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Museer i exil: arabvärldens viktigaste utställning försvann i bombanfall | Mellanöstern Tidningen Mellanöstern och Nordafrika Tidningen
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Published On: Wed, Feb 15th, 2017

Museer i exil: arabvärldens viktigaste utställning försvann i bombanfall

Varför glömdes en av arabvärldens största konstutställningar bort? Utställningen The International Art Exhibition for Palestine som invigdes i Beirut 1978 är en blind fläck i konsthistorien. Sambandet med det traumatiska arvet efter inbördeskriget i Libanon kan ha gjort att den fallit i glömska, men samtidigt har andra utställningar i regionen, vars internationella dignitet och skala inte varit jämförbara, fått en självklar position i historieskrivningen.

Genom ett gediget researcharbete har curatorerna Kristine Khouri och Rasha Salti spårat berättelsen om en av arabvärldens mest ambitiösa konstprojekt i modern tid. 17-19 februari presenteras arbetet på Tenta konsthall och historien kopplas ihop med svenska solidaritetsaktioner under samma tid.

Under fem år har Khouri och Salti forskat kring utställningen som organiserades av PLO (Palestinska befrielseorganisationen) och bestod av cirka 200 konstverk vilka donerats av konstnärer från hela världen, däribland kända namn som Roberto Matta, Antoni Tàpies och Joan Miró. Med sina 200 verk, donerade av 200 konstnärer från nästan 30 länder, var utställningen tänkt att utgöra startpunkten för ett palestinskt exilmuseum och tog formen av en ambulerande utställning till dess att den kunde överlämnas till ett fritt och demokratiskt Palestina. När Israel 1982 attackerade Beirut bombades arkivbyggnaden och materialet gick förlorat.

Foto: Utställningskatalog till The International Art Exhibition for Palestine, Beirut, 1978. Tensta

Projektet är en del av Tensta konsthalls större projekt Eros-effekten: Konst, solidaritetsrörelser och kampen för social rättvisa, en flerårig undersökning av förhållandet mellan konst och solidaritetsrörelser som yttrar sig genom en serie utställningar, workshops, presentationer och filmvisningar. Namnet Eros-effekten kommer från en essä med samma namn, skriven 1989 av forskaren och aktivisten George N Katsiaficas.

Källa: Tensta konsthall

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