Professional Documents
Culture Documents
Claire Launchbury
University of Leeds
Addressing how the postcolonial legacy of the French mandate has combined with
postcivil war memory cultures, this article assesses contemporary Lebanese
cultural production which has taken an archival turn. This archival turn is not,
however, a return to a form of empirical epistemology; instead, the works in ques
tion, converge, contest, and make contingent mutable truth forms, be they
narrative, performative, experiential, or judicial. The impossibility of archiving the
many traces of trauma and destruction still evident in the urban fabric of Beirut
leads artists to pursue parafictional dimensions where trust, plausibility, and decep
tion are deliberately demanded in the reception of the works. Working at the
interstitial boundary between the historical and the political, this archival turn is a
counter to stateled amnesia in postwar Lebanon, which prioritises nostalgia for
the heady days and nights when Beirut was the Paris of the Middle East, over
processes of transitional justice in which truth and reconciliation might properly
help to recognise the aftereffects of fifteen years of internecine conflict.
Independent from French control since 1943, the small state of Lebanon was
created by the archetypal founding postcolonial act of violence as it was parti-
tioned off from the neighbouring Arab state of Syria in a bid to protect the
Francosphres, vol. 3, no. 1 (2014) doi:10.3828/franc.2014.7
100 Claire Launchbury
1 See Georges Corm, Le Liban contemporain: histoire et socit (Paris: La Dcouverte, 2012
[2003]).
2 Salah D. Hassan, UnStated: Narrating War in Lebanon, PMLA, 123.5 (2008), 162129.
The Impossible Archive of Beirut101
Paris of the Middle East
Postwar Beirut
The series of conflicts which form the Lebanese civil war killed at least 170,000
people and wounded and maimed many more. It utterly destroyed the fabric
of Beirut. The former sunny playground for the young and wealthy jet set of
the 1960s became a sectarian war zone in which walking 100 metres became
a long and dangerous journey; the towering hotels of the Holiday Inn and the
Phoenicia, the sites of big battles between different factions who used their
height to wield power over opponents, and buildings conceived by their archi-
tects to give panoramic views, became the perfect nests for snipers. Une
atmosphre de fin du monde reigned in the destroyed, apocalyptic centre of the
city, according to photographer Raymond Depardon, who documented at close
quarters the fighting and its ruinous aftermath.9 The demarcation line, which
ran from the port southbound down the rue de Damas, became known as la
ligne verte on account of the trees and plants that broke through the urban
fabric of the uninhabited and uninhabitable centre. There were massacres in
refugee camps, bombing from within and without (both from the mountains
and the sea), and, during the summer of 1982, the city was under siege, then
invaded, by Israeli forces following the assassination of president-elect Bashir
Gemayal, which led to the horrific reprisals undertaken by the light of the
invading armys flares in the Palestinian camps at Sabra and Shatila.10
Today, Beirut asserts itself as a major hub of commerce that welcomes the
8 Ibid., p. 145.
9 See Raymond Depardon, Beyrouth, centre-ville (Paris: Points, 2010), unpag.
10 Responses to the siege and massacres have been numerous. See in particular, however,
Mahmoud Darwiche, Une mmoire pour loubli. Le temps: Beyrouth, le lieu; un jour
daot 1982, trans. by Yves Gonzalez-Quijano and Farouk Mardam-Bey (Arles: Actes Sud,
1994 [1987]) and the journal of Palestinian doctor Fathia Saoudi, LOubli rebelle,
Beyrouth 82 (Paris: LHarmattan, 1986); Jean Genets powerful response to witnessing the
The Impossible Archive of Beirut103
West and values associated with Western capitalism, typified by the develop-
ment of an identity with Phoenician roots in Mediterranean trade. Yet, it also
remains a site that seeks to retain an Arab identity, which encompasses adher-
ents of left-leaning liberal politics and the institutionally and militarily
powerful Islamic and resistance organisation, Hezbollah. These identities
inevitably form part of the topography of the city, so the southern regions of
Beirut, those targeted by Israeli air attacks during the 2006 war, where the
Palestinian refugee camps are located, are working class with a strong Islamic
identity, and the street names (if they exist) are in Arabic only. In parts of the
city which remain unmapped, the urban terrain is navigated by monuments
and even by the memories of the locations of monuments that no longer exist.
