يحمل الفنان اللبناني ألفريد طرزي متابعيه إلى ذاكرة لبنان الجماعية، عبر تجهيز بصري جمع فيه أرشيفا كبيرا وثريا من الصور والوسائط الورقية التقليدية، ليحيي ذكرى الحروب والأزمات ويدفع المتلقي إلى التفكر فيها وفي الشخوص التي كانت يوما ما شديدة التأثير في مصير البلاد والعباد.
Au cœur du Hangar d’UMAM Documentation and Research à Haret Hreik, des magazines, des images, des brochures et des coupures de presse savamment accrochés forment « Memory of a paper city », une installation signée Alfred Tarazi qui s’ancre dans la mémoire collective d’une ville volatile dont l’esprit et l’âme tendent à disparaître.
Following the thread of over a hundred publications from the nineteen thirties till the end of the eighties, this project aims to map out two distinct phenomena that instil these publications. The first consists of the uses and misuses of the representation of women as a metaphor for freedom and sexuality. The second is the representation of political violence manifesting itself in armed struggle. The correlation between both phenomena is the constant flirtation, invitation or assessment of the numerous transgressions that mark the modern history of Lebanon. Here, violence and corruption are endemic and the press acts both as a tool to shape opinions or to denounce these very transgressions. In this realm, images are weapons used to bring down governments and words are bombs threatening to reduce the nation to ashes. In this realm, images lure us away from morality and words destroy all sense of religiosity. The tools are revolutionary, the messages are revolutionary, the outcome however is grim. Civil violence systematically overtakes the streets.
Euskaditik Libanoeraino - من أوسكادي إلى لبنان 