Thursday, April 30, 2009
Officers and gentlemen
You can read about their release somewhere else. They were officers... and gentlemen. And we did them wrong.
Wednesday, April 29, 2009
You can do.... what?
And let's hear it from this new campaign for the Lebanese forces!... "You can do nothing," (Man in front of destructed building - most likely this has to do with hizbullah in some way) "you can do nothing" (Girl in front of a photo of Hizbullah fighters), and in the third part, a flag is being put in the ballot box (Exactly like the last instalment of the March 14 ad saga!)... It is actually the headline that disturbs me the most.... "and you can do" - a lame punch line which fails to move or entice.
The war of the words....
It's a full-fledged war outsite that's for sure!... Following the Sois Belle et Vote ad by the FPM and deluge of ads was all over the internet. The Lebanese Forces replied with the subtle "Sois beTe et vote Tayyar" (Be stupid and vote for FPM), to which the FPM itself replied with "Sois jins atel et vote shou esmo hayda" which is a direct parody of the LF's current ally Walid Jumblatt whose recent video cursing the Maronites (Of which the LF think they are the current flag holder) as "jins atel" (A bad breed) and referring to their leader Samir Geagea as "shou esmo hayda" (What's his name?).... In the starring role of the ad is Neyla Mouawad running in the same coalition as Joumblatt and what's his name... Now of course, this being the internet, there is already a site entitled www.soisbelleetvote.com (Which also contains some home made images of the FPM as orange sperms fertilizing the Future Movement's blue egg - both colors have now become trademarks of the parties in question - and of an orange bowling ball striking figures of Michel el Murr, Saad Hariri, Walid Joumblatt, Chou esmo hayda, and Amine Gemayel). Now, you will not believe this, but there is also a website called www.shou-esmo-hayda.com which contains a photo of Samir Geagea with starlet Haifa Wehbe during a party with her hand pointing to his genitals with the caption "that's him!" - photo provided above as downloaded from the website.
Tuesday, April 28, 2009
Marriage proposal gone wrong!
Plus ca change....
Massoud Achkar: Legally blonde
CPL - on the offensive again.
Thursday, April 23, 2009
Deprived.... no more....
Photos copyright Rami of plus961.com
Just in case anyone thought that only Hizbullah are doing the marketing on behalf of the Shiites, Amal is here to remind them that it is the other part of the equation. For a long time Amal (Afwaj al Mouquawama al Loubnaniya - AML or HOPE) have branded themselves as "deprived" or "mahroumin" (From the services of the states and all other things). Amal has joined the current media battle with the above photos. One of them shows children with the logo of AMAL (Hope) which forms the letter M.... And the second is the word "Tadamon" (solidarity) with again the logo forming the letter M - interestingly the solidarity in question is between Christians and Moslems (In the this case referring to their new ally General Michel Aoun). Not earth shattering but good enough to carry the message.
Wednesday, April 22, 2009
New crop of artists get "Exposure"
--
(c) Jennifer Maghzal, Karine Wehbe, and Raed Yassin On the second outing of the Beirut Art Center, "Exposure", which is an exhibition designed to encourage emerging artists, the organizers managed to produce a small gem, which - honestly - by far outbeats its earlier much-more drummed and hyped "Closer" opening exhibition. A jury chose seven up and coming artists and financed the production of their work to produce the final result which in terms of scenography showed the people behind the Beirut Art Center now much more in command of the inner geography and feel of their space. This year’s chosing committee was: Jacques Aswad (writer), Joana Hadjithomas (visual artist and filmmaker), Christine Tohme (director of Ashkal Alwan), and Kaelen Wilson-Goldie (journalist). The chosen artists are Tamara Al Samerraei (Before Dark, animation), Nadim Asfar (Innenleben, photography), Sirine Fattouh (Lost and won, video and photography installation), John Jurayj (Untitled (I'll be your mirror), oil on colored mirrored plexi-glass), Jennifer Maghzal (Terminus (I can't tell where I end and you begin, installation), Karine Wehbe (Tabarja beach 1, photography), and Raed Yassin (The