Hey - we know sometimes it's hard to get to OtB Friday nights. Between construction, work-schedules and commuting across town, we get that traffic can be a bummer.
With that in mind, we’ve reached out to some of our friends in the area to try and help your Friday night experience at OtB. Come early, check into some of the alternative transportation options, and grab a bite to eat before digging into some OtB art.
Getting here. Our friends at LYFT have set you up! Grab a single ride FREE (up to $20). Just visit www.lyft.com/invited/SEAOTB.
Taking the bus or can’t find a place to park? Check our...
Belgian curator (and former Walker Film/Video curator) Cis Bierinckx, Rabih Mroué discusses the relationship of Riding on a Cloud to previous works—including The Pixelated Revolution, a Walker commission—as well as to notions of fact, fiction, absence, biography, and language at the Walker website.
Cis Bierinckx: Let’s start by talking about “double shooting,” a term you’ve used in relation to some of your video works—the idea of shooting, with a gun, and shooting a film. Can you explain this?
Rabih Mroué: Yes. I first addressed “double shooting” in The Pixilated Revolution, which I presented at Walker Art Center in 2011. It’s a work that was inspired by smartphone videos...
photo by Joe Namy
Profile on Rabih Mroué at The New Yorker:
1987, toward the end of the Lebanese civil war, Yasser Mroué, the youngest brother of the Lebanese playwright, artist, and actor Rabih Mroué, was shot by a sniper as he crossed a street in Beirut. The bullet pierced his skull, and shattered pieces lodged themselves in his brain, causing partial paralysis and aphasia. “Before this performance, I had never heard of the word aphasia,” Yasser wryly admits in the show that Rabih has conceived based on Yasser’s injury. It...
Artist Rabih Mroué in conversation with Berlin-based writer Göksu Kunak at Ibraaz, the leading critical forum on visual culture in North Africa and the Middle East.
Göksu Kunak: In 2009, I saw your lecture performance – or in your own words 'non-academic lecture' – The Inhabitants of Images in Istanbul. Through a selection of photographic images of deceased figures such as a poster of Gamal Abdel Nasser and Rafik Hariri standing together in a garden, you analysed the capacity images have to manipulate our feelings when it comes to our personal and collective memories. In Turkey, history is being rewritten by the demolishing of buildings and squares – even Emek Sineması, where I watchedThe Inhabitants of Images, was...
How come this is not me, though I am playing myself? *
A talk around Rabih Mroué’s new work Riding on a cloud;
Interviewed and edited by Hassan Maroon
Riding on a cloud premiered at Rotterdam’s Schouwburg theater on the 5th of March 2013. In Beirut, the Lebanese journalist Hassan Maroon met with the theater-maker Rabih Mroué and talked about his new work Riding on a cloud which was presented at the Babel Theater on the 26th May 2013 - the closing act of Home Works 6, Ashkal Alwan’s Forum on Cultural Practices curated by Christine Tohme. The text below is the result of this meeting with Mroué that lasted for more than 3 hours. Hassan Maroon chose to present Morué’s answers without putting his questions, trying to give the reader the chance to go with the flow of Mroué’s spontaneous responses and thoughts without any interruptions.
Riding on a cloud...
by Claudia La Rocco
this girl who
red smoke stacked on top of the ink pool//airplane window layer cake
will I get to you before the setting sun?
(these & other maudlin questions occur. the woman gets out of the car, adjust her hair, adjusts her skirt.)
you could take it to the bank, Lane, you really could.
OtB Writer in Residence Claudia La Rocco | READ MORE
Pavol & Kelly from Nature Theater of Oklahoma have an in-depth conversation with Rabih Mroué on their OK Radio podcast.
From the OK Radio site: "... mainly about difference and similarity, self and community, solo and group, inside and outside, original and imitation. Though we both make performance and theater, we come from very different backgrounds and environments, and even different working situations. What are the influences that make us who and what we are and what we make? And what has been his particular experience growing up and making art in Beirut?"
by Tessa Hulls
My third date with a stranger almost didn't happen.
When I email him to discuss the details of the project—I bring a total stranger who has never been to On the Boards to see a show, we talk about performance art and whatever else our conversation meanders to, and then I write about the whole experience for the OtB blog—he wants to make sure that neither his name or image will end up used in promotional materials or posted on the internet. I tell him that, for my first two participants (you can see them here and here), names and images had been used, and so perhaps this isn't going to work out. But my curiosity was piqued; at the very least, I was interested in having a conversation about the ownership of digital identity and the feasibility of controlling one's...