DOCSLIB.ORG

A FORUM on CULTURAL PRACTICES in the REGION Egypt, Iran, Iraq, Lebanon, Palestine and Syria

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A FORUM on CULTURAL PRACTICES in the REGION Egypt, Iran, Iraq, Lebanon, Palestine and Syria 00-HW book EN ed Flash+ 9/28/09 7:03 PM Page 1 A FORUM ON CULTURAL PRACTICES IN THE REGION Egypt, Iran, Iraq, Lebanon, Palestine and Syria April 2 - 7, 2002 Beirut, Lebanon Compiled by Christine Tohme and Mona Abu Rayyan Texts edited by Ghenwa Hayek, Bilal Khbeiz, Samer Abu Hawache A Project by The Lebanese Association for Plastic Arts, Ashkal Alwan 00-HW book EN ed Flash+ 9/28/09 7:03 PM Page 2 Home Works: A Forum on Cultural Practices in the Region Egypt, Iran, Iraq, Lebanon, Palestine and Syria A book by Christine Tohme and Mona Abu Rayyan April 2 - 7, 2002 Beirut, Lebanon Curated by: Christine Tohme Produced by: The Lebanese Association for Plastic Arts - Ashkal Alwan Supported by: The Prince Claus Fund, Ford Foundation and the Lebanese Ministry of Culture This book is published by the Lebanese Association for Plastic Arts - Ashkal Alwan Shashmanian building, 3rd floor, Boutros Dagher street, Gemmayzeh, Beirut, Lebanon [email protected] Copyright © 2003 The Lebanese Association for Plastic Arts - Ashkal Alwan Copyright © 2003 Christine Tohme Texts copyright © 2003 the authors All rights reserved. No part of this book may be reproduced or used in any form or by any means, electronic or mechanical, including photocopying, recording or by any informa- tion storage retrieval system, without written permission of the publisher. ISBN 9953-0-0117-0 Tohme, Christine/Abu Rayyan, Mona Home Works: A Forum on Cultural Practices in the Region Egypt, Iran, Iraq, Lebanon, Palestine and Syria Cultural Studies/Art Practices/Middle Eastern Studies/Graphic Arts/Performance Art Opposite page: Image from Graham, Kunth, Patashnik, Concrete Mathematics.2nd edition, Preface, viii Following spread: Missing Links, image by and courtesy of Marwan Rechmaoui Introductory Image (Arabic): ‘Quel bon sens’, provided courtesy of Michel Sayegh, L’Orient-Le Jour Photographic documentation and reproduction: Agop Kanledjian Other images were provided by Fondation Arabe pour l’Image, the Al-Mustaqbal Daily Newspaper and the presenters/performers Design and artwork: Mind the gap Scanning and repro: Mind the gap Typography: Monotype Gill Sans Printing and binding: Dar el Kotob Printing House, Lebanon, January 2003 This book was published with the support of the Prince Claus Fund Additional support to the Home Works Forum project was provided by the Ford Foundation and the Lebanese Ministry of Culture Ford Foundation 00-HW book EN ed Flash+ 9/28/09 7:03 PM Page 3 Graham, Kunth, Patashnik, Concrete Mathematics.2nd edition, Preface, viii 00-HW book EN ed Flash+ 9/28/09 7:03 PM Page 4 00-HW book EN ed Flash+ 9/28/09 7:03 PM Page 5 Missing Links, courtesy of Marwan Rechmaoui 00-HW book EN ed Flash+ 9/28/09 7:03 PM Page 6 Acknowledgments The Lebanese Association for Plastic Arts, Ashkal Alwan, would like to express its gratitude to all those who participated in the Home Works Forum, and to all those who contributed to the making of this book. The participants to the forum were: Jananne Al Ani, Mohamad Ali Al- Atassi, Abbas Baydoun, Catherine David, Bita Fayyazi, Joana Hadjithomas & Khalil Joreige, Hassan Khan, Samia Mehrez, Issam Nassar, Khalil Rabah, Rasha Salti, Lina Saneh & Rabih Mroué, Randa Shaath, Jalal Toufic, Nadine Touma,Akram Zaatari and Tirdad Zolghadr. Films and videos screened at the forum included: Al Mumiaa - The Days of Counting the Years, by Shadi Abdel Salam; Tahadi, by Nizar Hassan; Zinat: A Special Day, by Ibrahim Mokhtari; Baalbeck, by Ghassan Salhab, Mohammad Soueid and Akram Zaatari; The Arab Dream - Homage by Assassination - Cyber Palestine,by Elia Suleiman; and, The Sleep of Reason:This Blood Spilled in My Veins,by Jalal Toufic. The contributors to the making of the book include as editors, Samer Abu Hawache, Ghenwa Hayek and Bilal Khbeiz; as translators, Samer Abu Hawache, Mona Abu Rayyan,Tony Chakar, Leila Khatib, Bilal Khbeiz, Rasha Salti, Karl Sharro and Afif Talhouk.We would like to thank Walid Sadek for his generous consultations. Finally, our gratitude to Mind the gap. Other persons, whose support was vital to the making of this entire project, were: the Minister of Culture Dr. Ghassan Salameh, Mona Abou Samra, Raseel Hadjinian, Pierre Abi Saab, Rose Issa, Basma El Husseiny, Samar Wahab, Geerta Wachter, Sami Azar, Karl Bassil, Merwad Abdullah, Omar Harkous, the Cultural Consulate of the Islamic Republic of Iran, Mounira Solh, Ghassan Mukheiber, Zico House and the Tehran Museum of Contemporary Art. Due to legal considerations, one lecture presented at the Home Works Forum was not incorporated in this book. 00-HW book EN ed Flash+ 9/28/09 7:03 PM Page 7 Contents Introduction........................................................................................................................................................................................................................................................................................... 