In contrast, the controversial redevelopment of the centre of Beirut is
managed by a private company, Solidere (Socit Libanaise de dveloppement
et reconstruction). This project is intended to restore the facades at least of
the French-styled capital of pre-war Beirut. The district has its own police
force, and the old souks were destroyed and replaced by a centre commercial,
with branches of Zara, Esprit, and other international retail chains. The street
names are again bilingual, in French and Arabic, including an homage to
recent French president, Jacques Chirac, a close friend of assassinated presi-
dent Rafic Hariri, who bankrolled the redevelopment. Maha Yahya goes so
far as to argue that the rebuilding of the central district and the processes
through which it was achieved brought the socioeconomic and political
transformations of Beirut begun by the French Mandate authorities to their
ultimate realisation.11
Traces of wartime borders still persist, however, and the scar of the green
line still broadly marks the Christian East and Muslim West. Borders such as
these offer us a critical trope allowing for decentred consideration of the
marginalised, the exiled, the displaced, but also, as Richard Robinson
suggests, the sites where cultural production works as a fabulation of geog-
raphy in which border zones are invoked through metaphors of invisibility,
weightlessness, and spectrality.12 Robinson draws upon Joe Cleary who
aftermath of Sabra and Shatila, Quatre heures Chatila published in the Revue dtudes
palestiniennes in 1982 has inspired its own circulation of cultural responses: LEnnemi
dclar, textes et entretiens choisis, 19701983, ed. by Albert Dichy (Paris: Gallimard,
2010 [1991]), pp. 175204.
11 Maha Yahya, Let the Dead be Dead: Communal National Narratives in the Post-Civil War
Reconstruction of Beirut, in Urban Imaginaries: Locating the Modern City, ed. by Alev
Cinar and Thomas Bender (Minneapolis: University of Minnesota Press, 2007), p. 247.
12 Richard Robinson, Narratives of the European Border: A History of Nowhere
(Basingstoke: Palgrave Macmillan, 2007), p. 5.
104 Claire Launchbury
13 See Arlette Farges essay on the archive and its processes, Le Got de larchive (Paris: Seuil,
1989).
14 Ole Mystad, Morphogenesis of the Beirut Green Line: Theoretical Approaches between
Architecture and Geography (Note), Cahiers de gographie du Qubec, 42.117 (1998),
pp. 42135 (p. 428).
15 <http://www.beitbeirut.org/thehouse.html> [accessed 26 April 2014].
16 Antoine Boulad, Rue de Damas (Beirut: Saqi, 2008).
The Impossible Archive of Beirut105
the form of which leads to the archival projects to which I turn next. Rue de
Damas represents resistance by ordering the fragments into urban rather than
chronological order and in its reluctance to form an overarching childhood
narrative. Narrative absence combined with temporal disruption thus
provides the background to a contemporary archival mise-en-scne. Further-
more, I want to demonstrate how this archival turn in recent cultural
production by Lebanese artists deliberately plays upon matters of trust, plau-
sibility, authenticity, and truth-claims. The archive and the archival of
Beirut is an undetermined, unstable zone where multiple mediations of
multiple truths converge and contest.17
Impossible archives
17 See Okwui Enwezor, et al., Introduction, in Experiments with Truth: Transitional Justice
and the Processes of Truth and Reconciliation: Documenta 11_Platform 2, ed. Okwui
Enwezor, et al. (Kassel: Documenta, 2002), p. 15.
18 Jens-Peter Hannsen and Daniel Genberg, Beirut in Memoriam: A Kaleidoscopic Place out
of Focus, in Crisis and Memory in Islamic Societies, ed. by Angelika Neuwirth and
Andreas Pflitsch (Beirut: Ergon Verlag, 2001), pp. 24667.
