{"id":69693,"date":"2023-11-09T12:18:26","date_gmt":"2023-11-09T12:18:26","guid":{"rendered":"https:\/\/www.aic-iac.org\/?page_id=69693"},"modified":"2025-05-21T12:53:53","modified_gmt":"2025-05-21T12:53:53","slug":"","status":"publish","type":"page","link":"https:\/\/www.aic-iac.org\/es\/academie\/unesco\/mission-geologie-liban\/","title":{"rendered":"","raw":""},"content":{"rendered":"","protected":false,"raw":""},"excerpt":{"rendered":"","protected":false,"raw":""},"author":2192,"featured_media":70374,"parent":76169,"menu_order":5,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_fr_post_content":"\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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C\u00e9ramique & Sciences : Mission sur l'argile, la c\u00e9ramique et la g\u00e9ologie au Liban<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Suite au projet R\u00e9sili'ART de l'UNESCO :<\/p>\r\n

    \r\n
  • donner une voix aux artistes qui sont emp\u00each\u00e9s de s'exprimer artistiquement<\/li>\r\n
  • pallier l'instabilit\u00e9 \u00e9conomique et sociale du Liban<\/li>\r\n
  • faire entendre les c\u00e9ramistes et sculpteurs libanais<\/li>\r\n
  • faire de la cr\u00e9ativit\u00e9 une priorit\u00e9 pour le d\u00e9veloppement durable<\/li>\r\n<\/ul>\r\n
    \r\n

     <\/p>\r\n

    CONTEXTE HISTORIQUE ET CULTUREL<\/span><\/p>\r\n

    Au Liban, la poterie est \u00e0 la fois li\u00e9e \u00e0 la culture et \u00e0 l'histoire. Le Levant a une longue tradition de poterie, une continuit\u00e9 historique qui a fa\u00e7onn\u00e9 l'introduction relativement r\u00e9cente de la c\u00e9ramique d'atelier. L'argile de fa\u00efence est un mat\u00e9riau naturellement pr\u00e9sent dans toute la r\u00e9gion, g\u00e9n\u00e9ralement r\u00e9colt\u00e9 dans la roche brute ou dans le lit des rivi\u00e8res. Les potiers ont manipul\u00e9 cette argile pour en faire des r\u00e9cipients fonctionnels pendant des si\u00e8cles, mais leurs m\u00e9thodes - principalement bas\u00e9es sur la transmission orale - ne sont pas document\u00e9es et leur m\u00e9moire peine \u00e0 s'imposer.<\/p>\r\n

    Dans le contexte du Levant, la forme de poterie que les habitants comprennent et reconnaissent comme de l'artisanat est appel\u00e9e fakhar<\/em> - en arabe, \u0627\u0644\u0641\u062e\u0627\u0631 . Plusieurs endroits au Liban sont connus pour le fakhar<\/em>, notamment les montagnes d'Assia \u00e0 l'ext\u00e9rieur de Batroun, les souks de Tripoli, Sa\u00efda et certaines parties du Chouf. Le fakhar<\/em> libanais traditionnel se caract\u00e9rise g\u00e9n\u00e9ralement par six \u00e0 douze formes r\u00e9p\u00e9titives - des jarres \u00e0 couvercle pour l'arak (un alcool local), de grands bols ou des plats \u00e0 large poign\u00e9e pour les \u0153ufs ou les f\u00e8ves - qui sont toutes de nature utilitaire et dont les motifs sont fr\u00e9quemment transmis de g\u00e9n\u00e9ration en g\u00e9n\u00e9ration.<\/p>\r\n

