Journal
Uncategorized March 23rd, 2015

Sculpting in Time: Present Conditional

Sculpting in Time: Present Conditional a film program consisting of five documentaries and short films that investigate ideas of time, (spatial) memory and identity in the context of recent Lebanese history, took place on October 30th and 31st 2014. The program, by guest curator Rashi Salti, was part of an public program associated with the exhibition This is the Time. This is the Record of the Time, the second of the Positions exhibitions of the Stedelijk Museum’s Global Collaborations project. Liza Swaving reports.

Ghassan Salhab, 2009

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Housing Time: Museums, Memory and Momentum in Lebanon

On Thursday March 26, the second part of the Global Collaborations exchange with Beirut will be launched at the AUB Gallery in Beirut. The project, titled This is the Time. This is the Record of the Time, consists of an exhibition and a program with artists talks, performances and a symposium on different locations in the city. As a prelude, we publish two texts on two events that took place at the end of last year in conjunction with the Dutch part of the collaboration at the SMBA. Below, art historian Judith Naeff reports on the symposium Housing Time: Museums, Memory and Momentum, which took place on November 2, 2014, consisted of short presentations and a panel discussion, followed by a cinematographic concert.

Curator Nat Muller opened the symposium with an explanation of its subtitle ‘Museums, Memory and Momentum’. Muller stated that, ‘Museums are like time capsules: the objects they hold represent a specific zeitgeist or history. This is why they are problematic. After all, whose history and which moments enter into the time capsule, and which do not?’ This question, which is one of the core questions driving the Stedelijk Museum’s Global Collaborations project, is of particular urgency in the context of Lebanon, given the divisions that have haunted the country ever since the civil war of the 1990s, which hinder any consensus on a national narrative to represent the country’s past. Institutions whose task it is to frame and channel such a collective memory are not a given. But there does seem to be something of turnaround lately as a significant number of museums and private collections have opened or been reopened to the public. Read More »