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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. Mapping Sitting was subsequently on view at the House of World Culture in Berlin, the National Museum of Contemporary Art in Athens, the Singapore Contemporary Art Museum, and the Krannert Art Museum in Illinois, among other locations. The Eclipse of the (Fe)Male Sun is an exhibition that departs from portrait photography collections from the mid 20th century in Kuwait, Lebanon and Iran, archived at the Arab Image Foundation (AIF) in Beirut. Premodern Arab, Iranian and Islamic image culture reflected gender-fluid standards and homosocial relationships as common aspects of daily life.

See Joanne Garde-Hansen, Andrew Hoskins, and Anna Reading, “Introduction,” in Save As… Digital Memories, eds. Joanne Garde-Hansen, Andrew Hoskins, and Anna Reading (Hampshire and New York: Palgrave Macmillan, 2009), 1–21, here 4. Akram Zaatari, for example, regards the collection, if as an archive at all, then only as an archive of the “collecting practices that happened in the foundation from 1997 until this day.” See Anthony Downey “Photography as Apparatus: Akram Zaatari in Conversation with Anthony Downey,” Ibraaz, Platform 06 (January 2013), accessed August 25, 2016, https://www.ibraaz.org/interviews/113.The foundations which are made common to more than one column are called combined footings. There are different types of combined footing, including slab type, slab and beam type, and rectangular, raft, and strap beam type. They may be square, tee-shaped, or trapezoidal. The main objective is the uniform distribution of loads under the entire area of footing, for this is necessary to coincide with the center of gravity of the footing area with the center of gravity of the total loads. Figure: Combined Footing

How beautiful is Panama! A photographic conversation from Burj al-Shamali camp, Initiated by Yasmine Eid-Sabbagh and Simon Lourié (2008) This event is produced in partnership between the Arab Image Foundation and the V&A’s Culture in Crisis Programme. Two years after its beta launch in 2019, the Arab Image Foundation's platform is going through an important upgrade this year. ​ Visitors are currently able to access only some of our collections online, as well as an array of events, exhibitions, publications, activities, and institutional stories. The goal is to provide users with the ability to browse more collections, perform advanced searches on images using multiple criteria, participate in online documentation drives, and contribute to more Lab entries. Since 2018, I have been proudly part of this on-going effort in collaboration with my fellow colleagues at AIF.

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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. This time we bring you Every Building in Baghdad: The Rifat Chadirji Archives at the Arab Image Foundation exhibition with its rich itinerary at Arthur Ross Architecture Gallery, Graham Foundation and LAXART. This exhibition examines the work of Iraqi architect Rifat Chadirji through the collection of his original photographs and building documents held at the Arab Image Foundation in Beirut from 2012 to 2017, and that since then have moved to the Aga Khan Documentation Center at MIT which also houses the Rifat Chadirji Architecture Archive. How do we remember and how do we transmit that which is alive in us as an image, a feeling, a sound, a scent? We each carry the world in us and yet we crave to create traces collectively, in celebration of life but also to counter the solitude of pain. The urge to gather and link our individual journeys is monumental. We turn to spaces and movements where our worlds can meet, to leave a collective trace; to render memory tangible.

These projects were presented at Mina for the first time in Lebanon, having been shown in Liverpool and Brussels, respectively, earlier this year. It will be on view until 22 September 2022, so make sure you see it if you’re in Lebanon!Two years ago, I was encouraged to apply to the call for director by a member of the board of directors and I could not refuse this wonderful temptation. My experience at the Arab Image Foundation has been replete with intense moments of joy and learning but also frustration and anxiety. There is a lot of weight to carry in this geographic region and in this particular period of history, making it futile to escape our realities. This heavy existence, however, is punctured by an insistence to create possibilities. Much like the photographs in our care that are fluid in their transformation across time, we are compelled to transform and engage in meaningful ways.