After/images

Opening weekend Friday, 26 – Sunday 28 June, 6 – 9 pm.
Screening of Ghassan Halwani‘s film Erased – Ascent of the Invisible at 7 pm during the opening weekend

Exhibition dates: 3 – 19 July, Fri – Sun 4 – 7 pm

Artists: Sadik Kwaish Alfraji, Khaled Barakeh, Chaza Charafeddine, Ghassan Halwani

Curated by Charlotte Bank and Salah Saouli

 

Safety measures due to the COVID 19 pandemic:

Please note that access to the exhibition is subject to certain safety measures. We kindly ask all our guests to wear a mask and to keep the required distance of 1.5 m. We also ask our visitors to reserve a time slot for their visit during the opening weekend: coordination.artlab.berlin.de@gmail.com

Charafeddine_Haed_#I

Chaza Charafeddine: The Unbearable Lightness of Witnessing

 

With the project Where Have All the Jasmines Gone, we want to investigate what remains of the initial hopes 10 years after the protests of the “Arab Spring” began and, together with artists and intellectuals, to investigate where and in what form changes are noticeable as well as the possibilities of participation for art and artists in these processes. The exhibition After/images presents the works of four artists who address issues of conflict, memory and trauma in their work.

Sadik Kwaish Alfraji’s videos Ali’s Boat (2014) and The House that My Father Built (2010) address themes of belonging and remembrance. Ali’s Boat was inspired by a letter from his young nephew in Baghdad, wishing that his letter and his drawing of a boat would carry him away from his land to the Netherlands, where his uncle-the artist lives. In The House that My Father Built the artist revisits the house in which he grew up and follows the traces of his father’s presence, bringing back vivid memories of childhood and “a more beautiful charming world”, a world that is now gone.
Khaled Barakeh’s Untitled Images (2014) use images taken from various online sources of wounded, dead and grieving people in different war locations in Syria. The artist has cut out the figures of the victims, leaving the space blank and white. The white space becomes a metaphor not only for the irreplaceable loss of loved ones during war, but also for the very impossibility to fully grasp the reality of the violent event at the time it is happening.

Chaza Charafeddine’s photographic series The Unbearable Lightness of Witnessing (2012) is, according to the artist an “homage to Francis Bacon and to the victims of the Syrian revolution who died under torture in Syrian jails”. ​Trying to find a way to express the horror of daily witnessing images of atrocities in Syria, Charafeddine created a series of performative photographs using different colours to create distorted images of her own face, evocative of Bacon’s paintings, but also of the wounds of torture victims.

Ghassan Halwani’s film Erased – Ascent of the Invisible (2018) follows the trace of one of the 17,000 persons who disappeared during the Lebanese Civil War (1975-1990). From an image on one of Beirut’s walls the film attempts to tell the stories of the missing and how their presence still haunts the Lebanese society.

 

Venue: Art-Lab Berlin im iPhonedoctor * Perleberger Straße 60, 10559 Berlin

Facebook: Art-Lab Berlin

 

Supported by: Hauptstadtkulturfonds, Berlin

LogoHKF-M-RGB

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s