12 Mar 10

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Peacock Visual Arts is the main contemporary visual arts organisation in Aberdeen and the North-east of Scotland and is supported by Aberdeen City Council and the Scottish Arts Council.

  • 21 Castle Street
  • Aberdeen AB11 5BQ
  • Scotland, United Kingdom
  • t: +44 (0)1224-639539
  • f: +44 (0)1224-627094
  • e:info@peacockvisualarts.co.uk
  • Open Tues - Sat 9.30am - 5.30pm

Cruel Weather. Three short films

08 October

screenshot of two soldiers
  • Peacock Visual Arts
  • Thurs 8 October
  • Starts 7pm
  • Free entry

Introduction to the end of an argument [Jayce Salloum & Elia Suleiman, US, 41min, 1990]

Rarely screened, this early collaboration between renowned Lebanese Canadian video artist Jayce Salloum and Palestinian director Elia Suleiman (Divine Intervention, Chronicle of a Disappearance) is a wonderful piece of culture jamming satire and political jujitsu. Assembling a combination of Hollywood, European and Israeli film, documentary, news coverage together with excerpts of 'live' footage shot in the West Bank and Gaza strip, Introduction to the End of an Argument... critiques Western representations of the Middle East, Arab culture, and the Palestinian people. The film mimics dominant forms of representation, subverting their methodology in a bid to arrest both imagery and ideology, decolonizing and recontextualizing images to provide space for a voice consistently denied expression in the mass media.

Untitled Part 3B (As if) Beauty nevert ends... [Jayce Salloum, 11:22min, Canada, 2000/3]

In this video essay about dystopia in contemporary times, Jayce Salloum presents raw footage documenting the 1982 massacre of the Sabra and Shatila refugee camp in Lebanon and the testimony of Abdel Majid Fadl Ali Hassan, a 1948 refugee living in Bourg El Barajneh camp. Working directly, viscerally, and metaphorically 'untitled part 3b' provides an elegiac response to the Palestinian dispossession.

July Trip [Wael Noureddine, 35min, Lebanon, 2006]

Using both 16mm and HDV, the filmmaker journeys into the heart of war-stricken areas to capture the experience of terror in the raw, questioning the documentary genre and its ability to mediate the immediate experience of witnessing death.

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