Many technical appointments in Beirut were postponed this year, and others were canceled as well. And at a time when it is impossible to visit and real experiences, the galleries and technical institutions have compensated by default by posting some of the previous materials, including videos, paintings and artwork on their websites. This is how the Marfa Gallery launched its virtual program in Beirut. The first step was represented in artistic videos bearing the signatures of three Lebanese artists who have shown it in the past years, to be shown on the Vimeo website within the next three weeks. at Published group Free for viewers, the gallery chose “Train Train 1: Where is the Path?” (33D 1999) and “Train Trains 2” (30D 1999/2017) by the Lebanese artist Rania Stephan. In this experimental documentary, Stephen takes us on a poetic visual journey in which traces of the train tracks between Damascus and Beirut, and the post-civil war spectra are traced. Also on the new list are two short films by Ahmed Ghossein, one of which is “The Last Cartographer (Cartographer) in the Republic” (16D-2017), which had been shown in his exhibition “The Land for Those Who Edited It” (2017). The short documentary tape is closer to a portrait photographer by Adib Khaled, who drew most of the maps of Lebanon in a cartography during his job at the Directorate of Geographic Affairs in the Lebanese Army. But this function has been replaced by satellite images and footage, so the tape is reminiscent of this technique, by photographing Khaled while he is mapping. Another short tape is presented to Ghossein, “The Fourth Stage” (37D 2015), in which the director builds a fictitious world in which three elements meet: cinema, magic through the personality of the magician Chico and the changes that occurred in the natural areas of southern Lebanon. In addition to Stephen and Ghossein, the gallery recovers two films by Mia Greg. The first is “Journey” (41 d. 2006), which is a journey in the personal history of the artist’s grandmother, by meeting him with stages of collective history in the Middle East. As for the second tape, it is one of the latest productions of the Lebanese artist, entitled “Nights and Days” (17D – 2007), which depicts the passage of time during the summer of 2006 in Lebanon, that is, the July War, while scenes take us to the areas in southern Lebanon between the natural foci and the debris resulting from the Israeli war. .
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