Joined in 2023 
82 
63 About this deal
I have known the foundation since its early days. Part of my family's collection mainly featuring their life in Ghana in the 1950s and 60s has been in the custody of the foundation since 2002. I remember taking a shoe box containing the prints to the foundation’s premises in Starco at that time. This collection along with more than 300 hundred others survived many disasters since then – car bombs in the vicinity, the Israeli invasion in 2006 and the most recent Beirut port explosion on 4th August 2020. The Vehicle. Picturing moments of transition in a modernizing society, Curated by Akram Zaatari (1999) The sundial casts the shadow of time and the photograph is what preserves the passing of time. It gives a moment of respite for the viewer to experience the pleasure and the numbness as we transition in a world that is in constant motion. The time has come for a transition – moving from my role as director to that of a member of the Arab Image Foundation – a shift in function but not in engagement. As emotional as they are, transitions are an essential process in any association. As a member, I am keen on seeing this foundation continue to grow regardless of who is at the helm.
The Foundation is governed by a Board of Directors and a General Assembly.The current Board of Directors (2021–2024) is composed of Vartan Avakian, Donald Choubassi, Yasmine Eid-Sabbagh, Fabiola Hanna, Kristine Khouri, and Hrair Sarkissian. [10] Mina Image Centre is a non-profit organisation and a dedicated space for the image in all its forms. With a yearly programme of exhibitions and parallel public programmes, including screenings, performances, and workshops, Mina seeks to showcase the work of local artists across disciplines, providing a platform for reflection and encounter around image and artistic practices.The Arab Image Foundation extends its appreciation to the generous supporters that make our current activities possible.
The size of the footing can be roughly calculated by dividing the total load at the column base by the allowable bearing capacity of the soil. The 21st episode of Lamha presents the Abdel Hadi family collection, which comprises 24 paper prints taken in Palestine and Jordan between the 1920s and the 1960s. Its humble size notwithstanding, the images in this collection range from family photographs to shots of formal officials and even landscapes, including certain areas in Palestine – such as the beach in Jaffa – that have become nearly impossible to reach after the Nakba of 1948. The Eclipse of the (Fe)Male Sun is an exhibition that departs from portrait photography collections from the mid 20th century in Kuwait, Lebanon and Iran, archived at the Arab Image Foundation (AIF) in Beirut. Premodern Arab, Iranian and Islamic image culture reflected gender-fluid standards and homosocial relationships as common aspects of daily life. Due to their digital remediation, the digitized images of the AIF collection are reconfigured into a new image-form with modified structures, functions, and ways of presentation, which considerably affects the way they are perceived and interpreted. [7] While their accelerated and simplified distribution as digital images might increase their visibility and value as visual information, it might also endanger their significance as historical documents. [8] “The photographic transformation of matter into information changes its tempor(e)ality as well,” says media theorist Wolfgang Ernst. He continues,In the context of shrinking liberties across the Arab region and beyond, Yasmine Eid-Sabbagh, Kristine Khouri and Vartan Avakian - all three board members of the Arab Image Foundation - invite students to think beyond this precarity. They put together a hands-on remote Practitioners-in-Residence for the upcoming Spring semester at the Hagop Kevorkian Center for Near Eastern Studies at NYU to challenge researchers, conservationists, archivists, artists, and writers to reflect on collective work practices and governance as well as custodianship and rights. Using the diverse collections at AIF, they prod us to imagine ways of taking care of a collective inheritance and to think critically about it in relation to our times. I am grateful for this beautiful experience, for an engaged board, for a committed team, and to the growing community of friends, donors, and all those who care for and have interacted with the foundation. I am confident of what is now in place – not only the knowledge, plans, processes, and programmes, but also how as a community, we have built on good practices over the past 25 years. Furthermore, considering the size of the AIF collection and the time it will take to digitize it in its entirety (which is essentially the objective of the foundation), the AIF and its online database at this point paradigmatically illustrate what Ernst calls “a divided memory world” in which some data circulates online “while undigitized photographs remain largely unseen in physical archives.” [10] The Foundation has become internationally and regionally recognized as the leading photographic institution in the Middle East. In addition to housing and conserving hundreds of thousands of photographs, the Foundation has spearheaded conservations and preservation projects in the Middle East, co-sponsoring workshops to disseminate the knowledge and skills needed to identify, restore, and conserve the Arab world's large photographic archive. [7] The first project consists of 19 diptychs drawing from the AIF’s collections, produced in collaboration with the Beirut Printmaking Studio. These works were first shown in July 2022 in an exhibition titled Impressions from an Archive, presented at the Exhibition Research Lab in Liverpool in the framework – and with the support of – the Liverpool Arab Arts Festival.
The Arab Image Foundation’s work is an ever-evolving research process into ways of looking at, interpreting, and interacting with the photographic objects in its custody. A photographic negative or print, once created, remains in constant physical mutation. Likewise, its historical, cultural, and affective lives will depend on the viewer and will continue to shift. IMAGE Skincare products are dedicated to enhancing your skin's natural beauty. IMAGE Skincare’s mindful formulas deliver real results by blending science, innovation, and nature to create products that transform your skin and empower your confidence. The foundations which are made common to more than one column are called combined footings. There are different types of combined footing, including slab type, slab and beam type, and rectangular, raft, and strap beam type. They may be square, tee-shaped, or trapezoidal. The main objective is the uniform distribution of loads under the entire area of footing, for this is necessary to coincide with the center of gravity of the footing area with the center of gravity of the total loads. Figure: Combined Footing This point was emphasized in the introductory text to the exhibition. It described Zaatari’s interactions with the former owners and originators of the photographs and contained direct quotes about their relationship to specific pictures, as well as the circumstances they were taken in. Parallel to the titles, dates, and names of the photographers that accompanied each picture in the show, the text contextualized the pictures on display while also accentuating the link between personal memory, history, and photography.In-kind donations – institutions: Institut National d'Histoire de l'Art ▪ Middle East Photograph Preservation Initiative ▪ Musée Français de la Photographie ▪ Klug-Conservation ▪ Centre de la Photographie Born in Qaladiza in Iraqi Kurdistan and currently based in Turin, Italy, Rawsht has been working on and processing the archive of his father, photographer Twana Abdullah, which brings together 20,000 photographic objects of different formats, including paper prints, negatives, and 35mm film rolls. Shot between 1974 and 1992, these images are an important record of the everyday life of the people of Kurdistan.
Great Deal 
New Comment