺎﻗو دﺎﻘﻨﻟاو ﻒﺣﺎﺘﻤﻟا 

ضرﺎﻌﻤﻟا ﻦﻣ ﺪﻳﺪﻌﻟا ﻞﻌﻔﻟﺎﺑ ﺖﻣﺪﻗ ﺪﻗو 

قﺮﺸﻟا ﻲﻓ لوا ضﺮﻌﻤﻟا ﺎﻬﻨﻣ ﺔﺤﺟﺎﻨﻟا 

ﻦﻣ ﻲﻫ و ﻲﻣﻼﺳا ﻦﻔﻟا ﺔﻋﻮﻤﺠﻤﻟ ﻂﺳوا 

ضﺮﻌﻣو ،ﻲﻠﻴﻠﺨﻟا ﺮﺻﺎﻧ رﻮﺘﻛﺪﻟا تﺎﻴﻨﺘﻘﻣ 

ﻦﻔﻠﻟ ﻞﻣﺎﺷ ضﺮﻌﻣ لوأو ،ﻮﺳﺎﻜﻴﺑ ﻮﻠﺑﺎﺑ لﺎﻤﻋأ 

ةﺪﺤﺘﻤﻟا ﺔﻴﺑﺮﻌﻟا تارﺎﻣا ﺔﻟود ﻲﻓ ﺮﺻﺎﻌﻤﻟا 

ﺮﻓﻮﻠﻟا :نﻮﻨﻔﻟا راﻮﺣ” ﺮﺧﺆﻣو ،“ﺔﻴﺗارﺎﻣإ ﺮﻴﺑﺎﻌﺗ” 

