النسخة الثانية

مهرجان بيروت للصورة 2022

"رحلة عبر الذاكرة"

عن المهرجان

أطلقت “جمعية مهرجان الصورة –ذاكرة” النسخة الأولى من “مهرجان بيروت للصورة”، بالتعاون مع “اتحاد المصورين العرب” و”دار المصور”، طوال شهر أيلول (سبتمبر) ٢٠١٩، وهو المهرجان الأول من نوعه في تاريخ لبنان، ومن التجارب الرائدة في العالم العربي

يهدف المهرجان إلى خلق مساحة لتعزيز ونشر ثقافة الصورة في لبنان والعالم العربي، وإبراز مواهب اليافعين والشباب، التأكيد على دور بيروت كنقطة تفاعل ثقافي وحضاري واعلامي، والتركيز على الصورة كعامل أساسي في أحداث التاريخ وكشف أوجه الحياة الإنسانية المختلفة، وحفظ هذه التجربة ببعديها التوثيقي والفني.

يتضمن المهرجان إقامة معارض للصور الفوتوغرافية في بيروت ومختلف المناطق اللبنانية، تنظيم ندوات ولقاءات حوارية حول اشكاليات الصورة، وإقامة برامج التبادل الثقافي في مجال التصوير

 

اللجنة التنظيمية

تضم اللجنة التنظيمية مصورين واداريين ذوي خبرة طويلة في عالم التصوير والصورة وتنظيم النشاطات والمشاريع. تشرف اللجنة على التحضير وإدارة فعاليات المهرجان قبل موعده وخلال أنشطته

 

