Lina Majdalanie
Appendice
decemberdec 2
Lina Majdalanie ©
Monday december 2
19h30
A performance reading by Lina Majdalanie.
Production The Lebanese Association for Plastic Arts, Ashkal Alwan (Beirut) ; Festival d’Automne à Paris
Acknowledgements Fadi Abdallah, Albert Abi Azar, Mansour Aziz, Rémi Bonhomme, Toni Chakar, Lama Charafeddine, Ali Cherri, Marie Collin, Joanna Hadjithomas, Hatem Imam, Khalil Joreige, Bernard Khoury, Krystel Khoury, Nathalie Khoury, Jalal El Mir, Tarek Mrad, Hania Mroué (Cinema Metropolis Beirut), Rabih Mroué, Walid Raad, Celesta Rottiers, Hussein Saleh, Andrée Sfeir (Galerie Sfeir-Semler), Mounira El Solh, Christine Tohmé et Jalal Toufic
The Fondation Cartier pour l'art contemporain and the Festival d'Automne à Paris present this programme in co-realisation.
The Lina Majdalanie and Rabih Mroué duo presents two “non-academic conferences” and a concert-performance in collaboration with Rima Khcheich. Rabih Mroué makes frequent use of the former concept in order to create presentations which adopt the various mechanisms of the conference format whilst opening them up to the various possibilities of performance. In doing so, the duo plays upon the ambiguity which is inherent in this form of subversion. Added to this, for the first time, is an artistic proposition featuring poems set to music.
In the Appendice (2007) conference, Lina Majdalanie confronts herself with her unattainable wish to be cremated upon her death. In Lebanon, funeral rituals are exclusively managed by the different religious authorities, and the practice of cremation is against the law. How can we find the alternative means to arrive at our ends?
See also
Lina Majdalanie, Rabih Mroué, Mazen Kerbaj Borborygmus
Set to a complex score of sound and light, a trio sets about uttering phrases of a visceral nature, creating an outlandish, chorus-like effect. Each sequence emerges, bouncing off an impromptu connection, thereby developing a new theme - ranging from distraught observations, memories, tributes, apocalyptic visions, and intimate observations, to unspeakable experiences.
Lina Majdalanie, Rabih Mroué Photo-Romance
How do we go about presenting the adaptation of a famous film to the Lebanese authorities in charge of censorship? We come to realize that it is about a film which recounts the improbable encounter between two very dissimilar individuals both of whom are experiencing social alienation in fascist Italy in 1938. The adaptation is set in Beirut in 2007, shortly after an Israeli attack on Lebanon.
Lina Majdalanie, Rabih Mroué Biokhraphia
These two one-person shows, Biokhraphia et Riding on a cloud, are an investigation into the self-portrait. In Riding on a Cloud, a man called Yasser speaks into a dictaphone, projects videos and broadcasts recordings, whilst expressing reservations about the extent to which these documents coincide with his true self. In Biokhraphia, it is Lina Majdalanie who becomes the subject of a very unusual interview.
Lina Majdalanie, Rabih Mroué 33 tours et quelques secondes
Who is Diyaa Yamout, the Lebanese human rights activist, artist and blogger whose suicide shook the nation? We will never really know and this is not what matters. Indeed, what is far more fascinating here is the profusion of assorted reactions on Facebook, the television, and in the form of SMS and answering machine messages
Lina Majdalanie, Rabih Mroué, Rima Khcheich N'importe où
The Lina Majdalanie and Rabih Mroué duo presents two “non-academic conferences” and a concert-performance in collaboration with Rima Khcheich. Rabih Mroué makes frequent use of the former concept in order to create presentations which adopt the various mechanisms of the conference format whilst opening them up to the various possibilities of performance. In doing so, the duo plays upon the ambiguity which is inherent in this form of subversion. Added to this, for the first time, is an artistic proposition featuring poems set to music.
Lina Majdalanie, Rabih Mroué Quatre murs et un toit
In 1947, the trial of German playwright Bertolt Brecht took place in the United States in front of the House Un-American Activities Committee (HUAC), responsible for combating communist activism. It was here that Brecht wrote a declaration which he was forbidden to read out. The minutes of the trial, as well as this declaration, constitute one of the axes of this exuberant show.
In the same place
Rabih Mroué Before Falling Seek the Assistance of Your Cane
The Lina Majdalanie and Rabih Mroué duo presents two “non-academic conferences” and a concert-performance in collaboration with Rima Khcheich. Rabih Mroué makes frequent use of the former concept in order to create presentations which adopt the various mechanisms of the conference format whilst opening them up to the various possibilities of performance. In doing so, the duo plays upon the ambiguity which is inherent in this form of subversion. Added to this, for the first time, is an artistic proposition featuring poems set to music.
Lina Majdalanie, Rabih Mroué, Rima Khcheich N'importe où
The Lina Majdalanie and Rabih Mroué duo presents two “non-academic conferences” and a concert-performance in collaboration with Rima Khcheich. Rabih Mroué makes frequent use of the former concept in order to create presentations which adopt the various mechanisms of the conference format whilst opening them up to the various possibilities of performance. In doing so, the duo plays upon the ambiguity which is inherent in this form of subversion. Added to this, for the first time, is an artistic proposition featuring poems set to music.