Documentary Art

Este libro puede leerse como una colección de notas de investigación sobre el poder del arte en la renovación de los horizontes de posibilidad. El autor propone una teoría de la comunicación de vocación práctica, desde la cual pensar y usar los medios de comunicación como plataforma artística y de resistencia ante un mundo en crisis. Desde 4 grandes terrenos —medios y memoria, poética de la información, arte documental y pedagogía centrífuga— este libro es también un mapa de navegación para artistas y docentes interesados en desplegar estrategias metodológicas de intervención a las estructuras de dominación y los programas de producción de sentido que sostienen al mundo.

Eine Auseinandersetzung mit Walid Raads fiktivem Archiv The Atlas Group Archive (mit u.a. Power Point-Präsentationen, Filmen, Photographien, Notizbüchern) über libanesische Gegenwartsgeschichte. Unter besonderer Berücksichtigung epistemologischer und psychoanalytischer Aspekte wird das Problem der Darstellung bzw. Darstellbarkeit traumatischer Erinnerungen in den Mittelpunkt gerückt.

PALMYRE, LES BOURREAUX
SCRITTO E DIRETTO DA RAMZI CHOUKAIR
CON FADWA MAHMOUD, RIAD AVLAR, JAMAL CHKAIR, SAMAR KOKASH, SALEH KATBEH
CONSULENTE ARTISTICO CÉLINE GRADIT
ASSISTENTE ALLA REGIA OMAR ALJBAAI
LUCI FRANCK BESSON
CREAZIONE MUSICALE SALEH KATBEH
CREAZIONE VIDEO AYMAN NAHLE
TRADUZIONE FRANCESE CÉLINE GRADIT E RAMZI CHOUKAIR
TRADUZIONE ITALIANA ANNAMARIA BIANCO
LOGISTICA MARIA HELLBERG
DIREZIONE DI PRODUZIONE SOPHIE BLANC
PRODUZIONE/DISTRIBUZIONE KAWALISS/CIE
COPRODUZIONE CIE KAWALISS, EXTRAPOLE PROVENCE-ALPES-COTE D’AZUR, CHATEAUVALLON-LIBERTE, SCENE NATIONALE, LA CRIEE, THEATRE NATIONAL DE MARSEILLE, BONLIEU, SCENE NATIONALE ANNECY, ANTHEA-ANTIPOLIS, THEATRE D’ANTIBES, THEATRE DU BOIS DE L’AUNE, AIX EN PROVENCE, 3 BIS F – CENTRE D’ARTS CONTEMPORAINS D’INTERET NATIONAL A AIX-EN-PROVENCE, RESIDENCES D’ARTISTES ARTS VISUELS & ARTS VIVANTS
CON IL SUPPORTO DI MINISTERE DE LA CULTURE – DRAC PACA, REGION SUD, DEPARTEMENT DES BOUCHES-DU-RHONE, VILLE DE MARSEILLE, FONDS EURO-MEDITERRANEEN DE DEFENSE DES DROITS DE L’HOMME, MENA PRISON FORUM, AN INITIATIVE OF UMAM DOCUMENTATION & RESEARCH, ASSOCIATION OF DETANEES AND THE MISSING IN SEDNAYA PRISON – ADMSP

TEATRO POLITEAMA
5 LUGLIO DURATA 1+20MIN
DEBUTTO ASSOLUTO

Palmyre, les Bourreaux è l’ultima parte di una trilogia basata sulle testimonianze di ex prigionieri del regime siriano, dove il luogo del carcere rappresenta l’emblema di un sistema governato sulla paura.
I sopravvissuti alla prigione, in scena insieme ad attori professionisti, si interrogano sulla relazione con i loro torturatori per interrogare le nozioni di perdono e giustizia.
Tra di loro, c’è Fadwa, dissidente arrestata da suo fratello, un alto ufficiale dei servizi segreti. Lo stesso che architetterà un falso caso di spionaggio contro Riyad, studente turco, che sarà per questa ragione ingiustamente condannato all’ergastolo. Samar, un’attrice coinvolta nella rivoluzione, viene invece imprigionata con l’accusa di aver finanziato il terrorismo. Come ne Le Mille e una notte, Jamal, attore sul palcoscenico, guida il pubblico passando da una storia all’altra.

Documentary aesthetics has traditionally been bound up with the form and objectives of the judicial system, interacting with its regime of proof, the frameworks of the enquiry and the trial, and its mission to administer justice. However, such works of art and literature circulate in extra-judicial spheres and invite forms of judgement that differ from those administrated by the legal system. What motivates this recourse to art, and what effects might this aesthetic supplement seek to engender? Do such works act to shore up the judicial system in place? Do they seek rather to complement it or palliate its shortcomings? Or do they sometimes turn the tables and put the law itself on trial? To what ends? What, if any, alternative conceptions of the just do they generate? And what changes, if any, do such works aspire to makeon the course of the history they engage with?
    Exploring the role documentary poetry, prose, visual art, film and television play in legitimating or questioning legal systems  in contemporary contexts, this issue of Synthesis reopens the question of literature and art’s critical potential as a laboratory for extra-legal conceptions of justice.

+++++ Synthesis, an anglophone journal of comparative literary studies, National and Kapodistrian University of Athens, Greece. Special Issue editor: Naomi Toth
(13. 2020) +++++

Hannah Rowan’s Prima Materia focuses on
the element of water as a means for representing
the interconnection of ecological systems. We
associate water with its formlessness as well as
how it concretises into the threshold formations
of ice, liquid, and vapour. This two-fold chemical
property—indefinite form and specific material
configuration dependent on environmental
contingency—is a key expression for representing
how ecological systems scale in visual art. In this
essay, I discuss how water and its unique formal
properties are taken up as a central metaphor in
artistic practice that communicates how ecological
systems interrelate with one another, otherwise
how larger-order and smaller-order systems scale.