Posthumous Images
Contemporary Art and Memory Politics in Post–Civil War Lebanon
Seiten
2018
Duke University Press (Verlag)
978-0-8223-4710-1 (ISBN)
Duke University Press (Verlag)
978-0-8223-4710-1 (ISBN)
Chad Elias analyzes a generation of artists working in Lebanon who interrogate Lebanon's civil war (1975–1990), showing how their appropriation and creation of images challenge divisive political discourse, give a voice to those silenced and forgotten, and provide the means to reimagine Lebanon's future.
For almost two decades of its history (1975-90), Lebanon was besieged by sectarian fighting, foreign invasions, and complicated proxy wars. In Posthumous Images, Chad Elias analyzes a generation of contemporary artists who have sought, in different ways, to interrogate the contested memory of those years of civil strife and political upheaval. In their films, photography, architectural projects, and multimedia performances, these artists appropriate existing images to challenge divisive and violent political discourses. They also create new images that make visible individuals and communities that have been effectively silenced, rendered invisible, or denied political representation. As Elias demonstrates, these practices serve to productively unsettle the distinctions between past and present, the dead and the living, official history and popular memory. In Lebanon, the field of contemporary art is shown to be critical to remembering the past and reimagining the future in a nation haunted by a violent and unresolved war.
For almost two decades of its history (1975-90), Lebanon was besieged by sectarian fighting, foreign invasions, and complicated proxy wars. In Posthumous Images, Chad Elias analyzes a generation of contemporary artists who have sought, in different ways, to interrogate the contested memory of those years of civil strife and political upheaval. In their films, photography, architectural projects, and multimedia performances, these artists appropriate existing images to challenge divisive and violent political discourses. They also create new images that make visible individuals and communities that have been effectively silenced, rendered invisible, or denied political representation. As Elias demonstrates, these practices serve to productively unsettle the distinctions between past and present, the dead and the living, official history and popular memory. In Lebanon, the field of contemporary art is shown to be critical to remembering the past and reimagining the future in a nation haunted by a violent and unresolved war.
Chad Elias is Assistant Professor of Art History at Dartmouth College.
List of Illustrations ix
Acknowledgments xiii
Introduction 1
1. Captive Subjects: On the Geopolitics of Sex and Translation in Walid Raad's Hostage: The Bachar Tapes 27
2. Resistance, Video Martyrdom, and the Afterlife of the Lebanese Left 55
3. Latent Images, Buried Bodies: Mourning Lebanon's Disappeared 93
4. Suspended Places: The Void and the Monument in Post-Civil War Beirut 131
5. Images of Futures Past: The Lebanese Rocket Society 159
Coda. Time Bomb 177
Notes 193
Bibliography 225
Index 239
Erscheinungsdatum | 10.07.2018 |
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Reihe/Serie | Art History Publication Initiative |
Zusatzinfo | 71 color illustrations |
Verlagsort | North Carolina |
Sprache | englisch |
Maße | 152 x 229 mm |
Gewicht | 635 g |
Themenwelt | Kunst / Musik / Theater ► Kunstgeschichte / Kunststile |
ISBN-10 | 0-8223-4710-5 / 0822347105 |
ISBN-13 | 978-0-8223-4710-1 / 9780822347101 |
Zustand | Neuware |
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