.“ﻲﺒﻇﻮﺑأ

Tourism development and 

Investment Company 

Special Thanks 

H.H. Sheikh Mohammad bin Zayed Al Nahyan, 

Crown-Prince of Abu Dhabi and Deputy 

Supreme Commander of the UAE Armed Forces 

H.E. Sheikh Sultan bin Tahnoon Al Nahyan 

H.E. Zaki Nusseibeh 

H.E. Mubarak Al Muhairi 

Mr. Lee Tabler 

Mr. Ahmed Hussein 

TDIC team 

Exhibition Director 

Rita Aoun-Abdo 

Exhibitions Management 

Nicola Ure 

Imad Batran 

Katia de Rham 

Logistics 

Massimiliano Lodi 

Conservation 

Molly Phelan 

Public Programming 

Fawz Kabra 

Olivia Wang 

Publications 

Iman Al Sayed 

Education 

Sylviane De Roquebrune 

Marketing and Events 

Olivia Conneeley 

Sandra Gibbons 

Hind Khoury 

Sponsors Relations 

Cyril Zammit 

VIP Relations 

Philip Carton 

Protocol 

Salama Al Shamsi 

Public Relations 

Bassem Terkawi 

Hend Mana Al Otaiba 

Business and Commercial 

Patrick Foret 

Roan Plumbe 

Cristina Baker 

Legal and Insurance 

Mark Facey 

Melissa Gargan 

Karen Roseman 

Karen Mackie 

Operations 

Robert LaMarre 

Barry Folkes 

Andrew Booth 

Ruth Mckie 

Naamet Abbas 

AECOM 

Nick James 

Neil Coker 


ﻲﺣﺎﻴﺴﻟا رﺎﻤﺜﺘﺳﻻاو ﺮﻳﻮﻄﺘﻟا ﺔﻛﺮﺷ 

صﺎﺧ ﺮﻜﺷ 

ﺪﻬﻋ ﻲﻟو نﺎﻴﻬﻧ لآ ﺪﻳاز ﻦﺑ ﺪﻤﺤﻣ ﺦﻴﺸﻟا ﻮﻤﺳ 

ﻲﻓ ﺔﺤﻠﺴﻤﻟا تاﻮﻘﻠﻟ ﻰﻠﻋا ﺪﺋﺎﻘﻟا ﺐﺋﺎﻧ ،ﻲﺒﻇﻮﺑأ 

ةﺪﺤﺘﻤﻟا ﺔﻴﺑﺮﻌﻟا تارﺎﻣا ﺔﻟود 

نﺎﻴﻬﻧ لآ نﻮﻨﺤﻃ ﻦﺑ نﺎﻄﻠﺳ ﺦﻴﺸﻟا ﻲﻟﺎﻌﻣ 

يﺮﻴﻬﻤﻟا ﺪﻤﺣ كرﺎﺒﻣ ﺪﻴﺴﻟا ةدﺎﻌﺳ 

ﺔﺒﻴﺴﻧ رﻮﻧأ ﻲﻛز ﺪﻴﺴﻟا ةدﺎﻌﺳ 

ﺮﻠﺑﺎﺗ ﻲﻟ ﺪﻴﺴﻟا 

ﻦﻴﺴﺣ ﺪﻤﺣأ ﺪﻴﺴﻟا 

ﻲﺣﺎﻴﺴﻟا رﺎﻤﺜﺘﺳﻻاو ﺮﻳﻮﻄﺘﻟا ﺔﻛﺮﺷ ﻞﻤﻋ ﻖﻳﺮﻓ 

ضﺮﻌﻤﻟا ﺲﻴﺋر 

وﺪﺒﻋ-نﻮﻋ ﺎﺘﻳر 

ضﺮﻌﻤﻟا ةرادإ 

روأ ﻻﻮﻜﻴﻧ 

ناﺮﻄﺑ دﺎﻤﻋ 