11 Lectures Scenes and Types, Jananne Al Ani .................................................................................................................................................................................................................................................. 14 Culture and Arts; Re:The Actual, Abbas Baydoun .............................................................................................................................................................................................. 22 Learning from Beirut: Contemporary Aesthetic Practices in Lebanon, Catherine David ...................................................................... 32 Latency, Joana Hadjithomas and Khalil Joreige ............................................................................................................................................................................................................ 40 Image in Crisis:The Case of Hajj Metwalli’s Family, Samia Mehrez ............................................................................................................................................ 50 Early Photography in Palestine: Between Social and Imaginary Landscapes, Issam Nassar ................................................................. 58 Framing the Subversive in Post-War Beirut, Rasha Salti ........................................................................................................................................................................... 78 ‘Ashura’, or Torturous Memory as a Condition of Possibility of an Unconditional Promise, Jalal Toufic ...................... 94 The Singular of Seeing, Akram Zaatari ............................................................................................................................................................................................................................... 102 Shahrazad: Political Art Brochure, Tirdad Zolghadr ....................................................................................................................................................................................... 110 Performances Tabla Dubb:An Audio-Visual Performance, Hassan Khan ..................................................................................................................................................................... 120 Biokhraphia, Lina Saneh and Rabih Mroué ................................................................................................................................................................................................................... 122 Ode to Rhinos, Nadine R. L.Touma ........................................................................................................................................................................................................................................ 136 Exhibits The Crows, Bita Fayyazi ............................................................................................................................................................................................................................................................................ 145 Copyright, Khalil Rabah .............................................................................................................................................................................................................................................................................. 147 Being there…, Randa Shaath ............................................................................................................................................................................................................................................................. 149 Films Al Mumiaa - The Days of Counting the Years, Shadi Abdel Salam .......................................................................................................................................... 152 Tahadi, Nizar Hassan ....................................................................................................................................................................................................................................................................................... 153 Zinat:A Special Day, Ibrahim Mokhtari .............................................................................................................................................................................................................................. 154 Baalbeck, Ghassan Salhab, Mohammad Soueid, Akram Zaatari .....................................................................................................................................................