    Dans les ann\u00e9es 1970, un nouveau style de poterie \"moderne\" a vu le jour dans la r\u00e9gion : la c\u00e9ramique d'atelier. Les c\u00e9ramistes d'atelier libanais se consid\u00e8rent g\u00e9n\u00e9ralement comme des artistes, se d\u00e9marquant ainsi intentionnellement des artisans qui produisent des fakhar. Le travail tend \u00e0 \u00eatre plus exp\u00e9rimental, avec la cr\u00e9ation de pi\u00e8ces uniques qui ne contiendront jamais de nourriture ou de boisson. Une lign\u00e9e relativement petite et interconnect\u00e9e de potiers d'atelier produit activement des \u0153uvres \u00e0 Beyrouth et dans les environs, la plupart d'entre eux utilisant du gr\u00e8s ou de la porcelaine de marque comme argile principale et cuisant \u00e0 haute temp\u00e9rature. Ces argiles - en particulier le gr\u00e8s, qui est plus dur et plus dense que la fa\u00efence - ne sont pas pr\u00e9sentes \u00e0 l'\u00e9tat naturel dans le Levant et doivent \u00eatre import\u00e9es de l'\u00e9tranger. Depuis le d\u00e9but de la crise \u00e9conomique paralysante au Liban - qui a d\u00e9valu\u00e9 la monnaie locale de plus de 99 % depuis 2019 - le co\u00fbt de ces importations est devenu prohibitif. Ainsi, de nombreux c\u00e9ramistes d'atelier peinent \u00e0 poursuivre leur travail. Leur libert\u00e9 d'expression est activement entrav\u00e9e.<\/p>\r\n
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MISSION SUR L'ARGILE, LA C\u00c9RAMIQUE ET LA G\u00c9OLOGIE<\/span><\/p>\r\n

Le projet \"Mission sur l'argile, la c\u00e9ramique et la g\u00e9ologie au Liban\" est n\u00e9 d'une conversation avec le professeur Samar Mogharbel, unique membre libanaise de l'AIC, qui a attir\u00e9 l'attention sur le fait que le Liban ne dispose pas d'argile naturelle convenant \u00e0 la sculpture ou \u00e0 la c\u00e9ramique \u00e0 haute temp\u00e9rature. Des solutions techniques et chimiques existent. Il est possible de r\u00e9colter et de transformer les argiles naturelles du Liban pour les rendre utilisables par les c\u00e9ramistes d'atelier et les sculpteurs. L'AIC ne peut accepter la situation actuelle et veut rendre aux artistes libanais leur droit d'expression et leur autonomie \u00e9conomique. L'AIC a d\u00e9cid\u00e9 d'agir sous la banni\u00e8re des Objectifs de d\u00e9veloppement durable (ODD) de l'ONU et de la Convention de l'UNESCO de 2005 sur la protection et la promotion de la diversit\u00e9 des expressions culturelles*.<\/p>\r\n

Au niveau local, le programme d\u00e9velopp\u00e9 par l'AIC b\u00e9n\u00e9ficie de l'aide de c\u00e9ramistes libanais, dont le professeur Samar Mogharbel, de la briqueterie de M. Charles M\u00fcller, qui est pr\u00eat \u00e0 partager ses installations et sa connaissance des gisements d'argile locaux, des laboratoires de l'Universit\u00e9 am\u00e9ricaine de Beyrouth, ainsi que de la directrice du Mus\u00e9e d'art de Beyrouth, Juliana Khalaf, et de son \u00e9quipe.<\/p>\r\n

L'AIC a lanc\u00e9 un appel \u00e0 ses membres - un appel \u00e0 envoyer ses membres comp\u00e9tents en mission sur le terrain au Liban pour prospecter, r\u00e9colter et traiter les argiles sauvages libanaises afin de les rendre compatibles avec la sculpture et la c\u00e9ramique d'atelier \u00e0 haute temp\u00e9rature. Onze membres de l'AIC extr\u00eamement comp\u00e9tents et exp\u00e9riment\u00e9s se sont d\u00e9j\u00e0 port\u00e9s volontaires pour intervenir sur place et mettre au point des argiles \u00e0 modeler pour des \u0153uvres de grande envergure capables de supporter les temp\u00e9ratures de cuisson requises : Shooli Azadeh (R\u00e9publique islamique d'Iran), Avi Amesbury (Australie), Doug Casebeer (\u00c9tats-Unis), Guangzhen Zhou (Chine \/ \u00c9tats-Unis), Robert Harisson (\u00c9tats-Unis), King Houndekpinkou (B\u00e9nin \/ France), Jacques Kaufmann (France), Joao Rola\u00e7ao, Oficinas do Convento ass. (Portugal), Katherine L. Ross (USA), Nicole Seisler (USA), Hitomi Shibata (Japon \/ USA) et le membre invit\u00e9 Expedit Ago (B\u00e9nin).<\/p>\r\n