106 Claire Launchbury
issues will begin with analysis of an early project by Walid Raad entitled The
Beirut Al-Hadath Archive. I will go on to examine some projects from his
later Atlas Group organisation, as well as Nada Sehnaouis installation
Atadhakkar (Fractions of Memory) (2003), and will conclude with discussion
of Wonder Beirut: The Story of a Pyromaniac Photographer (19972006), a
multimedia project by artists and filmmakers Joana Hadjithomas and Khalil
Joreige.
These different projects are all engaged in experiments with truth and they
raise important ethical questions about the contract between artist and
viewer. Carrie Lambert-Beatty has categorised such projects under the term
parafiction,19 a term that derives from both Grotowskis term parathe-
atrical and Rosalind Krausss definition of the paraliterary as that which
cannot be called criticism but cannot be called not-criticism.20 Archives are
invented, and although they cannot be determined historically they cannot be
negated fully either. Playing with a pragmatics of trust, the ludic games of
fake archives offer occasional subtle signifiers to be received only by those
aware of a certain cultural specificity use of actors familiar in Lebanon,
written or spoken phrases in Arabic which exclude the majority of Western
spectators of the installations. All these artists are very aware of their own
role and intervention in a global art market and they play around with the
limits of plausibility, engendered only in the encounter between the work and
its viewer in a performative turn. The hoax, the political staging of parafic-
tion, inevitably raises ethical questions about knowing deception. However,
Lambert-Beatty suggests that this can be justified because an audience is made
to wonder uncomfortably about the status of the claim the exhibits made, or
to go away in a strange kind of educated ignorance with their worldview
subtly altered perhaps in truthful ways by untruths.21 Such cultural
production, situated at the tense interstices between the political and the civil,
engages varied epistemological optics, encouraging spectators to view with
disbelief, belief, suspicion, certainty, and doubt. In the case of Beirut, and the
absence of any transitional truth and reconciliation process, Rustom
Bharuchas concern to define the volatile performative element that engages
with truth and reconciliation helps to provide a useful analogy. Concerned
less with empirical truth claims, these projects are theatrical stagings of the
Walid Raad is an artist who uses memoirs, archival projects, and the
recovery of material to challenge and subvert established historical narra-
tives, or, in their absence, the danger of establishing historical narratives. The
archival imaginary extant in many aspects of cultural production in Lebanon
is often signalled in the endeavour to discover the enlivening traces of the
marginal and the forgotten. Returning to the context of what Salah D. Hassan
has termed the unstated in relation to the Lebanese polity, the concept can
be extended to include that which elides the political lack of force the
unstated state: a state that is no longer a state, bereft of the means to uphold
or impose the rule of law with the semantic unstated: the silent nonc, the
repressed utterance, the censored, the unsaid.23 Indeed, Foucaults formula-
tion of the archive as le systme gnral de la formation et de la
transformation des noncs combines with Hassans consideration of the
unstated to explain in part why the archival has become such a central
feature in the attempt to reclaim civil memory in contemporary Lebanese
projects.24 In the case of Walid Raad, furthermore, the subverted figure of the
archive in this and the Atlas Group projects appears to present an amalgam of
both the post-traumatic and postcolonial.25 In line with what Hal Foster has
termed the archival impulse, Raads projects seek to make lost or displaced
historical information physically present but retrieved in a gesture of alterna-
tive knowledge or counter-memory.26 The Atlas Group states its mission as
to locate, preserve, study and produce audio, visual, literary and other arti-
facts that shed light on the contemporary history of Lebanon.27
22 Rustom Bharucha, Between Truth and Reconciliation: Experiments in Theatre and Public
Culture, in Experiments with Truth, Documenta 11_2, ed. by Okwui Enwezor et al.
(Kassel: Documenta, 2002), p. 362.
23 Hassan, UnStated, 162162.
24 Michel Foucault, LArchologie du savoir (Paris: Gallimard, 1969), p. 171.
25 On the Atlas Group, see <http://www.theatlasgroup. org/aga.html> and Kassandra Nakas
and Britta Schmitz (eds), The Atlas Group (19892004): A Project by Walid Raad
(Cologne: Walther Knig, 2006).