Load more

Recommended publications
  • Speakers Bios Magalí Arriola Is a Curator at Fundación Jumex Arte Contemporáneo, Mexico City. Previously, She Was a Chief Cu
    Speakers Bios Magalí Arriola is a curator at Fundación Jumex Arte Contemporáneo, Mexico City. Previously, she was a Chief Curator at the Museo Tamayo (2009‒11) and the Museo de Arte Carrillo Gil (1997-2000). Arriola has curated Alibis, Mexican Cultural Institute, Paris, and Witte de With, Rotterdam (2002), How to Learn to Love the Bomb and Stop Worrying about It, CANAIA, México City, and Central de Arte at WTC, Guadalajara, Mexico (2003–04), What once passed for a future, or Landscapes of the living dead at Art2102, Los Angeles (2005), Prophets of Deceit at Wattis Institute for Contemporary Art, San Francisco (2006), and the 8th Panama Biennial (2008). She was also a visiting curator at the Wattis Institute for Contemporary Art in San Francisco in 2006. Arriola has contributed to publications such as Poliéster, ArtNexus, Parachute, Exit, Spike, Afterall and Manifesta Journal. María del Carmen Carrión is an independent curator and art critic from Quito, who received an MA from the Curatorial Practice Program at California College of the Arts, in San Francisco, and taught at Universidad Católica in Quito. She is currently an Associate Director of Public Programs & Research at Independent Curators International in New York. She co-founded Constructo, an international collective platform devoted to research and debate of art and visual culture. Since 2009, she has been a member of the curatorial college of ceroinspiración, an exhibition and residency space in Quito. Former positions include: Associate Curator at New Langton Arts in San Francisco, and Research Coordinator for Museo de la Ciudad in Quito. Ekaterina Degot is an art writer and curator, Artistic director at the Academy of Arts of the World in Cologne, and professor at the Rodchenko Moscow School of Photography.
    [Show full text]
  • THE CONSTITUENT MUSEUM Editors Contributors
    THE CONSTITUENT MUSEUM Editors Contributors John Byrne, Elinor Morgan, Azra Akšamija November Paynter, Aida Sánchez Alberto Altés Arlandis de Serdio, Adela Železnik Burak Arıkan James Beighton Manuel Borja-Villel Publisher Sara Buraya Boned John Byrne Valiz, Amsterdam Jesús Carrillo www.valiz.nl Alejandro Cevallos Narváez Céline Condorelli L’Internationale, Sean Dockray www.internationaleonline.org Özge Ersoy Carmen Esbrí Oriol Fontdevila Futurefarmers / Amy Franceschini Janna Graham Nav Haq Yaiza Hernández Velázquez Emily Hesse John Hill Alistair Hudson Adelita Husni-Bey Kristine Khouri Nora Landkammer Maria Lind Isabell Lorey Francis McKee Elinor Morgan Paula Moliner November Paynter Manuela Pedrón Nicolau Elliot Perkins Bojana Piškur Tjaša Pogačar Podgornik Alan Quireyns RedCSur Rasha Salti Francesco Salvini / pantxo ramas Raúl Sánchez Cedillo Aida Sánchez de Serdio Somateca (Bárbara G.F. Muriel, Sara Buraya Boned, Loreto Ares, Diana Vázquez) Igor Španjol Nora Sternfeld Subtramas (Virginia Villaplana, Montse Romaní, Diego del Pozo) Tiziana Terranova Piet Van Hecke Onur Yıldız Adela Železnik The Constituent Museum Contents CONTENTS INTRODUCTION I.01 THE CONSTITUENT MUSEUM 10 Editors’ Introduction I.02 THE RAINBOW WRASSE 14 Francis McKee PART 1 BECOMING CONSTITUENT 1.01 BECOMING CONSTITUENT 26 Introduction John Byrne 1.02 THE REST IS MISSING 30 On Constituencies as a Matricial Notion for New Institutions of the Commons Raúl Sánchez Cedillo 1.03 NEGOTIATING INSTITUTIONS 44 Janna Graham 1.04 MIDDLESBROUGH’S NEW COMMUNITIES 50 Elinor Morgan