مﺎﻫر ود ﺎﻴﺗﺎﻛ 

ﺔﻴﺘﺴﺟﻮﻠﻟا ةرادا 

يدﻮﻟ ﻮﻧﺎﻴﻠﻴﻤﻴﺳﺎﻣ 

ﺔﻴﻨﻔﻟا لﺎﻤﻋا ﻆﻔﺣ 

نﻼﻴﻓ ﻲﻟﻮﻣ 

ﺔﻣﺎﻌﻟا ﺞﻣاﺮﺒﻟا 

اﺮﺒﻛ زﻮﻓ 

ﺞﻧاو ﺎﻴﻔﻴﻟوأ 

تﺎﻋﻮﺒﻄﻤﻟا 

ﺪﻴﺴﻟا نﺎﻤﻳإ 

ﺔﻴﻤﻴﻠﻌﺘﻟا ﺞﻣاﺮﺒﻟا 

نوﺮﺒﻛور ود نﺎﻴﻔﻠﻴﺳ 

ﻖﻳﻮﺴﺘﻟا 

ﻲﻠﻴﻧﻮﻛ ﺎﻴﻔﻴﻟوأ 

ﺰﻨﺒﻴﺟ ارﺪﻧﺎﺳ 

يرﻮﺧ ﺪﻨﻫ 

ةﺎﻋﺮﻟا تﺎﻗﻼﻋ 

ﺖﻴﻣاز ﻞﻳﺮﻴﺳ 

ﺔﻤﻬﻤﻟا تﺎﻴﺼﺨﺸﻟا تﺎﻗﻼﻋ 

ﻦﺗرﺎﻛ ﺐﻴﻠﻴﻓ 

لﻮﻛﻮﺗوﺮﺒﻟا 

ﻲﺴﻣﺎﺸﻟا ﺔﻣﻼﺳ 

ﺔﻣﺎﻌﻟا تﺎﻗﻼﻌﻟا 

يوﺎﻛﺮﺗ ﻢﺳﺎﺑ 

ﺔﺒﻴﺘﻌﻟا عﺎﻨﻣ ﺪﻨﻫ 

ﺔﻳرﺎﺠﺘﻟا نوﺆﺸﻟاو لﺎﻤﻋا 

ﺖﻳرﻮﻓ ﻚﻳﺮﺗﺎﺑ 

ﺐﻤﻠﺑ نور 

ﺮﻜﻴﺑ ﺎﻨﻴﺘﺴﻳﺮﻛ 

ﻦﻴﻣﺄﺘﻟاو ﺔﻴﻧﻮﻧﺎﻘﻟا نوﺆﺸﻟا 

ﻲﺴﻳﺎﻓ كرﺎﻣ 

نﺎﺟرﺎﺟ ﺎﺴﻴﻠﻣ 

نﺎﻣزور ﻦﻳرﺎﻛ 

ﻲﻛﺎﻣ ﻦﻳرﺎﻛ 

تﺎﻴﻠﻤﻌﻟا 

رﺎﻣﻻ تﺮﺑور 

ﺲﻜﻟﻮﻓ يرﺎﺑ 

ثﻮﺑ ورﺪﻧآ 

ﻲﻛﺎﻣ ثوور 

سﺎﺒﻋ تﺎﻤﻌﻧ 

مﻮﻜﻳآ 

ﺲﻤﻳﺎﺟ ﻚﻴﻧ 

ﺮﻛﻮﻛ ﻞﻴﻧ

Sharjah Art Foundation 

Special Thanks 

H.H. Sheikh Dr. Sultan Bin Mohammed Al Qasimi, 

Member of the Supreme Council and Ruler of 

Sharjah 

Department of Culture and Information 

Government of Sharjah 

President 

H.H. Sheikha Hoor Al Qasimi 

Director and curator of Disorientation II 

Jack Persekian 

Assistant director and assistant curator of 

Disorientation II 

Lara Khaldi 

Disorientation II team 

Project manager 

Reem Shadid 

Press and media relations 

Judith Greer 

Exhibition designer 

Mona El Mousfy 

Assistant designer 

Sidrah Saleem Shaikh 

Technical & production coordinator 

Farah Al-Qedra 

Exhibition production 

Hassan Al Jidah 

Arabic language editing 

Ismail Al Rifai 

Graphic Design 

Hani Charaf 

Thank you 

All the participating artists 

Nina Borgmann and Friedrieke 

Valentien, Galerie Michael Janssen 

Alex Bradley and Sophie Greig, White Cube 