26 Hal Foster, An Archival Impulse, October, 110 (Autumn 2004), 4.
27 <http://www.theatlasgroup. org/aga.html> [accessed 24 July 2013].
108 Claire Launchbury
The Beirut Al-Hadath Archive Project takes its cues from the Situationists
in the guise of a much older collective project founded in 1967, the year of
the six-day war and the year of the artists birth.28 Al-Hadath translates
loosely as the event, and the term ahdath, events or les vnements works
in the same way as the troubles in Northern Ireland. I want to consider this
project in some detail because it concerns a playful parody of an archive and,
since street names are at issue, it is also a project articulated by the absence or
blurring of urban location. The rationale for the project is that in January
1975 the Al-Hadath organisation recruited 100 photographers to photo-
graph every street, store front, building, sign, vegetation, moving vehicle, and
other spaces of aesthetic, national, political, popular, functional, and cultural
significance in Beirut. This properly impossible task was further complicated
by the outbreak of the civil war in April of the same year and in order to
hinder the use of the images by any of the warring factions the photographers
were equipped with specially manufactured cameras and film. Although it
was essential that the date and time were accurately recorded, photographers
were instructed to list three street addresses for the location, of which one was
correct, and not to inform the organisation which it was. The photos were
subsequently donated to influential individuals, cultural organisations, and
other institutions in and outside of Lebanon.29 Control over the dissemina-
tion of the photographs, and the expressed desire not to let them fall into the
wrong hands, was a way for the Al-Hadath organisation to manage the mean-
ings, uses, and values simultaneously as commodities, as intelligence, or as
aesthetic texts. Boustanis Foreword to a presentation of a selection of
photographs taken on 12 January 1977 acknowledges a formal debt to the
work of the founder of photo-documentary experimentation, the Parisian
photographs of Eugene Atget, produced during Frances colonial heyday in
Lebanon.30 Atgets documents pour artistes were the product of twenty-five
years photographing Paris, building up an archive of 7,000 photographs,
consistently revising his filing system as he went along. Atgets work only
acquired its status as an artistic project through the attention given to it by the
Surrealists, who saw the kind of odd juxtapositions, latent narrative poten-
tial and sense of the merveilleux quotidien of their own projects.31
28 Walid Raad, The Beirut Al-Hadath Archive, Rethinking Marxism, 11.1 (1999), 1529.
29 Ibid., p. 15.
30 Boustanti, Foreword, ibid., p. 17.
31 Johnnie Gratton and Michael Sheringham, Introduction Tracking the Art of the Project:
History, Theory, Practice, in The Art of the Project : Projects and Experiments in Modern
French Culture, ed. by Johnnie Gratton and Michael Sheringham (New York: Berghahn
Books, 2005), p. 7.
The Impossible Archive of Beirut109
Do you have a memory of daily life in downtown Beirut before the start of the
war in 1975? If you wish to share this memory with the public, please: write a
text recalling this memory, on one white page or more, in the language of your
choice, handwritten or typed, signed or anonymous, and send this text to the
following address.
