We Remember You Beirut

The Beirut terrorist attack Nov. 12, eclipsed by Bataclan Paris attacks Nov. 13, 2015

Lebanese Cedar pod

Searching for Home in The Garden Text: St. James Bible

The shape of Hospitality

First viewing: the door to F49 is closed and a reading is not possible

2nd viewing: a reading becomes possible as the door is raised

3rd viewing: unzipping the word

Hospitality is, at the moment, one of the most contested of concepts, its meaning contextual, conditional, contingent, constantly shifting, shrouded in uncertainty and in many instances, fear. The word 'hospitality' derived from the Latin hospes/hospis, is an ancient concept. Not only does it mean 'welcome' but it refers to an entire range of interactions that define the relationship between the stranger/guest and host- a giving of shelter, of food, a reciprocal sharing of communication and warmth.

The work presented on the floor at the entrance of Factory 49 does not exist and unless the roller door of the space is raised. When the door is closed the word 'HOSPITALITY' is cut horizontally. On either side shapes appear as hieroglyphics devoid of meaning. Only when the door is raised can the act of reading take place. The placement of the work across the entrance of the art space, proposes the space of art as a potential space of hospitality, of inclusion. The shape of hospitality, in this instance, is physically the shape of Factory 49 inhabited by those present. It includes the act of reading and of crossing an open boundary into a set of conversations and possibilities, into the hospitality of what is being shown and shared.

 

M other Tongue

Memory Fragments from WALKING A WORD

English Text (vertical)

I hear my mother’s voice as I write the names of the streets on the long white wall, not repeating the names, because she never went to Paris- that place in her heart where everything was perfect- but singing softly. It is a call, something like the call to prayer I heard that day in Luxor at twelve noon as I opened the head-sized window for air and what the air brought with it was an impossible familiarity for I had been in Egypt barely a week and yet I felt that I had known that call all my life. It was a sound I could only have heard in the womb where they say some sounds are ampli!ed through the watery fluid. The body calls mother to child, child to mother. So it is that pull I feel now in writing and hearing the French names that she would never have spoken. I wonder too about the dead among whom she walks. Perhaps it is something in the tone of those the city calls its own, some given a plaque bearing their achievements. Again, as I scrawl the instructions for walking the word Où I note that my writing becomes smaller and my attempts to control the wayward slants remind me of her, of that C19th. calligraphic script taught to all convent girls as if the regular and disciplined rhythm of the strokes was intended to keep the beat of their hearts and minds in check. The O’s were the shape of their days and nights; g,j,p,q,y,z were letters that dipped brie"y below the horizon line only to return swiftly. while d,f,k,h and l, slanted forward returning swiftly to a steady meridian leaving the search for freedom elsewhere. I wonder now, if this search for home is also not a search for freedom, the freedom not to belong in any one place. Is that the restlessness of my generation–the children of those who left their homeland for a better world and were content with their sacri!ce. But it is we their children who watched them su#er the perilous journey to another life, we who saw some grow and prosper in the soil of a new land while others, though living, died for lack of sustenance.

French Text (horizontal)

J’entends la voix de ma mère en écrivant les noms des rues sur le long mur blanc. Elle ne répète pas les noms, parce qu’elle n’est jamais allée à Paris – ce lieu dans son coeur où tout était parfait – elle chante doucement. C’est un appel, quelque chose comme l’appel à la prière que j’ai entendu à Luxor ce jour-là à midi en ouvrant la fenêtre de la taille d’une tête pour avoir de l’air et ce que l’air apporta avec lui était une impossible familiarité car j’étais en Egypte depuis à peine une semaine et pourtant je sentais que j’avais connu cet appel toute ma vie. C’était un son que je ne pouvais avoir entendu qu’avant de naître. On dit que certains sons sont ampli!és à travers le liquide aqueux.Le corps appelle: la mère à l’enfant, l’enfant à la mère.C’est ce que je ressens maintenant quand j’écris et j’entends les noms qu’elle n’auraient jamais prononcés. Je songe aussi aux morts parmi lesquels elle marche. C’est peut-être quelque chose dans le genre de ceux que la ville appelle les siens, certains avec une plaque portant leurs exploits.De nouveau, en gri#onnant les instructions pour marcher le mot Où, je remarque que mon écriture devient plus petite et mes tentatives pour contrôler les inclinaisons capricieuses me font penser à elle, à sa calligraphie du XIX° siècle enseignée à toutes ces élèves de bonnes soeurs comme si le rythme régulier et discipliné des traits était destiné à freiner les battements de leurs coeurs et de leurs esprits. Les O étaient la forme de leurs jours et de leurs nuits; g,j,p,q,y,z étaient des lettres qui plongeaient brièvement sous la ligne d’horizon juste pour remonter promptement, tandis que d,f,k,h et I, penchés vers l’avant puis revenant promptement à un méridien solide qui laissait la recherche de la liberté quelque part ailleurs. Je me demande maintenant si cette recherche du chez soi n’est pas aussi une recherche de la liberté, la liberté qui n’appartient pas à un seul endroit.Est-ce l’inquiétude de ma génération -les enfants de ceux qui ont quitté leur terre pour un monde meilleur et qui étaient satisfaits de leur sacri!ce-.Mais c’est nous, leurs enfants, qui les avons observés subir le voyage périlleux vers une autre vie, nous qui en avons vu certains pousser et prospérer sur le sol de leur nouvelle terre tandis que d’autres, encore en vie, étaient morts faute de subsistance.