View of ‘Replay’ in ‘Laughter’ / LIFT, Bargehouse, London, 2005

Multimedia Installation
Three videos, book and text
Concept, camera, text, and production: Lamia Joreige
Co-produced by Ashkal Alwan (The Lebanese Association for Plastic Arts).

With the participation of: Zeina Arida and Ziad Abi Azar
Book reference: La guerre du Liban (Images et chronologies), Dar Al – Massira, 1978

In the words of the artist 

‘Replay’ explores the idea of rupture of time / within time, of rupture as violence and possible death. Two photographs – fragments – of the Lebanese war, are chosen to be re-enacted by two performers, a man and a woman. The book from which these photographs are taken is displayed in a small window, as an archival reference. We can see on each of the three aligned equally-sized screens, a video projected in loop: A man never stops falling, never stops dying (right screen). A woman never stops running, never stop escaping (left screen). Two bodies separated by the immutable sea (middle screen), are perpetuating a vain act.

Photograph from the book ‘La guerre du Liban (Images et Chronologies), Dar Al – Massira, 1978

Photograph from the book ‘La guerre du Liban (Images et Chronologies), Dar Al – Massira, 1978

Still from ‘Replay’

View of ‘Replay’ in ‘Laughter’ / LIFT, Bargehouse, London, 2005

View of ‘Replay’ in ‘Laughter’ / LIFT, Bargehouse, London, 2005

Still from ‘Replay’

Still from ‘Replay’

View of ‘Replay’ in Permanent War: The Age of Global Conflict, School of the Museum of Fine Arts, Boston, 2015

View of ‘Replay’ in Permanent War: The Age of Global Conflict, School of the Museum of Fine Arts, Boston, 2015

View of ‘Replay’ in Permanent War: The Age of Global Conflict, School of the Museum of Fine Arts, Boston, 2015

Description 

The multimedia installation Replay is one of Joreige’s earliest works that deal with the legacy of the Lebanese civil war. For the three-channel video projection, Joreige recreates images from a 1978 war photography book titled La guerre du Liban (Images et chronologies) / The War of Lebanon (Images and Chronologies), also displayed as part of the installation. On loop is a close-up shot of the sea, a woman running barefoot down a street, and a young man falling before and after standing up. Replay was first screened at the abandoned Colisée cinema, as part of Hamra Street Project — one of Ashkal Alwan’s earliest group exhibitions — which invited local artists to reflect on Hamra Street as a cultural epicenter of the city of Beirut. With its poignantly simple reenactment strategy, and with its excavation of a document dating from the initial three years of the 15-year-long war, Replay contains the germinating seeds of the years-long artistic explorations of the representability of war pursued by Joreige. 

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