Helene des Rieux 

Lars Friedrich, Galerie Nagel 

Fadi Ghandour 

Yuli Karastiki, Kalfayan Gallery 

Ann Matranga 

Maya Nasser 

Mohamed Ouichou, ÛFACTO EURL 

Hanya Salah, Ali Jabri Human Heritage Foundation 

Rasha Salti 

Hanan Sayed 

Andree Sfeir 

Dominique Roche Teyssier, ADACH 

Sarah Ward, Momart 

Abulla Yacoubi and Rohan D’souza, e-freight Int’l LLC 


نﻮﻨﻔﻠﻟ ﺔﻗرﺎﺸﻟا ﺔﺴﺳﺆﻣ 

صﺎﺧ ﺮﻜﺷ 

ﻦﺑ نﺎﻄﻠﺳ رﻮﺘﻛﺪﻟا ﺦﻴﺸﻟا ﻮﻤﺴﻟا ﺐﺣﺎﺻ ةﺮﻀﺣ 

،دﺎﺤﺗﻟ ﻰﻠﻋا ﺲﻠﺠﻤﻟا ﻮﻀﻋ ،ﻲﻤﺳﺎﻘﻟا ﺪﻤﺤﻣ 

ﺔﻗرﺎﺸﻟا ﻢﻛﺎﺣ 

مﻼﻋاو ﺔﻓﺎﻘﺜﻟا ةﺮﺋاد 

ﺔﻗرﺎﺸﻟا ﺔﻣﻮﻜﺣ 

ﺲﻴﺋر 

ﻲﻤﺳﺎﻘﻟا رﻮﺣ ﺔﺨﻴﺸﻟا ﻮﻤﺳ 

ﺮﻳﺪﻣ 

ﺔﻴﻧﺎﺛ ة ّﺮﻣ باﺮﺘﻏا ضﺮﻌﻣ ﻢّﻴﻗ 

نﺎﻴﻜﺳﺮﺑ كﺎﺟ 

ﺮﻳﺪﻤﻟا ةﺪﻋﺎﺴﻣ 

ﺔﻴﻧﺎﺛ ة ّﺮﻣ باﺮﺘﻏا ضﺮﻌﻤﻟ ةﺪﻋﺎﺴﻣ ﺔﻤّﻴﻗ 

يﺪﻟﺎﺧ ارﻻ 

ﺔﻴﻧﺎﺛ ة ّﺮﻣ باﺮﺘﻏا ﻞﻤﻋ ﻖﻳﺮﻓ 

يرادإ فاﺮﺷإ 

ﺪﻳﺪﺷ ﻢﻳر 

مﻼﻋإ 

ﺮﻳﺮﻏ ﺚﻳدﻮﺟ 

ﻲﺳﺪﻨﻫ ﻢﻴﻤﺼﺗ 

ﻲﻔﺼﻤﻟا ﻰﻨﻣ 

ةﺪﻋﺎﺴﻣ ﺔﻤ ّﻤﺼﻣ 

ﺦﻴﺷ ﻢﻴﻠﺳ ارﺪﻴﺳ 

تاﺰﻴﻬﺠﺗو ﻲﻨﻘﺗ ﻖﻴﺴﻨﺗ 

ةرﺪﻘﻟا حﺮﻓ 

تاﺰﻴﻬﺠﺗ 

ةﺪﺠﻟا ﻦﺴﺣ 

ﺮﻳﺮﺤﺘﻟا 

ﻲﻋﺎﻓﺮﻟا ﻞﻴﻋﺎﻤﺳإ 

ﻲﻜﻴﻓاﺮﻏ ﻢﻴﻤﺼﺗ 

فﺮﺷ ﻲﻧﺎﻫ 

ﺮﻜﺷ 

ﻦﻴﻛرﺎﺸﻤﻟا ﻦﻴﻧﺎﻨﻔﻟا ﻊﻴﻤﺟ 

ﻦﺴﻨﺟ ﻞﻜﻳﺎﻣ يﺮﻴﻟﺎﻏ ،ﻦﻴﺘﻨﻟﺎﻓ ﻚﻳرﺪﻳﺮﻓو نﺎﻤﻏرﻮﺑ ﺎﻨﻴﻧ 

بﻮﻴﻛ ﺖﻳاو يﺮﻴﻟﺎﻏ ﻦﻣ ﻎﻳﺮﻏ ﻲﻓﻮﺻو ﻲﻟداﺮﺑ ﺲﻜﻟا 

ﻮﻳر يد ﻦﻴﻠﻴﻫ 

ﻞﺠﻳﺎﻧ يﺮﻴﻟﺎﻏ ،ﻚﻳرﺪﻳﺮﻓ سرﻻ 

نﻮﺴﻧﺎﺟ ﻞﻜﻳﺎﻣ يﺮﻴﻟﺎﻏ 

روﺪﻨﻏ يدﺎﻓ 

نﺎﻴﻔﻠﻛ يﺮﻴﻟﺎﻏ ،ﻲﻜﻴﺘﺳارﺎﻛ ﻲﻟﻮﻳ 

ﺎﻐﻧاﺮﺗﺎﻣ ﺎﻧآ 

ﺮﺻﺎﻧ ﺎﻳﺎﻣ 

ﻮﺘﻛﺎﻓوا ،ﻮﺷﻮﻗ ﺪﻤﺤﻣ 

ﻲﻧﺎﺴﻧا ثاﺮﺘﻠﻟ يﺮﺑﺎﺠﻟا ﻲﻠﻋ ﺔﺴﺳﺆﻣ ،حﻼﺻ ﺔﻴﻧﺎﻫ 

ﻲﻄﻠﺳ ﺎﺷر 

ﺪّﻴﺳ نﺎﻨﺣ 

ﺮﻴﻔﺻ ﻪﻳرﺪﻧأ 

ثاﺮﺘﻟاو ﺔﻓﺎﻘﺜﻠﻟ ﻲﺒﻇﻮﺑأ ،ﺮﻴﺴﻴﺗ شور ﻚﻴﻨﻴﻣود 

ترآ مﻮﻣ ،دراو ةرﺎﺳ 

لﺎﻧﻮﻴﺷﺎﻧﺮﺘﻧا ﺖﻳاﺮﻓ يأ ،نﺎﻫورو ﻲﺑﻮﻘﻌﻳ ﻻﻮﺑأ

Disorientation II Catalogue - Sharjah Art Foundation

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