    [Show full text]
  • Decolonising-Museums.Pdf
    DECOLONISING MUSEUMS A PUBLICATION OF L’INTERNATIONALE BOOKS DECOLONISING MUSEUMS COVER CREDIT Historical exhibition display in the Museum für Völkerkunde (today Weltkulturen Museum), Oceania section. Weltkulturen Image Archive. Photo: Hermann Niggemeyer, date unknown. TABLE OF CONTENTS 4 54 113 148 Introduction Catch Me If You Can! Columbus, How Do I Get Rid From the Collection Nana Adusei-Poku of My Hangover? of MACBA, Barcelona 8 Francisco Godoy Vega The Invisible and the Visible 63 152 Identity Politics and the Economy From the Collection 119 Institutional Fever in China of Reproduction in Art of M HKA, Antwerpen From the Collection Colin Siyuan Chinnery Nav Haq Jan De Vree of Museo Nacional Centro de Arte Reina Sofía, Madrid (MNCARS) 159 23 71 Lola Hinojosa Frontier imaginaries Collecting Life’s Unknows “I Guess You Guys Vivian Ziherl Clémentine Deliss Aren’t Ready 123 For That Yet… But Your Kids A Salt Box and 162 35 Are Gonna Love It” a Bracelet Conversing with a Interview: “Decolonising Museums” Ana Bigotte Vieira Painting: Decolonising Forced Closures Through the Lens of the Collections a Post-Soviet Museum in the Vivian Ziherl and Archives of the Members 96 Caucasus of L’Internationale The Culture of Coloniality Madina Tlostanova 173 Daniela Ortiz What Do We Talk About When We 37 130 Talk About Decolonisation? From the Collection of 104 From the Collection Vivian Ziherl the Van Abbemuseum, Eindhoven The Border of of MG+MSUM, Ljubljana Christiane Berndes the ‘Fourth World’ Walter Benjamin 186 Francisco Godoy Vega Biographies 41
    [Show full text]
  • Saving Bruce African and Arab Cinema Lee in the Era of Soviet Cultural Diplomacy (A Prologue) Protagonists
    SAVING BRUCE AFRICAN AND ARAB CINEMA LEE IN THE ERA OF SOVIET CULTURAL DIPLOMACY (A PROLOGUE) PROTAGONISTS Mohammad Abouelouakar (Morocco) Abdoulaye Ascofaré (Mali) Hassen Bouabdellah (Algeria) Rabah Bouberras (Algeria) Souleymane Cissé (Mali) Khalifa Condé (Guinea) Jean-Baptiste Elanga (Congo Republic) Sonallah Ibrahim (Egypt) Salim Mohammad Ibrahim al-Noor (Sudan) Daouda Keita (Guinea) Mohammad Malas (Syria) Sarah Maldoror (Guadeloupe) Azzedine Meddour (Algeria) Oussama Mohammed (Syria) Ousmane Sembène (Senegal) Abderrahmane Sissako (Mauritania/Mali) Nasir al-Tayyeb al-Mak (Sudan) Curated by Koyo Kouoh and Rasha Salti in collaboration with Alexander Markov and Philippe Rekacewicz 1 “I WAS A TEENAGER WATCHING A BRUCE LEE FLICK WITH MY FRIENDS AT THE CINEMA IN ABIDJAN. BRUCE LEE WAS OUR HERO THEN. AT SOME POINT IN THE PLOT, ONE OF THE BAD GUYS WAS COMING TO ATTACK BRUCE LEE FROM BEHIND WHILE HE WAS UNAWARE, AND SUDDENLY ONE OF THE SPECTATORS IN THE THEATER LEAPT TO THE STAGE AND DUG A KNIFE THROUGH THE BAD GUY’S PROJECTION ON SCREEN. THAT WAS MY FIRST LESSON IN CINEMA.” Philippe Lacôte, filmmaker, Côte d’Ivoire 2 CURATORIAL CONCEPT During the Cold War, the African continent and the Arab world were contested territories for the strategic deployment of influence and allegiance between the Soviet Union and the USA. Cultural diplomacy represented an important realm in which that contest was manifested, specifically through granting scholarships in higher education and the creation of specialized professional national elites whose allegiance would be organically bound to either power. Under the aegis of “international socialist friendship,” the Soviet Union used channels of diplomacy to host a remarkable number of students at universities in Moscow and other cities.