best of Sammy Clark, installation). To be honest, all exhibited works deserved to be there and get their ligitimate "exposure." Actually, the Arabic title of the exhibition is "Atabat" which means "stepping stones" which seems even more moving and adequate than its English counterpart. Yassin's installation is a coup of collective memory of Lebanon in the 80s through the evocation of Sammy Clark Lebanon's pop star par excellence back then (Whose major credits probably include singing the Arabic version of the title track of Japanese-Anime Grendizer, but that's a different story). Sirine Fattouh simply asked women "What have you won?" and "What have you lost?" and went on to record the answer in a rather deceptively simplistic way, which in effect is very deep and leaves much to the imagination. Asfar took pictures of webcam transmission for three years trying to locate his pictures somewhere between public and private, erotic and morbid, real and fictional. Which only fits with what he says about photography: "Beyond seeing, it is about imagining, moving, assembling and transporting. It is about folding and unfolding images… Images contain what one shows, and what one hides. Statements and secrets. Fictions." Jennifer Maghzal takes the name of the Roman god of boundaries (Terminus) and creates a self-contained enclave of 16 second-hand doors embodying thus the concept of binary vision of the world we all function through "you/me", "inside/outside" or "open/shut." But the one artist who manages to hijack the exhibition is Karine Wehbe... Long confined in the realm of her graphic design (She graduated from the very prestigious Ecole Supérieure des Arts Graphiques (ESAG) Penninghen, Paris) Wehbe limited herself to graphics, illustration and painting earlier in her career. Her much-welcomed conceptual development started to emerge with her exhibition "Young Women" at Espace SD but it was her work on cinema as a colletive memory in 2006 (Also at Espace SD)that saw her emerged from her self-imposed cocoon. Wehbe once told me that she "didn't like working with concepts," thankfully this stage of her thinking is now far gone. Her video with Philippe Azoury "Suspendue" was shown at the 6th edition of the Né à Beyrouth Festival and at the Jeu de Paume for the 36th edition of the Festival d’Automne à Paris. Her tipping point came when she has participated in the workshops as long as I’m walking led by Francys Alys and The ruin in the city by Lara Almarcegui and Cecilia Andersson, both of which were part of the project 98 weeks. "I learned how to function in groups, how to work with others, how to communicate with media I have not known before and was afraid of before," confided Wehbe. The photos that Karine Wehbe exhibits in "Exposure" are about the beach resorts which cluttered the seaside of Lebanon and mushroomed illegally during the war creating a haven of safety and cosmopolitanism for the riche and nouveau-riche and became the words to drop to indicate status (Tabarja beach, Acqua Marina, Rimal, Portemilio, Les residences de la mer....). "Today, these happy-go-lucky resorts have faded away to become nothing but ghostly blocks of reinforced concrete and pools of Chlorine. In the summertime, few subscribers or owners still venture there," continues Wehbe. In the Tabarja beach 1 series sees Wehbe staging herself near the Jet Set discotheque, now nothing but a delabrated space, shooting the now empty bungalows "by the turf" (Which were the most expensive), and meeting someone at the cafeteria - again, now very empty and hollow. But the photo that is most haunting is that of her (And her cousin Ansoula who co-models in all photos except that of the bungalows) sunning in their 80s bathing suits (Wehbe is a major 80s revival in terms of fashion) near the totally empty pool filled with small debris with rusting metallic parasols in the background as witnesses to fading glories of the past. "In those empty spaces," comments Wehbe, "I try to live out, one more time, even if for a few seconds, m first night club experience or a long chat I had by the swimming pool on dreams that were still possible. In a country where places from our memory are vanishing, I hold on to my adolescence.... or it is maybe holding on to me?" Beirut/NTSC prays for Wehbe never to find the answer, as the questionning is leading to an artist blossoming at her fullest potential.