Conclusion
national jet set.41 In the Wonder Beirut project, the photographer begins to
damage his own postcards drawn from photos taken before the war in
imitation of the destruction he witnessed in the city. His acts are all about
inscription on the surface of the postcards he dates the impacts of shells and
tries to trace their trajectory. Moreover, this takes us back to the ontology of
the photograph: the inscription of light through burning and the traces of
light and fire create an indexical rapport.42 Defining two processes, the
historical and the plastic, Hadjithomas and Joreiges fictional photographer
creates new mimetic images that both inscribe the destruction and create a
palimpsestic record of the city. The photographer sets on his mission to
destroy the images by registering the ruination of the city motivated by the
fact that these images no longer refer to anything: the Place des Martyrs or the
Souks had been devastated. The project itself outlines a chronological trajec-
tory in its exhibition as it moves through two major stages. Once the
postcards have been burned during the early years of the conflict, the next
stage is to document the war by taking photos of his neighbourhood, but he
stops developing them altogether, on the grounds of material shortage,
initially, but also because it is enough for him to take them and take detailed
notes of the images. The latent image and its invisibility are presented as an
increasing obsession for Hadjithomas and Joreige, who seek to make a cata-
logue raisonn of his undeveloped work by deciphering the very detailed
notes he made about the photographs taken. Indeed, one of their friends, a
critic, knowingly named, in an already evidently Borgesian construction,
Pierre Mnard, is enraptured by the subterranean body of work, endlessly
heroic, unequalled and, certainly, perpetually unaccomplished, a sublime
attempt to capture each passing minute, fleeting time, running time.43 The
project targets a growing nostalgia for the glory days of Beirut and cautions
against bracketing off the civil war and including it only marginally in our
contemporary history.44 Effectively re-inscribing the effects of war onto the
images that promote nostalgia, the project marks the desire (and it is an
archival desire) to resist the repression of war memories indicted by the
41 Joana Hadjithomas and Khalil Joreige, Wonder Beirut: The Story of a Pyromaniac Photog-
rapher (19972006). See: <http://hadjithomasjoreige.com/wonder-beirut> [accessed 26
April 2014].
42 See Joana Hadjithomas and Khalil Joreige, OK, Ill Show You My Work, Al adab (2001),
37, cited in Jalal Toufic, The Withdrawal of Tradition Past a Surpassing Disaster (Los
Angeles, CA: Redcat, 2009), p. 75 and Joana Hadjithomas and Khalil Joreige, Latency,
Homeworks (2002), 4049 (p. 43).
43 See Hadjithomas and Joreige, OK, Ill Show You My Work, p. 43.
44 Hadjithomas and Joreige, Latency, p. 40.
The Impossible Archive of Beirut113
amnesty of 1991. It also calls into play once more the interaction of the
fictional, parafictional, and factual in the post-war cultural field in Lebanon.
The indexicality of these latent images offers a space for an imaginary that in
some ways fills in for historical traces. Though never entirely false in their
truth-claims, the images call into question the basis of historical truth-claims
much more broadly.
These projects in different ways both attest to and critique the post-war
amnesia so widely cited in Lebanon. However, they also in themselves
acknowledge and occasionally embody their own absence of closure. If no
state-led historical narrative is possible (government attempts to introduce a
unified history textbook into the school curriculum have repeatedly failed),
the artists here are not themselves seeking to replace or restate another
version. They attest to the impossibility of such discourses in an environment
where, despite the best efforts of keeping memory files open, elements of
society, as well as politicians, are content to forget. In particular, the contro-
versies surrounding the rebuilding of the central district which found their
way into Autour de la maison rose (1999), a feature film by Joana
Hadjithomas and Khalil Joreige, speak to a neo-colonialisation of the space in
a form of orientalist pastiche, recreating what was a French imposition in the
first place, as a means of bypassing the events of the civil war.45 The impos-
sible archive of Beirut, then, is a condition of both post-war and postcolonial
legacies in which neither has been persuasively documented. These two layers
of unspoken traces interact with each other palimpsestically, as the over-
writing of unstated war trauma occasionally exposes the latent traces of an
earlier period of colonialism.
In conclusion, then, Beirut is a city whose rhythm was utterly disrupted at
every level during the civil war: every space took on new meaning, ancient
ruins were exposed by the destruction of the contemporary civil war.
Meaning in urban space was altered sometimes according to identification
with a particular faction or in new war-prescribed usages: luxury rooftop bars
were hideouts for snipers, cellars were both prisons and refuges, home and
dwelling place were destabilised by threats from bombing from air and sea.
The rue de Damas was a ligne verte because of the shrubs and plants that
grew through the neglected tarmac of this no-mans-land. The presence of city
space as an impossible archive is here rendered as a traumatic palimpsest of
multiple traces that refuse and resist the simplicity of narrative coherence.
45 See Saree Makdisi, Reconstructing History in Central Beirut, special issue: Lebanon and
Syria: The Geopolitics of Change, Middle East Report, 203 (1997), 2325, 30.