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Dramaturgy and Research. Their practice of radically investing themselves in the intersections of arts, philosophy and the sociopolitical realm has been an inspiration for me in many ways. I am also grateful towards the entire team at Ashkal Alwan, the Lebanese Association for Plastic Arts, and in particular its director Christine Thomé. In addition to hosting a preparatory research lab on the body’s capacity for action and giving me the opportunity to address the problem of the integrity of the body as a Resident Professor in the HWP—Home Workspace Program, they

. Paris: Actes Sud. 276 | Resilient Bodies, Residual Effects ——. 1992. “Lebanese Identity.” In Religion and Citizenship in Europe and the Arab World, edited by Jorge S. Nielsen. London: Grey Seal. Bhagat, Alexis, and Lize Mogel, eds. 2008. An Atlas of Radical Cartography. Los Angeles: Journal of Aesthetic Protest Press. Bhandar, Brenna, and Alberto Toscano. 2017. “Representing Palestinian Dispos- session: Land, Property, and Photography in the Settler Colony.” Settler Colonial Studies 7, no. 1: 1-18. Bharucha, Rustom. 2014. Terror and Performance. London

contradiction with an economically fostered and internationally acclaimed rhetoric of “cultural exchange.” These concretely observable phenomena resonate, on a more sym- bolic, immaterial level, with the creation and re-introduction of nationalist and other identitarian but also disciplinary boundaries in a globalized arts industry and its circulating narratives and markets. Christine Tohme, founding director of ashkal alwan in Beirut, speaks about a “new war on borders”5 when referring to recent experiences. Concerning, but clearly not limited to Lebanon and the Arab

. 9 HEINRICH, 2001, S. 8. Abbildung 1: Walid Raad und Akram Zaatari, ID: Men – Classified according to type of moustache. Portraits from Studio Anouchian, Tripoli, Lebanon 1935–70 (Mapping Sitting 2002) Alexandra Karentzos 254 Eine besondere Pointe liegt darin, dass Passfotos in diesem Kunstwerk verwendet werden. Passbilder sollen gerade die markanten Besonder- heiten der jeweiligen Person festhalten und sie damit identifizierbar machen.10 In der seriellen Anordnung der ID-Bilder aus Mapping Sitting verlieren die Personen ihre Einzigartigkeit – zum einen

.B.: Fisk, Robert Pity the Nation. Lebanon at War, Oxford/New York: Oxford University Press 2001, S. 74. 140 | Der Werkkomplex wird von Zaatari zuweilen auch unter dem Titel Objects of Study/ The Archive of Studio Shehrazade geführt. 141 | Seiner Affinität zu den Fedajin verlieh Zaatari 2012 in einem Gespräch mit dem israelischen Künstler Avi Mograbi explizit Ausdruck. „I loved the Pa- lestinian feda’i“, bemerkt er im Verlauf dessen. Sie waren seine „[…] childhood mythical fighter figures, who used to give me all sorts of bullets to collect as a kid. I loved how

characterized by their plurality, that are one and many at a time, and that exist in myriad articulations of themselves. One main finding of the study concerns the scale on which the entangled experience of the border and the experience of collectivity operate, and their intensity. Alongside distinct events, stark or exclusive communitarian distinctions, and hardened border politics that come into effect in the cultural and geopolitical context of Lebanon and Palestine/Israel, the perspective of bodies proposes a shift in think- ing. It offers analytical recognition to

Chapter 2 Negotiating Engagement: the Empirical Part of the Study Resilient Bodies, Residual Effects emerges from my experience as a curator and researcher in the Lebanese and Palestinian art scenes, with Beirut and Ramallah being their center. Informed by a mixed-media corpus of empirical materials, the present volume consists of qualitative and comparative analyses of three artistic case studies that elucidate the contexts and environments of those art scenes: Contingency (2010) by Basel Abbas and Ruanne Abou-Rahme, Free Advice (2015) by

Graphik mit dem Titel »Our homeland Lebanon«, auf der die sechs verschiedenen Bezirke des Landes farblich gekennzeichnet sind, ist eine Weltkarte platziert, in der unterschiedlich stark ge- häufte Punkte zu sehen sind. Diese tragen die Überschrift: »… and the Lebanese in the World« (siehe Abbildung 1). Diese Darstellung rückt nicht nur den Libanon ins Zentrum des Blickfeldes, sondern verbindet zugleich das Territorium des Li- banons durch die Markierung der globalen Verteilung der »Libanesen« mit der ganzen Welt. Frieden stif ten durch Theater16 Abbildung 1: Karte


words, entrustments did not depend exclusively on individual entrepreneurship, but also heavily depended on how the collective measured trust. In this sense, familial, national, religious, ethnic, and political ties were the main repositories of trust among Palestinian refu- gees in the camps I studied. Elsewhere, however, these preferred institutions and subjects may vary greatly. The special character of trust as currency for social bonding made econo- mies of trust pervasive in the Palestinian refugee camps in Lebanon, and was recurrently found underlying

what Americans fantasize about being seduced by an Arab.« (Alameddine 1998: 117) Während sich der arabisch-amerikanische Ich-Erzähler in einem Mo- ment der gebrochenen Handlung mit offenbar autofiktionalen Referen- zen deutlich ins Außen jeder ethnisch-nationalen Zugehörigkeitskon- struktion stellt, um über die Amerikaner – »They are naive and dumb. And I hate that.« – und die Libanesen – »The Lebanese are just arro- gant […] Those fuckers are too busy juging everybody else’s life to live their own« – zu polemisieren, erkennt derselbe Künstler und tragi- 286