 
2019-05-19 10_24_59 Stolen Lives Lebanon witnessed a war that lasted for 15 years (1975 – 1990) and caused 150,000 deaths, around 17,000 missing and forcibly disappeared persons, and hundred thousands of wounded and displaced; furthermore, an enormous volume of destruction and material damages were recorded, affecting the country at all levels. Since the end of the war in 1990, the successive Lebanese authorities failed to grant the affair of the missing and forcibly disappeared persons the right amount of concern in order to solve and conclude it. They ignored the claims filed by the family of those victims during the years of war that is still ongoing till the present time. My project aims at highlighting such humanitarian cause and inciting the officials to assume their obligations in this regard. It also aspires at supporting the struggle faced by the families of the missing and forcibly disappeared persons, in order to entitle them to be informed about the status of their concerned relatives. It is known that the kidnapping and hiding operations were executed by the fighting Lebanese militias, as well as some regional armed forced that were present at that time. It is also known that most war leaders and proponents are still alive, living and freely moving among us. They are an integral part of our society. Each one of them occupies a job and interests varying now from the ones occupied during war. However, each one of them has a great memory. Nevertheless, it is unknown that this is attributed to the delay of Lebanese authorities to this day and their failure to make a serious decision in terms of ending the suffering of many thousand families, instead of intensifying their agony, given that the war ended 27 years ago. It is no longer acceptable that these families still have to endure this non-ending waiting phase and ignore whether loved ones are alive or dead. The cause of the missing and forcibly disappeared persons is a humanitarian and national cause,
2019-05-01 16_16_17 I’m Not Here, Even Not There / 2017-2018 In every corner of the world, everyone has a place that they know there as a home.Since few years ago, I left my hometown to continue my education in other cities. Now after these years, when I come back to my hometown or other cities that I was there, I don’t have any sense of intimacy to their places as a home, and I find any corners of those houses strange. Homes can be in everywhere, throughout when you open the door, find there as a home, an incredible sense that name is h
Photo by Ayman Lotfy
2019-06-04 13_27_14
2019-05-12 06_57_34 النوبه بلاد الذهب - ناتج زياره و توثيق ارض النوبه بجنوب مصر - الناس و المكان على مدار الخمس سنوات الاخيره
2019-06-28 14_22_58 For years, I have been roaming the city’s streets, spending time with strangers, entering their homes, attending their weddings, losing and finding myself in their lives; with endless inquisitions, open wounds, and a constant search for home. Like a fugitive. Throughout my journey, I have realized that I am not alone. We are all running away from something, or maybe searching for something. We are all fugitives. Fugitives from what has been, what is, and what is yet to be; fugitives from lost hopes and dreams; hidden scars and wounds; fugitives from melancholic memories; fugitives from unpalatable realities; fugitives from our fears, from the void; fugitives from love; fugitives from our lives, and maybe ourselves too. We are all fugitives in a constant search for home; because home is never a place, it’s a feeling. Herman Hesse once said, “We have to stumble through so much dirt and humbug before we reach home. And we have no one to guide us. Our only guide is our homesickness.” This series of photographs is the journey of my soul for the past few years, driven by a desire to connect and an equally strong desire to withdraw.
le reste d'un visage d'une effigie brulée dans les rues 'Alfaro.
2019-06-29 08_38_03
Photo by Paola Farran
2019-06-22 16_17_41 Since May 30, 2018, Palestinian protesters demonstrate weekly on the border with Israel in order todemand their rights of return. The protests still continue today. Around 233 Palestinian protesters havebeen killed and 21,000 have been injured by Israeli snipers along the border area of the Gaza Strip.
2019-05-30 12_15_14 الخطوط... هي تقاليد عمانية يتم فيها تزيين الأطفال بدهان يتكون من عطريات مثل الزعفران والصندل ممزوج بالماء ليتم تخطيط وجوه الأطفال وخاصة البنات في أيام الأعياد
2019-06-21 08_36_41 Garden of Eden Ali Haji and Maryam Jamal collaborate to create a series that pushes against anti-feminist themes established in one of the oldest and most retold tales of our time. This series, heavily inspired by the work of Markus Åkesson, reimagines the scriptural account of Eve, and her seduction by the Snake into committing what many cultures consider to be the Original Sin. The series puts Eve's emotional turmoil on display, as she experiences Curiosity, Fear, Shame (of having listened to the Snake), Dismay, and then finally, a complete surrender to having been Seduced. While the narrative details of the story aren't set in stone, and are often left to interpretation, it still runs in the background of contemporary culture as many of us know it. It's fascinating that the First Sin is often considered the First Sin of the Woman, as if the first descriptor of Eve is not that she's human. Instead of saying that "human beings are weak and easily seduced," we've shifted to "women are weak and easily seduced." [Kindly note that the images were resized to low-resolution for submission due to the 5MB limit, and aren't the best print-quality files. If accepted, we'd be happy to send you a link to all the high-res files via email for print.]
2019-06-04 13_27_14
2019-05-22 07_40_18
Adeeb Shaaban
2019-06-27 14_34_35 Yom el Zifit Despite public outcry, an incinerator was installed in the city. Residents were forcibly evicted and the area shutdown to a military protected zone. Its fumes spread like an omen causing respiratory crises, inflamed gallbladders, erectile dysfunction, and dirty laundry everywhere. Riots ensued for a fortnight, but no one listened. By summer, Beirut was completely swallowed by the venomous fog fueling many spotted lungs and a few lined pockets…The burning activity was so intense, that the released ashes started to sediment on the shells of buildings and empty streets. In the midst of glaring silence, a squeaking monocycle echoes in the distance… ____________________________________________________________ “Yom el Zift” is an ongoing series that merges photography and illustration to paint a farcical portrait of Beirut, as a Dystopia in clumsy ruination. The surreal dwellers of the city- often malformed, dejected, and sleep-deprived- are constantly at odds with their forbidding urban landscapes. Nader Tabri’s illustrations often explore mental illness, irritable bowels, festering dairy produce, and unruly hairdos as structurally produced precarities in real and speculative worlds. The anthropomorphic life-forms in “Yom el Zift” portray traumas of different painterly variations, as they attempt to survive and understand the incongruent urban ecosystem they inhabit. The photos in this series are an extension of Eleonora Gatto’s photographic work: “Where does the sky end?” which aims to investigate Beirut’s multilayered urbanism, and the underlying sociopolitical power-dynamics shaping it. The images chosen here show vestiges of a city in perpetual gentrification, and a growing concrete landscape shaping and erasing heritages. This project depicts the unsettling affects the city produces and invites the viewers to probe their own in response. As we conceive of fanciful residents and futures to spaces we kno
Photo-by-Mustafa-Hassona-300x300
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عنوان إدارة المهرجان

دار المصوّر، الوردية، الحمرا، بيروت
من الاثنين إلى الجمعة 11:00 - 19:00
السبت 10:00 - 14:00

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