Monique Bellan.(The Daily Star/ Mohamad Azakir)
Your feedback is important to us!
We invite all our readers to share with us their views and comments about this article.
Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The Daily Star accepts no responsibility for the content of comment(s), including, without limitation, any error, omission or inaccuracy therein. Please note that your email address will NOT appear on the site.
Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (http://bit.ly/vDisqus)
Saneh relates the history of international performance art, focusing on practices that demand artists damage or otherwise compromise their bodies.One of these is "Biokhraphia" (2002), which stages a television interview between an actor named Lina Saneh and herself, via a tape recording of Saneh's voice.Multi-disciplinary artists with distinct solo careers, Mroue and Saneh are best known for their collaborations.Bellan's study examines the collaborations and solo works emerging from the two artists between 2002 and 2007 .This is a useful gesture, since Saneh and Mroue are generally discussed in terms of their '90s generation colleagues, most of whom tend toward visual art rather than performance.Bellan sees her book's principal contribution as being to introduce a German-speaking readership to the unique and powerful practice of two contemporary artists.As the reference to "anatomical theater" suggests, Bellan's book is particularly interested in in Mroue and Saneh's use of the body – and particularly the success with which they stage the relationship between body, image and language/voice.Bellan attributes this interest in the body to Saneh's work, though she acknowledges the difficulties in distinguishing the artists' individual contributions to a collaborative work like "Biokhraphia".
Niemeyer’s Tripoli remains return
The Germans too know how to laugh
The portrait in 13 movements
FOLLOW THIS ARTICLE