    [Show full text]
  • The School of Art Annual Report (2013-2014)
    THE SCHOOL OF ART ANNUAL REPORT (2013-2014) THE SCHOOL OF ART ANNUAL REPORT (2013-2014) INTRODUCTION The 2013-2014 academic year has been an extraordinarily significant one for The Cooper Union and for The School of Art, with faculty, students and staff fully engaging both challenges and opportunities presented at every level of the institution. The year began in July with the announcement by the Board of Trustees to establish a “Working Group” to undertake a good faith effort to seek an alternative to undergraduate tuition that would sustain the institution’s long-term financial viability and strengthen its academic excellence. During the fall semester, the Working Group, comprised of 18 members of The Cooper Union community, including Professor Christine Osinski and adjunct faculty member Sasha Tochilovsky, as well as a student and an alumnus of the school, met frequently and worked tirelessly to develop a comprehensive set of recommendations for the Board of Trustees that ranged from spending reductions, to administrative and faculty restructuring, to repurposing space. In the Spring, after the Board's decision to institute 50% tuition by Fall 2014, it seemed all faculty and students were confronting a new sense of reality which translated into focusing on their work both in terms of teaching and making art. The debates around the historic decision continued, but never distracted the School of Art's constituents from their involvement in both academic and art world matters, as demonstrated by the remarkable results over the past twelve months that are listed in this report. A new Associate Dean, Stamatina Gregory, was welcomed in the Fall and is by now comfortable with the faculty, technicians and students.
    [Show full text]
  • Contributors
    The Constituent Museum Contributors CONTRIBUTORS and Programs at SALT, Istanbul and Ankara, from founding until December 2016. She has held the positions of Curator, Platform Garanti, Istanbul; EDITORS AND AUTHORS Assistant Curator, 9th International Istanbul Biennial; with freelance curatorial work including projects for Grazer Kunstverein, Graz; JOHN BYRNE (born 1964) is a reader Tate Modern, London; Philadelphia in ‘The Uses of Art’ and director Museum, Philadelphia; Artists of ‘The Uses of Art Lab’ at Liverpool Space, New York and the Asia School of Art and Design (Liverpool Pacific Triennial, Brisbane. John Moores University). Byrne is also currently manager and AIDA SÁNCHEZ DE SERDIO is an educa- coordinator of ‘The Uses of Art: tor, researcher and cultural worker The Legacy of 1848 and 1984’ for in the fields of visual culture, Liverpool John Moores University pedagogy and collaborative arts and project manager/lead editor practices. She is assistant professor of ‘The Constituencies’ strand of of the BA in Arts of the Universitat L’Internationale Research. Byrne also Oberta de Catalunya, and previously collaborates with The Association she was advisor for the departments of Arte Útil and is a member of The of Education and Publics at the Museo Autonomy Project editorial board, Nacional Centro de Arte Reina Sofía a long-term research project initi- in Spain, and lecturer at the Faculty ated in 2010. He writes regularly for of Fine Arts of the University of various magazines and journals such Barcelona. She also has collaborated as Third Text, Afterall, and Open! with or been a member of a number of Byrne lives and works in Liverpool.
