photomontage on archive paper, 29.7x42cm, framed.
signed edition of 33.
printed with lollipopart, lebanon
digital print on archive paper, not framed.
edition of 35.
printed with lollipopart, lebanon
digital print on archive paper. 48 x 32cm.
limited edition of 46 prints signed and numbered recto.
naming this year’s edition of exposure mobility points to the possibility of movement, to displacement, and to processes of transformation. operating within this rather extensive field, the members of the jury - lawrence abu hamdan, stefanie baumann, tony chakar and andrea thal - have selected artists whose work deals with the instability and breaking-down of shapes, and who are furthermore involved in the evolution of definitions and categories. in their practice, the body is a condition and a site for activating artistic purpose, and for carrying out some transformations in symbolic orders and social life.
as part of beirut art center’s global program, mobility seeks to explore, rather than demonstrate, how art can cross into our world, and produce unexpected occurrences in our lives.
the aim of this program is to question the collective experience of “present time” and to bring forth different approaches toward recent history, through distinct voices.
The bilingual (English/Arabic) book includes five short stories based on observation that engage the reader with very particular yet uncannily recognizable characters and occurrences. This sense of recognition emanates from a certain quality the stories embody rather than in any specific details they convey. The specific cultural, aesthetic, and personal sensibility through which the stories are filtered is further revealed when considered in relation to the accompanying images of sculptural objects explicitly produced for this purpose and based on the demotic style of popular kitsch ornaments.
This book is published on the occasion of “The Twist,” a solo exhibition of Hassan Khan’s work at Objectif Exhibitions (September 3–October 22, 2011), curated by Mai Abu ElDahab.
for 14 nights, 7th 20th of april 2003, the artist sat in a soundproofed one-way mirrored glass room from 7 to 11 pm drinking beer, smoking cigarettes and speaking. his main focus were his undergraduate years (between 1990 and 1995) at the american university in cairo (auc), which he entered when he was 15 and graduated from when he was 20. all 56 hours of this performative action were documented on a digital video camera. the book holds a transcription of every legible word uttered during these hours.
this extraordinary book can be read on several levels. primarily, it is the story of joseph jacotot, an exiles french schoolteacher who discovered in 1818 an unconventional teaching method that spread panic throughout the learned community of europe.
knowing no flemish, jacotot found himself able to teach in french to flemish students who knew no french; knowledge, jacotot concluded, was not necessary to teach, nor explication necessary to learn. the results of this unusual experiment in pedagogy led him to announce that all people were equally intelligent. from this postulate, jacotot devised a philosophy and a method for what he called "intellectual emancipation"—a method that would allow, for instance, illiterate parents to themselves teach their children how to read. the greater part of the book is devoted to a description and analysis of jacotot's method, its premises, and (perhaps most important) its implications for understanding both the learning process and the emancipation that results when that most subtle of hierarchies, intelligence, is overturned.
the book, as kristin ross argues in her introduction, has profound implications for the ongoing debate about education and class in france that has raged since the student riots of 1968, and it affords rancière an opportunity (albeit indirectly) to attack the influential educational and sociological theories of pierre bourdieu (and others) that rancière sees as perpetuating inequality.