Mireille Eid (Astore)

Mireille Eid (Astore) (Beirut, 1961) (Arabic: ميراي عيد اسطوري‎) is an artist and a writer. She left Beirut during the Lebanese civil war in 1975 to live in Melbourne, Australia. She studied the Sciences at the University of Melbourne where she graduated before becoming a full-time artist and writer. Influenced by continental philosophy, her art draws on autobiographical notions of representation and the unheimlich; where the conscious intersects with the unconscious.[1] Through her art and her writing she "explores human emotions" and "asks what it is to be human".[2] Mireille Eid (Astore) attained a PhD in Contemporary Arts from the University of Western Sydney (2008). She was Research Affiliate (2009–2013) at Sydney College of the Arts, the Visual Arts Faculty of the University of Sydney and Research Fellow (2011–2012) at the American University of Beirut.

Exhibitions

Mireille Eid (Astore)'s artworks have been exhibited and screened at the 2004 Sydney Film Festival; at the Freud Museum – London;[3][4] at the Millais Gallery – Southampton;[5] at Espace SD – Beirut; the Tate Modern – London;[6] at the Centre Pompidou;[7] the 8th Sharjah Biennial 2008; and the 3rd Guangzhou Triennial.[8] She has exhibited her photomedia artworks at the Conny Dietzschold Multiple Box Gallery – Sydney.[9] In 2003 she won the (Australian) National Photographic Purchase Award.[10]

Of Mireille Eid (Astore)'s Tampa artwork which referenced the MS Tampa Norwegian ship, it was said:

"Just as Benjamin noted the contextual aesthetic consequences of the circulation of photographic images through newspapers and magazines, Astore’s combination of photography with sculpture and performance, circulated via her website, rewrites both photography and the spatial and interpretive dynamics of this installation work.” [11]

A short film directed by Eid that was based on the Tampa work, Tampa: a Walk on the Beach, was screened in Sydney and London.[12]

Short films

After Tampa: a Walk on the Beach, Eid's short film, Not From Here "questions the legitimacy of the original photograph".[13] It has been shown in galleries and film festivals in over 20 countries. Some international screenings include the né à Beyrouth Film Festival in Beirut, the Toronto Arab Film Festival and the CinemaEast Film Festival in New York and the Konstföreningen Aura Gallery[14] in Sweden. Another short film, 3494 Houses + 1 Fence, which juxtaposed images of houses in Australia with scenes from a war damaged fence in Lebanon "create[s] a striking picture of her awareness of the contrasts between her memories and her current life". It was selected to feature in the Women's Cinema from Tangiers to Tehran Film Festival[15] and was included on the third volume of the "Resistance(s)" DVD series.[16]

Performances

Mireille Eid (Astore) gives lecture performances. An Ungrateful Death: Al-Karam in the Age of Withdrawal took place at the 2008 Home Works IV.[17] She gave the keynote address "Speaking on Behalf of the Other" at the 2005 Poetics of Australian Space conference – University of Sydney & Art Gallery of New South Wales, Sydney, and "On Autobiography, Economies of Surplus and Surpassing Disasters" as keynote address at the 2010 International Conference on the Arts in Society Conference.[18] 4'33 in 2010 was delivered at the Silent Spaces Exhibition at the Macquarie University Art Gallery.[19] Her last lecture performance (2011) was “Posthumous Reckonings: A Cosmology of Infinitudes” at the American University of Beirut [20]

Publications

Mireille Eid (Astore)'s artworks, poetry and fictocritical writing are published in: New Vision: Arab Contemporary Art in the 21st Century (Thames and Hudson);[21] Art in the Age of Terrorism (Paul Holberton Publishing & University of Washington Press);[22] Arab Women’s Lives Retold: Exploring Identity Through Writing (Syracuse University Press). In 2008, Mireille Eid (Astore) co-guest edited Artlink Vol 28 no. 1.[23]

gollark: Trying to map everything onto a one-dimensional political scale is a terrible idea.
gollark: I'm distrustful of any economic system which runs on central planning, which is problematic for many, many reasons.
gollark: But the actual values are pretty subjective.
gollark: I mean, it *sort of* does? You can say something like "X system is good at satisfying Y values", and that is at least... objectively testable?
gollark: Which is pretty subjective, so kind of lacking the "right about everything" part.

References
  1. "New Vision: Arab Contemporary Art in the 21st Century" Eds. Hossein Amirsadeghi, Salwa Mikdadi & Nada Shabout. London: Thames and Hudson(2009), p. 80
  2. Nawar Al-Hassan Golley (ed.) Arab Women’s Lives Retold: Exploring Identity Through Writing. New York: Syracuse University Press, 2007 p. xxxiii
  3. Louise Gray, "Them Outside." Museum Journal (March 2007), p. 39.
  4. "Exhibition Archive". Freud Museum. Retrieved 17 November 2010.
  5. "Art in the Age of Terrorism". Southampton Solent University. Retrieved 17 November 2010.
  6. "THIS DAY: Recent Film and Video from the Middle East". e-flux. Retrieved 11 October 2015.
  7. Centre Pompidou. "Resistance(s) III".
  8. "Third Guangzhou Triennial 2008".
  9. "Multiple Box Sydney Online". 2 Danks Street. Retrieved 17 November 2010.
  10. "MAMA Art Foundation National Photography Prize". Archived from the original on 25 February 2017. Retrieved 11 October 2015.
  11. Hutchings, Peter. "through a refugee's eyes", Eyeline, issue 54, Winter 2004, p. 12.
  12. "Amphibious Bare Life". The Third International Conference on New Directions in the Humanities. Archived from the original on 4 March 2016. Retrieved 11 October 2015.
  13. Abigail Dunn, Paranoia in Catalyst Archived 13 July 2011 at the Wayback Machine 7 July 2006.
  14. Astore, Mireille. "Konstföreningen Aura". Retrieved 10 October 2015.
  15. "Women's Cinema from Tangiers to Tehran". Retrieved 11 October 2015.
  16. Lowave. "RESISTANCE[S] III". Archived from the original on 4 March 2016.
  17. "Home Works IV". Frieze Magazine (116). 2008. Archived from the original on 24 October 2012. Retrieved 17 November 2010.
  18. "International Conference on the Arts in Society". Retrieved 11 October 2015.
  19. John Cage, 4′33″. "Silent and Spaces". Macquarie University Art Gallery. Retrieved 11 October 2015.CS1 maint: numeric names: authors list (link)
  20. "Posthumous Reckonings: A Cosmology of Infinitudes", Public lecture by Mireille Eid (Astore)". Department of Architecture and Design of the American University of Beirut. Retrieved 11 October 2015.
  21. "New Vision Arab Contemporary Art in the 21st Century". Thames & Hudson. Archived from the original on 30 January 2013. Retrieved 17 November 2010.
  22. Graham Coulter-Smith & Maurice Owen (Eds). Art in the Age of Terrorism. London: Paul Holberton Publishing & University of Washington Press, p. 8.
  23. Hamilton, Ian (2008). "Editorial". Artlink. 28 (1). Retrieved 17 November 2010.
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