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Siegfried Kracauer, “Photography,” trans. Thomas Y. Levin, Critical Inquiry 19, no. 3 (spring 1993): 421–436. In her role at the AIF, Rana will work closely with the board of directors – who will collectively be responsible for the foundation’s artistic vision and direction. The board of directors is excited that Rana will join the foundation in this pivotal moment, and looks forward to a fruitful and enriching collaboration. Argentina, Mexico, and Senegal are all countries with relatively large Arab communities of mostly Lebanese, Syrian, or Palestinian ancestry. While Palestine before ’ 48, Albums Marocains 1900–1960, and Arts et couleurs were clearly conceived as exhibitions, Mapping Sitting was labeled as “a project by Walid Raad and Akram Zaatari.” Rather than taking on the role of curators or mediators, Raad and Zaatari made use of the exhibition as a form of artistic expression to “raise questions about portraiture, performance, photography, and identity in general.” [14] Simultaneously, they made their authorship as artists and their position as members of the AIF in relation to its collection a crucial topic. In the words of art critic Kaelen Wilson-Goldie, Mapping Sitting thus “proposed a fourfold challenge to what exhibitions are, troubling the status of artists, artworks, curators, and institutions along the way.” [15] Although Mapping Sitting exhibited a group of photographers and focused on the specific characteristics of their practices, Raad and Zaatari clearly suggested that the photographers themselves should not be considered artists. The photographs were not to be regarded as art, but rather as the “content” and the “topic” of an artistically generated display. According to Wilson-Goldie, Raad and Zaatari thus “turned curating into art making, and transposed the building of installations, exhibitions, collections, and institutions into art, as well.” [16] Against Photography - An annotated history of the Arab Image Foundation, curated by Akram Zaatari (2017)

This meticulous process requires its own set of guidelines of course, which were effectively developed during a testing period ahead of the digitisation phase while the albums were still being catalogued by the archivists in the preservation lab. Always a work in progress, those guidelines are constantly fine-tuned and updated. We often encounter things that were not anticipated, and we must respond to the requirements of each object to ensure its integrity but also obtain best results. This entails adjusting the lighting setup and imaging equipment, but also the use of special tools for handling.

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There is so much more we’d like to say, but let us be patient; we'll share more updates with you very soon. Discover what is happening in our community. We are proud to showcase individuals and organizations that have been supporting us along the way. We are also eager to tell you about those we in turn support through training and consulting services. Members of this fast-growing community will be showcased in every issue of our Stories. ​ Regardless of what practice we are in, how often do we put people at the centre? Do we as photographers, writers, urban planners and lecturers venture that extra mile to think about marginalised groups? There are parallel lives happening all the time. Sometimes, we choose to see through a particular set of eyes, much like an archivist chooses the element of dust to capture what an image is going through at one moment in time. It is these permeable perspectives that eventually add nuance and complexity to what we are observing. AIF is able to stand on its feet also because of our current major donors. The Norwegian Embassy in Beirut has been very accommodating and receptive to adaptations in our work, and the Violet Jabara Charitable Trust Foundation continues to be the wind beneath our wings. We know that all shall pass. We know that whatever we experience is transient. What we hold on to are the ghosts of our experiences. When we commemorate, we try to remember and gather what is vanishing. Perhaps that’s what makes images captivating and forlorn. A photograph is a still trace, but still a trace. It is a memory of light and shadows that we turn to when we seek to revive that which has passed.

The Arab Image Foundation extends its appreciation to our current generous supporters that make our activities possible. We are equally grateful to those who wish to remain anonymous. Inspired by the two projects and conversation, I have since been thinking more actively about the role of communities in building, aggregating, caring for, sustaining, and even reclaiming collections of images, documents, artifacts or other materials which represent them. Many archival-related initiatives that inspire me have been built because they need to exist, because the stories and materials were perhaps not held elsewhere and had to be kept, cared for, and shared, giving space for the voices which may be silent, marginalized and unavailable elsewhere. To decide when to use shallow foundations, it is necessary to know when it is economical. It is economical when: It has a broad scope of assortment with regard to structure. There are different materials we can here to build a stylish view, and it stays in our spending limit. 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 PhotographieRight: Vera Tamari’s father with ​ family and friends in Hebron, circa 1929. Standing in the middle with a white hat is Vera’s aunt Alexandra. Faik Tamari collection. 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. Header image: # 0026do00067 . Kind Abdullah I of Jordan with his guards, gelatin silver developing-out paper print. Bedros Doumanian Collection , courtesy of the Arab Image Foundation, Beirut. In the second part of this workshop, led by Ben, participants developed a photobook based on the textual and visual material produced in the first part of the workshop. Visual artist Nancy Naser Al Deen assisted in the design process and Hussein Nakhal, co-founder of Waraq, demonstrated the basic stitch in photo-book making.

In early February 2021, Lokman Slim, writer, activist, critic and co-founder of UMAM D&R was assassinated in the south of Lebanon. We condemn all political assassinations and call on duty bearers to bring this crime to justice. Courtesy of Marwan Tahtah It is now about twenty years ago that Lebanese photographers Fouad Elkoury and Samer Mohdad, together with Lebanese artist Akram Zaatari, decided to create an organization with the aim to preserve and study photographs from the Middle East, North Africa, and the Arab diaspora. In 1997 the Arab Image Foundation (AIF) began to operate officially as a nonprofit organization in Beirut. Conceived as an initiative to gather knowledge and promote awareness about the region’s photographic heritage through locating, collecting, and conserving photographs, the AIF now holds a collection of more than 600,000 photographs from Lebanon, Iraq, Iran, Palestine, Syria, Egypt, Jordan, Morocco, and Algeria, as well as Mexico, Senegal, and Argentina, dating from the mid-nineteenth century. [1] Curatorial work defines the mission of the AIF not only in the sense that it is safekeeping and managing a collection, but also in that it has always sought to make the collection visible to the public. One major tool has been an online image database, which makes approximately 20,000 photographs accessible. Another central medium of display is the exhibition format. Since its inception, the AIF has produced fifteen exhibitions that have traveled worldwide, often accompanied by comprehensive publications. The key to faking perfect skin — with or without other makeup — is finding the best foundation formula for your complexion and needs. But knowing where to start can be baffling, so we've made it easy for your with options based on your skin type ( oily, combination, dry, sensitive, mature, acne-prone); preferred form, including liquids, creams, and loose and pressed powders; coverage level from light and sheer to medium to full; and finish, from matte to satin to radiant.We have been graciously accompanied by so many supporters since news of the August Beirut port explosion rippled across the world. We are grateful to the latest foundations and institutes: Pardoe-Westermann Family Fund, American Institute for Conservation of Historic & Artistic Works, Savvy Wood Photography, Centre de la Photographie, Benevity, PhotoArts Studio, Robert Rauschenberg Foundation, and Stanley Thomas Johnson Stiftung. What is very precious is their unrestricted funding that allows AIF the flexibility to prioritise. Arab Image Foundation". Monocle. Archived from the original on 2 February 2012 . Retrieved 21 January 2012. We were grateful for the visit of our partners, CER and the Getty Foundation, and their time and attention in listening to our plans for 2023 and beyond. The opportunity to meet the rest of the informal donor group was insightful, especially, their commitment to coordinate closely in support of a sector that requires long-term core funding and accompaniment. One of our team members tells how she lived out the post-explosion period and what keeps her going. Another colleague takes us to his dark workstation - the digitisation lab and his affair with albums. They happen to be one of many objects within our collections. They carry so many stories, literally, in the form of images, but also as a medium. Find out what intrigues him.