(c) Jennifer Maghzal, Karine Wehbe, and Raed Yassin On the second outing of the Beirut Art Center, "Exposure", which is an exhibition designed to encourage emerging artists, the organizers managed to produce a small gem, which - honestly - by far outbeats its earlier much-more drummed and hyped "Closer" opening exhibition. A jury chose seven up and coming artists and financed the production of their work to produce the final result which in terms of scenography showed the people behind the Beirut Art Center now much more in command of the inner geography and feel of their space. This year’s chosing committee was: Jacques Aswad (writer), Joana Hadjithomas (visual artist and filmmaker), Christine Tohme (director of Ashkal Alwan), and Kaelen Wilson-Goldie (journalist). The chosen artists are Tamara Al Samerraei (Before Dark, animation), Nadim Asfar (Innenleben, photography), Sirine Fattouh (Lost and won, video and photography installation), John Jurayj (Untitled (I'll be your mirror), oil on colored mirrored plexi-glass), Jennifer Maghzal (Terminus (I can't tell where I end and you begin, installation), Karine Wehbe (Tabarja beach 1, photography), and Raed Yassin (The best of Sammy Clark, installation). To be honest, all exhibited works deserved to be there and get their ligitimate "exposure." Actually, the Arabic title of the exhibition is "Atabat" which means "stepping stones" which seems even more moving and adequate than its English counterpart. Yassin's installation is a coup of collective memory of Lebanon in the 80s through the evocation of Sammy Clark Lebanon's pop star par excellence back then (Whose major credits probably include singing the Arabic version of the title track of Japanese-Anime Grendizer, but that's a different story). Sirine Fattouh simply asked women "What have you won?" and "What have you lost?" and went on to record the answer in a rather deceptively simplistic way, which in effect is very deep and leaves much to the imagination. Asfar took pictures of webcam transmission for three years trying to locate his pictures somewhere between public and private, erotic and morbid, real and fictional. Which only fits with what he says about photography: "Beyond seeing, it is about imagining, moving, assembling and transporting. It is about folding and unfolding images… Images contain what one shows, and what one hides. Statements and secrets. Fictions." Jennifer Maghzal takes the name of the Roman god of boundaries (Terminus) and creates a self-contained enclave of 16 second-hand doors embodying thus the concept of binary vision of the world we all function through "you/me", "inside/outside" or "open/shut." But the one artist who manages to hijack the exhibition is Karine Wehbe... Long confined in the realm of her graphic design (She graduated from the very prestigious Ecole Supérieure des Arts Graphiques (ESAG) Penninghen, Paris) Wehbe limited herself to graphics, illustration and painting earlier in her career. Her much-welcomed conceptual development started to emerge with her exhibition "Young Women" at Espace SD but it was her work on cinema as a colletive memory in 2006 (Also at Espace SD)that saw her emerged from her self-imposed cocoon. Wehbe once told me that she "didn't like working with concepts," thankfully this stage of her thinking is now far gone. Her video with Philippe Azoury "Suspendue" was shown at the 6th edition of the Né à Beyrouth Festival and at the Jeu de Paume for the 36th edition of the Festival d’Automne à Paris. Her tipping point came when she has participated in the workshops as long as I’m walking led by Francys Alys and The ruin in the city by Lara Almarcegui and Cecilia Andersson, both of which were part of the project 98 weeks. "I learned how to function in groups, how to work with others, how to communicate with media I have not known before and was afraid of before," confided Wehbe. The photos that Karine Wehbe exhibits in "Exposure" are about the beach resorts which cluttered the seaside of Lebanon and mushroomed illegally during the war creating a haven of safety and cosmopolitanism for the riche and nouveau-riche and became the words to drop to indicate status (Tabarja beach, Acqua Marina, Rimal, Portemilio, Les residences de la mer....). "Today, these happy-go-lucky resorts have faded away to become nothing but ghostly blocks of reinforced concrete and pools of Chlorine. In the summertime, few subscribers or owners still venture there," continues Wehbe. In the Tabarja beach 1 series sees Wehbe staging herself near the Jet Set discotheque, now nothing but a delabrated space, shooting the now empty bungalows "by the turf" (Which were the most expensive), and meeting someone at the cafeteria - again, now very empty and hollow. But the photo that is most haunting is that of her (And her cousin Ansoula who co-models in all photos except that of the bungalows) sunning in their 80s bathing suits (Wehbe is a major 80s revival in terms of fashion) near the totally empty pool filled with small debris with rusting metallic parasols in the background as witnesses to fading glories of the past. "In those empty spaces," comments Wehbe, "I try to live out, one more time, even if for a few seconds, m first night club experience or a long chat I had by the swimming pool on dreams that were still possible. In a country where places from our memory are vanishing, I hold on to my adolescence.... or it is maybe holding on to me?" Beirut/NTSC prays for Wehbe never to find the answer, as the questionning is leading to an artist blossoming at her fullest potential.
Tuesday, April 21, 2009
When the independents do it better than the establishment!
So there it is! A proof that independents are more efficient than the establishment! Rami El Khoury a student in graphic design about to graduate has done these CPL-supporting ads as a private initiative. The first, in the same spirit of the official CPL campaign is targeted against the Lebanese Forces with the same torn wrapper witht he CPL colors beneath it and the words "their days are over." The second, a yellow sun instead of the logo of the future movement with an orange background and a copy that says that Aoun's sun will shine in Achrafieh during the elections.... Whether one agrees with Rami is besides the point, the creativity and the effort displayed in itself is worth it!
Beauty is in the eye of... who?