    [Show full text]
  • Decolonising Museums a Publication of L’Internationale Books
    DECOLONISING MUSEUMS A PUBLICATION OF L’INTERNATIONALE BOOKS DECOLONISING MUSEUMS COVER CREDIT Historical exhibition display in the Museum für Völkerkunde (today Weltkulturen Museum), Oceania section. Weltkulturen Image Archive. Photo: Hermann Niggemeyer, date unknown. TABLE OF CONTENTS 4 54 113 148 Introduction Catch Me If You Can! Columbus, How Do I Get Rid From the Collection Nana Adusei-Poku of My Hangover? of MACBA, Barcelona 8 Francisco Godoy Vega The Invisible and the Visible 63 152 Identity Politics and the Economy From the Collection 119 Institutional Fever in China of Reproduction in Art of M HKA, Antwerpen From the Collection Colin Siyuan Chinnery Nav Haq Jan De Vree of Museo Nacional Centro de Arte Reina Sofía, Madrid (MNCARS) 159 23 71 Lola Hinojosa Frontier imaginaries Collecting Life’s Unknows “I Guess You Guys Vivian Ziherl Clémentine Deliss Aren’t Ready 123 For That Yet… But Your Kids A Salt Box and 162 35 Are Gonna Love It” a Bracelet Conversing with a Interview: “Decolonising Museums” Ana Bigotte Vieira Painting: Decolonising Forced Closures Through the Lens of the Collections a Post-Soviet Museum in the Vivian Ziherl and Archives of the Members 96 Caucasus of L’Internationale The Culture of Coloniality Madina Tlostanova 173 Daniela Ortiz What Do We Talk About When We 37 130 Talk About Decolonisation? From the Collection of 104 From the Collection Vivian Ziherl the Van Abbemuseum, Eindhoven The Border of of MG+MSUM, Ljubljana Christiane Berndes the ‘Fourth World’ Walter Benjamin 186 Francisco Godoy Vega Biographies 41
    [Show full text]
  • The Radical Solidarity Summit
    14 - 18 SEPT 2020 THE RADICAL SOLIDARITY SUMMIT zeitzmocaa.museum THE RADICAL SOLIDARITY SUMMIT 14 – 18 September 2020 The Radical Solidarity Summit is a week-long online gathering to address urgent issues of our time, explore alternative futures, and discuss the possibilities that can be forged in the cultural field through acts of radical solidarity. It is an opportunity to connect with other organisations and individuals, artists, curators, activists, writers and educators who are passionate about learning, supporting and collaborating in a spirit of generosity and who are committed to the continued fostering of the arts from Africa and its diaspora. Alongside the programme of talks, the event will feature film screenings, performance, readings and an Instagram take-over. FULL PROGRAMME Location: Zoom Time: 4:00 - 8:30 pm SAST (GMT+2) Daily Instagram take-over by blaxTARLINES KUMASI 14 September 2020 Solidarity: Historic Contexts of Pan-Africanism and the Transnational Struggle A historical mapping of Pan-Africanism as a political formation and radical solidarity in times of crisis. This will include insight into its inception in the Black Nationalist Movement in the United States of America, stretching into the anti-colonial movements in Africa and its diaspora, and to its present-day manifestations. Pan-Africanism as a school of thought comprises various intellectual traditions, such as the doctrine of Negritude that emerged in the 1920s and other black radical movements of the 20th and 21st century. The teachings of Pan-Africanism are foundational to much of the political self-organisation and mobilisation that occurred in the struggle for independence in Africa during the 20th century.
