Abounaddara

Abounaddara, The Murderer Returning to the Scene of the Crime (2013), digital collage

Abounaddara, The Syrian Who Wanted the Revolution, parts 1–7 (2011), digital video, installation view, Museum of Anti-dictatorial and Democratic Resistance, Athens, documenta 14, photo: Freddie F.

Maya al-Khoury, On Revolution (Preliminary version), 2017, digital video, Abounaddara Collective, screening, BALi-Kinos, Kassel, documenta 14, photo: Mathias Völzke

Since the start of the Syrian uprising in spring 2011, the Abounaddara collective has been engaged in a war of images unfolding on several fronts. First of all, there is a battle against the Syrian regime: its state propaganda, the strategy of murdering peaceful demonstrators during the uprising, the bombs launched against the population during the civil war. There is also the relentless battle against the media coverage of the Syrian conflict, insofar as mainstream media render invisible the thousand-and-one faces of the “revolution” (Abounaddara continues to use this term to describe the situation in the country)—a revolution that is trapped in the grotesque outside perception that there are now only two protagonists confronting each other: the dictatorship of Bashar al-Assad on one side, jihadist extremists on the other.

The people of Syria are thus denied their diversity, reduced to playing extras in television reports, victims without names or voices. Abounaddara also carries out a meticulous fight, not lacking in humor, in the field of representations of Syrians through history. Whether in the tales of the journeys to the East more than two hundred years ago related by Volney’s Voyage en Syrie et en Égypte (1787), or Assassinat de Kléber (1897) by the Lumière brothers, the first film in which we see a Syrian on screen, or the colonialist declarations of twentieth-century governors, the same portrait is sketched: an archaic, violent, and ignorant individual. In each of Abounaddara’s productions, the anonymous collective attempts to undo the stereotypes that cloud our gaze on Syria; it seeks to shift the coordinates through which we observe a war that attains levels of violence we no longer even suspect. It achieves this by making this violence palpable, but far removed from the voyeurism that exploits the suffering of women and men in front of the camera. Above all, the filmmakers of the collective represent the Syrian people with what the population has been demanding since March 2011, a modicum of dignity (karameh in Arabic): the dignity to have the right to rise up against oppression, the dignity to counter the mixture of indifference and compassion with which the Syrians are almost exclusively considered. Hence, the final battle that traverses all the others: the right to the image that respects the dignity of those who are currently struggling against all forms of tyranny. To, ultimately, show the Syrian revolution in all its diversity and its turbulent becoming.

—Dork Zabunyan

Posted in Public Exhibition
Excerpted from the documenta 14: Daybook
Related

On Revolution (Preliminary version)

by Maya al-Khoury and Abounaddara

September 14, 2017
9 pm, BALi-Kinos…

 More
Calendar

The Day of Judgment

by Abounaddara

Abounaddara has agreed to share this film with documenta 14; it is one of over 300 films produced on a weekly basis by an anonymous collective of Syrian filmmakers. By sharing these films on our website…

 More
Works

Dignity has never been photographed

by Abounaddara

Dignity isn’t well regarded at the moment. It’s seen as a normative concept, difficult to gauge and even more difficult to reconcile with artistic practices that tend to strive for emancipation from norms. It’s also a political argument that has been made by reactionaries and enemies of artistic freedom. Finally, it is an ideal that goes against the tide of nihilism in this atmosphere of triumphant post-truth…

 More
Notes

Something is Rotten

by Abounaddara

Something is rotten in the state of the media. Rotten to the point that today a man accused of war crimes can summon mainstream media to announce that reality has debunked their narrative, delighting in…

 More
Notes

We Are Dying—Take Care of the Right to the Image

by Abounaddara

In the spring of 2011, Syrians rose up against a dictatorship inherited from another era. Schoolchildren wrote “The emperor wears no clothes!” on the walls. Young people streamed into the streets and…

 More
Notes

The Syrian who wanted the Revolution

by Abounaddara

The Syrian who wanted the revolution is not in opposition. S/he does not belong to the system of opposition, the product of a power struggle in Assad’s Syria. S/he did not go out onto the streets to…

 More
Notes