L'\u00e9quipe de mission g\u00e9ologique de l'AIC est compl\u00e9mentaire, mobile, internationale et solidaire.<\/p>\r\n

Sur le plan administratif, Juliana Khalaf, co-directrice du Mus\u00e9e d'art de Beyrouth, son assistante Haloren Mellendorf, ainsi que St\u00e9phanie Le Follic-Hadida (vice-pr\u00e9sidente de l'AIC et repr\u00e9sentante de l'AIC aupr\u00e8s de l'UNESCO) et le Bureau de l'AIC sont en charge du projet.<\/p>\r\n

Le projet peut \u00e9galement compter sur l'aide du d\u00e9partement de chimie de l'Universit\u00e9 am\u00e9ricaine de Beyrouth pour les analyses de laboratoire. Les premi\u00e8res r\u00e9coltes d'argile ont \u00e9t\u00e9 envoy\u00e9es aux laboratoires de l'AUB et les premiers r\u00e9sultats sont en cours de traitement. Ces r\u00e9sultats seront ensuite soumis au groupe de l'AIC pour expertise. Le groupe de l'AIC analysera les premiers r\u00e9sultats, identifiera les possibilit\u00e9s et, \u00e9ventuellement, se rendra sur place pour aider \u00e0 mettre en \u0153uvre des protocoles de transformation ou de r\u00e9\u00e9quilibrage des argiles locales afin de les rendre viables pour les c\u00e9ramistes et les sculpteurs libanais. De cette mani\u00e8re, les artistes libanais retrouveront leur droit de s'exprimer \u00e0 travers leur art sans avoir \u00e0 importer des mat\u00e9riaux co\u00fbteux de l'\u00e9tranger.<\/p>\r\n
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 <\/p>\r\n*\u00a0 <\/span>La Convention de l'UNESCO de 2005 sur la protection et la promotion de la diversit\u00e9 des expressions culturelles :<\/span>\r\n

    \r\n
  • \"Les politiques culturelles sont un droit souverain<\/span><\/li>\r\n
  • La diversit\u00e9 des m\u00e9dias nourrit la diversit\u00e9 des expressions culturelles<\/span><\/li>\r\n
  • La mobilit\u00e9 sans entrave est une condition pr\u00e9alable \u00e0 la coop\u00e9ration transnationale<\/span><\/li>\r\n
  • Investir dans la cr\u00e9ativit\u00e9 est une priorit\u00e9 pour le d\u00e9veloppement durable<\/span><\/li>\r\n
  • La contribution des femmes \u00e0 la cr\u00e9ativit\u00e9 doit \u00eatre reconnue<\/span><\/li>\r\n
  • La libert\u00e9 artistique est essentielle \u00e0 la cr\u00e9ativit\u00e9\"<\/span><\/li>\r\n<\/ul>\r\n

    (Investir dans la cr\u00e9ativit\u00e9, Convention de l'UNESCO de 2005 sur la protection et la promotion de la diversit\u00e9 des expressions culturelles)<\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Partenaires du projet :<\/h3>\r\n<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
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Samar Mogharbel<\/em> est n\u00e9e \u00e0 Beyrouth et a \u00e9t\u00e9 form\u00e9e par Dorothy Salhab Kazemi, la premi\u00e8re artiste de c\u00e9ramique en studio au Liban et au Moyen-Orient. Samar a ensuite \u00e9tudi\u00e9 au Goldsmith's College de Londres, o\u00f9 elle a obtenu un dipl\u00f4me de troisi\u00e8me cycle en c\u00e9ramique. Elle a particip\u00e9 aux fouilles du centre-ville de Beyrouth, qui ont influenc\u00e9 une grande partie de son travail. En 2005, apr\u00e8s l'assassinat de plusieurs hommes politiques importants, elle a r\u00e9alis\u00e9 six voitures pi\u00e9g\u00e9es en c\u00e9ramique, qui ont re\u00e7u le prix du Mus\u00e9e Sursock. Elles ont ensuite \u00e9t\u00e9 coul\u00e9es en bronze et expos\u00e9es \u00e0 Londres en 2011. Elle a pr\u00e9sent\u00e9 plusieurs expositions individuelles \u00e0 Beyrouth, une grande exposition au Mus\u00e9e de Millesgardem en Su\u00e8de et plusieurs expositions collectives dans le monde entier, notamment au Liban, en Croatie, en France et aux \u00c9mirats arabes unis. Samar a re\u00e7u une mention sp\u00e9ciale au salon d'automne du Mus\u00e9e Sursock en 1998, le premier prix du Mus\u00e9e Sursock en 2006 et la plaque d'argent au Zagreb Clay Fest en Croatie. Elle enseigne actuellement la c\u00e9ramique \u00e0 l'Universit\u00e9 libanaise am\u00e9ricaine de Beyrouth.<\/p>\r\n

