| Publication |
2013.
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| Summary/Abstract |
Taking Walid Sadek's fi annani akbar min bikasu [bigger than picasso] as its starting point, this article examines relations of art and politics in post-civil war Lebanon. A tiny and inexpensive paperback related to Picasso unfolds into a work of art that raises questions about the place of art and political dissent. After situating bigger than picasso in the context of contemporary book art and artistic practices of the postwar generation in Lebanon, the article focuses on the juxtaposition of text and image. By placing narratives of art vandalism next to the image of a monument dedicated to the late Syrian President Hafiz al-Asad, bigger than picasso playfully and provocatively breaks with political taboos at a time when the silence about the Lebanese Civil War (1975-90) and about Lebanese-Syrian relations was met with increasing anxiety. At the same time, the work makes room for aesthetic inquiries, exploring new possibilities of art at the margins of cultural production. The article concludes that bigger than picasso brings to the fore the discrepancy between public monumentality and artistic practices, which in finding ways around political violence and censorship have recourse to ephemeral and private spheres, and holds unexpected meanings in ever-changing political circumstances.
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