Media Arts Program
 


Saturday, September 23, 2006

Jalal Toufic & Walid Raad

DYING TO TELL YOU

Presented at:
Hallwalls



Short work by two leading Lebanese scholars, writers, and artists, featuring Hostage: The Bachar Tapes (by Raad) and Saving Face (by Toufic).

Walid Raad grew up in Lebanon and now lives and works in the U.S. In 1999 he established The Atlas Group, a collective dedicated to the research and documentation of Lebanon's contemporary history. His works include textual analysis and video and photography projects, and concentrate on the Lebanese civil wars, the Arab-Israeli conflicts, and documentary theory and practice. His photography projects include The Beirut Archive, an ongoing documentary photography project of post-civil war Beirut. Walid is also a member of the Arab Image Foundation, started in 1996 to promote historical research of the visual culture of the Arab world, and to promote experimental video production in the region.

Jalal Toufic is a writer, film theorist, and video artist. He is the author of Distracted (2003), (Vampires): An Uneasy Essay on the Undead in Film (2003), Over-Sensitivity (1996), Forthcoming (2000), Undying Love, or Love Dies (2002), and Two or Three Things I'm Dying to Tell You (2005). His videos and mixed media works have been presented in North America, Brazil, the Middle East and Europe, most recently at the 16th International Documentary Filmfestival Amsterdam (IDFA) in a Focus Jalal Toufic program. He co-edited the special Discourse issue “Gilles Deleuze: A Reason to Believe in this World”, and edited the special Discourse issues “Middle Eastern Films Before Thy Gaze Returns to Thee” and “Mortals to Death.” Toufic has taught at the University of California at Berkeley, California Institute of the Arts, USC, and, in Amsterdam, DasArts and the Rijksakademie.


Some publications related to this event:
September, 2006 - 2006

 
 
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Laylah Ali
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Laylah Ali's work explores power dynamics and interpersonal conflict through compositions that position culturally, racially and sexually ambiguous figures in precarious, loaded, and unexpectedly humorous situations. Ali uses concise—even minimal—imagery that is specific in rendering and intent. While there are narratives in Ali's work, they are stories whose open spaces often give them the atmosphere of fables.