Myriam Dalal
Researcher and writer.
I am currently working as a postdoctoral researcher in the field of public history, co-production and participatory practices at the University of Luxembourg.
I have a Ph.D. in Arts and Sciences of Arts from the Sorbonne University in France and have been awarded the Maria Geagea Arida scholarship award for postgraduate studies in 2017.
I taught photography and arts at a university level for more than four years at two U.S. accredited universities in Lebanon, and worked for more than 10 years as a writer and researcher.
My writings have been published in Annahar newspaper, Al Akhbar newspaper, Al Modon electronic newspapers, Jadaliyya online platform, Sawt el Niswa online platform and the journal of Philology and Intercultural Communication/Military Technical Academy Publishing House Romania.
I am currently working as a postdoctoral researcher in the field of public history, co-production and participatory practices at the University of Luxembourg.
I have a Ph.D. in Arts and Sciences of Arts from the Sorbonne University in France and have been awarded the Maria Geagea Arida scholarship award for postgraduate studies in 2017.
I taught photography and arts at a university level for more than four years at two U.S. accredited universities in Lebanon, and worked for more than 10 years as a writer and researcher.
My writings have been published in Annahar newspaper, Al Akhbar newspaper, Al Modon electronic newspapers, Jadaliyya online platform, Sawt el Niswa online platform and the journal of Philology and Intercultural Communication/Military Technical Academy Publishing House Romania.
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Papers by Myriam Dalal
This article (published on the platform Megaphone news) is the first of a series titled “the Image and the Regime: From the Making and Archiving of the Civil War Image, to Its Place in Contemporary Art".
The series explores the relationship of the “image” to capital and politics. Image here refers to the Lebanese cultural sector, which includes the press photo industry, the policy of establishing archives, expanding all the way to the contemporary art market.
*The topics of the series constitute part of Dalal's doctoral dissertation "A Record of Incomplete Collective Visual Memory, Lebanon (1975-1990)" (in French).
The piece explores the feelings of statelessness and longing for belonging in a transitional citizenship period.
This text navigates silence and its link to violence, presenting eclipses of memories, interrupted by moments of silent oblivion.
The exhibition was showcased at Mark Hachem gallery in Beirut.
The exhibition was showcased at Tanit gallery in Beirut.
Conference Presentations by Myriam Dalal
But what if this silence implied a shock of witnessing violence in close proximity? What if, it was a prerequisite to the creation of a bond between the photographer and his subject? How can we look beyond the photojournalist’s momentary idleness and further investigate the silent medium of #photography, which has been serving as evidence to the commitment of violence for years now?
This article (published on the platform Megaphone news) is the first of a series titled “the Image and the Regime: From the Making and Archiving of the Civil War Image, to Its Place in Contemporary Art".
The series explores the relationship of the “image” to capital and politics. Image here refers to the Lebanese cultural sector, which includes the press photo industry, the policy of establishing archives, expanding all the way to the contemporary art market.
*The topics of the series constitute part of Dalal's doctoral dissertation "A Record of Incomplete Collective Visual Memory, Lebanon (1975-1990)" (in French).
The piece explores the feelings of statelessness and longing for belonging in a transitional citizenship period.
This text navigates silence and its link to violence, presenting eclipses of memories, interrupted by moments of silent oblivion.
The exhibition was showcased at Mark Hachem gallery in Beirut.
The exhibition was showcased at Tanit gallery in Beirut.
But what if this silence implied a shock of witnessing violence in close proximity? What if, it was a prerequisite to the creation of a bond between the photographer and his subject? How can we look beyond the photojournalist’s momentary idleness and further investigate the silent medium of #photography, which has been serving as evidence to the commitment of violence for years now?