In the latest installment of an ever-dwindling saga, FPM reveals its new ad targeted towards women. Based on the French saying "be beautiful and shut up" they turned it into "be beautiful and vote." The whole ad is out of touch with everything: Its target audience (If it's for the youth, it doesn't work. If it's for middle aged housewives, why isn't it in Arabic?) the layout does not resemble anything previously released in the campaign, the language is foreign (even if it includes the play on words now a trademark for FPM).... Why on earth would they release such an ad is beyond me... Beauty is indeed in the eye of the media bookers!
Tuesday, April 14, 2009
Je est un autre
Oui... the people!
Tuesday, April 7, 2009
Everything is fair in love and election war!
Whereas the law is a little shady as to allowing competitive ads in Lebanon so much that cheeses only can say "lower salt that others", the new episode of the elections saga wars promises to spice things up as the Free Patriotic Movement has attacked the Future Movement right in their own territory. By using the blue background, tearing it to reveal the almost trademark orange of the FPM and declaring "there is no future without change" (Also in reference to the list of the FPM called "list of the rehabilitation and change") the blow was indeed hard as this will up the ante in the tone of voice of all subsequent communications.
Monday, April 6, 2009
Mix and (mis)match
One hand cannot clap!
In one of those reare moments where things are "staged" by themselves, Karl Zeeny picked up this photo at the local Virgin megastore.... One hand cannot clap, so one ought to be borrowed!
Friday, April 3, 2009
MTV - we will rock you (Once more?)
In a previous post, the forced closing of Future Television was
discussed in addition to the original closing of Mtv, now Murr Television is going to be back on the airwaves as of April 7th. The ad - although understated - tends to say it all. After a long silence (As shown by the fact that she got a tan on the rest of her face but not under the peeled "silencer") free opinion will be heard again on Mtv. Whether in the the meantime it will regain the luster it once had before closing is a different matter. But getting the voice back could never be a harmful thing.
discussed in addition to the original closing of Mtv, now Murr Television is going to be back on the airwaves as of April 7th. The ad - although understated - tends to say it all. After a long silence (As shown by the fact that she got a tan on the rest of her face but not under the peeled "silencer") free opinion will be heard again on Mtv. Whether in the the meantime it will regain the luster it once had before closing is a different matter. But getting the voice back could never be a harmful thing.
Pause cafe pour pause cafe
To take a break from elections why not check out this ad for the
renovation of "Cafe Najjar - Maison du cafe" which brilliantly proclaims that "a coffee break? Well, we need it too...." and promises to return to its orginal revamped location although right now, they are only 30 meters away.
renovation of "Cafe Najjar - Maison du cafe" which brilliantly proclaims that "a coffee break? Well, we need it too...." and promises to return to its orginal revamped location although right now, they are only 30 meters away.
Nayla Tueni - the iron maiden?
Unrecognizable in the photo, Nayla Tueni, heir of the mediatic empire of Annahar in addition to the political legacy of her grandfather and her late father Gibran, is attempting her own entrance into the political world. She looks awash in blue, the color of the Futre Movement with whom she is allied. The only interesting thing about the ad is the slogan that goes "In defence of great Lebanon" which is the line before the last from the "oath" that her father proclaimed (Followed by the million plus people gather in Martyr's square) on March 14th whereby "Christians and Moslems would remain united until the end of times in defence of great Lebanon."
Mom! He's done it again!
What a pity! It turned out that the whole campaign for the Free Patriotic Movement was based on the concept of "right" (Sa7)... In this new instalment the reference to Christianity - the people who are going to vote for the FPM anyway - is only too blatant: "Let your vote be a right right or a wrong wrong," in direct reference to the bible according to St. Matthew, specifically chapter 5 verse 37, "Simply let your 'yes' be 'yes', and your 'no', 'no'."
Al mustaqbal: The full monty
As commented before, this is the first outing mediatically of the Future Movement, the result is philosophical to say the least. "The future is promising for sure," "the future is where you spend the rest of your life," "to know the future you have to make it," and "the present only exists as a function of the future." Interestingly, in the north of Lebanon - another fan base of Al Mustaqbal - there are other two ads "time was asked: where you are going? To see my future he replied," (Sa2alou lal zaman lawayn raye7, allon raye7 chouf moustaqbali) in addition to "roll up your sleeves and build the future" (Chammer a3an znoudak w inbi el mustaqbal)
March 14th: 12.3 and 5
Either it is me who doesn't get the concept or there's something missing!
Teaser: In your hand is libery, with your ballot comes independence
1: Lebanon first
2: We both win
3: Liberty, sovernity, independence
4: ?
5: The decision is in your hand
Revealer: A ballot with the Lebanese flag on it
But where's the visual with the four finger?
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