    [Show full text]
  • Landscapes of Belonging in the Eastern Mediterranean Table of Contents
    ANYWHERE BUT NOW A sign we are, undeciphered, How can we articulate the intangible sense of being and belonging, the Without pain we are, and have almost rupture of apart-ness, and the paradoxes contained in the where and Lost our language in foreign lands. now of places east of the Mediterranean, a region in constant flux? ––Friedrich Hölderlin Adapted from the German-to-English The book Anywhere but Now assembles creative inquiries into translation by Richard Sieburth landscapes of belonging and loss. Scholars, writers, filmmakers Editors and artists reflect on violence, siege and flight, capturing haunting echoes from the past, subtle tremors of fear and desire, and diverse Samar Kanafani yearnings for elsewhere. Munira Khayyat Rasha Salti Contributors: Mohammad Al Attar, Ali Bader, Nigol Bezjian, Ursula Biemann, Naeim Giladi, Jabbar Yassin Hussein, Saba Innab, Samar Kanafani, Thomas Keenan, Munira Khayyat, Layla Al-Zubaidi Abbas Khider, Nadia Latif, Marc Nichanian, Ossama Mohammed, Eleni Myrivili, Arzu Öztürkmen, Maysoon Pachachi, Julie Peteet, Walid Sadek, Rasha Salti, Samir, Ella Shohat, Nazan Üstündağ, and Ian White. THE EASTERN MEDITERRANEAN LANDSCAPES OF BELONGING IN LANDSCAPES OF BELONGING IN Also including reviews of works by: Köken Ergun, Juan Hamdo, Samar Kanafani, and Sead & Nihad Kresevljaković. THE EASTERN MEDITERRANEAN Editors Samar Kanafani Munira Khayyat Rasha Salti Layla Al-Zubaidi LANDSCAPES OF BELONGING IN THE EASTERN MEDITERRANEAN TABLE OF CONTENTS INTRODUCTION 4 01 A PLACE LIKE HOME FORGET BAGHDAD: ARABS AND JEWS,
    [Show full text]
  • Notice Biographique De Rasha Salti Nouvelle Chargée De Programmes En Charge De La Lucarne Dès Mars 2017
    Notice biographique de Rasha Salti Nouvelle chargée de programmes en charge de La Lucarne dès mars 2017 Programmatrice cinéma de festivals, commissaire d'exposition et écrivain, basée entre Beyrouth et Berlin, Rasha Salti a été la co-commissaire de la rétrospective de cinéma syrien intitulée The Road to Damascus, avec Richard Peña, présentée en 2006 au Lincoln Center. Elle a aussi co-dirigé Maping Subjectivity : Experimentation in Arab Cinema from the 60’s until Now, avec Jytte Jensen (2010-2012) présenté au MoMA (Musée d’art moderne) à New York. Rasha Salti collabore avec de nombreux festivals, institutions et musées dans le monde. Elle a ainsi participé à diverses programmations avec le MoMA, le musée du Jeu de Paume, la Tate Modern, ainsi qu'avec plusieurs festivals. De 2011 à 2015, elle fait partie de l'équipe de programmation du Festival International de Toronto. Dans le domaine des arts visuels et plastiques, Rasha Salti a été une des commissaires de la 10e édition de la Biennale de Sharjah (Emirats Arabes Unis), avec Suzanne Cotter et Haig Aivazian. Elle est aussi commissaire avec Kristine Khouri, de Past Disquiet: Narratives and Ghosts from the Exhibition of International Art for Palestine (Beirut, 1978), une exposition documentaire et archivale, présentée au Musée d’art contemporain de Barcelone (MACBA) en 2015, et au Haus der Kulturen der Welt à Berlin en 2016. Elle a collaboré à plusieurs colloques et conférences à Beyrouth, parmi lesquels un hommage à Edward Said intitulé For a Critical Culture en 1997, et Anywhere But Now: Landscapes of Belonging in the Eastern Mediterranean un colloque multidisciplinaire, organisé par la Fondation Heinrich Boell en 2009.
    [Show full text]