Juliana Khalaf Salhab<\/em> est une sp\u00e9cialiste de l'art moderne et contemporain du Moyen-Orient et de l'Islam, bas\u00e9e \u00e0 Beyrouth. Dipl\u00f4m\u00e9e en histoire, en histoire de l'art et en commerce de l'art, Juliana a travaill\u00e9 comme chercheuse et \u00e9valuatrice d'art dans des instituts de premier plan, notamment Masterson & Gurr Johns New York et Sotheby's Londres. Apr\u00e8s trois ann\u00e9es enrichissantes au Mus\u00e9e Sursock, le mus\u00e9e d'art moderne et contemporain libanais, elle a cofond\u00e9 BAKS Art Advisory en 2014, une soci\u00e9t\u00e9 r\u00e9gionale de conseil en arts sp\u00e9cialis\u00e9e dans la gestion des institutions artistiques et des collections, prenant en charge des projets priv\u00e9s et publics de grande envergure. Juliana est actuellement codirectrice du Mus\u00e9e d'art de Beyrouth (BeMA), un poste qui s'inscrit dans sa volont\u00e9 permanente de pr\u00e9server et de promouvoir le patrimoine artistique culturel du Liban.<\/p>\r\n<\/td>\r\n

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Haloren Mellendorf<\/em> est une chercheuse et c\u00e9ramiste bas\u00e9e \u00e0 Beyrouth. Apr\u00e8s avoir obtenu une licence en relations internationales, elle s'est install\u00e9e au Liban pour pr\u00e9parer un master en \u00e9tudes arabes et moyen-orientales \u00e0 l'Universit\u00e9 am\u00e9ricaine de Beyrouth. Son m\u00e9moire de ma\u00eetrise - la premi\u00e8re \u00e9tude ethnographique de ce type - portait sur le r\u00f4le de la m\u00e9moire dans les ateliers de c\u00e9ramique libanais de l'\u00e9poque de la crise. C'\u00e9tait la premi\u00e8re fois qu'un universitaire \u00e9tudiait la fronti\u00e8re entre le fakhar libanais traditionnel et la pratique relativement moderne de la c\u00e9ramique d'atelier. Haloren travaille actuellement au Mus\u00e9e d'art de Beyrouth en tant que chercheuse en c\u00e9ramique, collectant de l'argile sauvage dans tout le Liban pour aider \u00e0 pr\u00e9server les connaissances mat\u00e9rielles culturelles mourantes du pays. Elle pratique la c\u00e9ramique depuis 2018.<\/p>\r\n

Charles S. M\u00fcller<\/em> est le PDG de M\u00fcller Industries, la principale entreprise de fabrication de briques et de tuiles en terre cuite au Liban. L'entreprise produit une grande vari\u00e9t\u00e9 de tuiles et d'accessoires en terre cuite rouge, ainsi que des briques et des r\u00e9fractaires. L'expertise de M\u00fcller Industries dans le domaine des briques et des tuiles ne se limite pas \u00e0 la production, mais comprend la conception, l'ex\u00e9cution et la consultation de tous les travaux de couverture, ainsi que des structures et des composants r\u00e9fractaires et r\u00e9sistants au feu. M. M\u00fcller a g\u00e9n\u00e9reusement offert l'acc\u00e8s \u00e0 son usine pour le filtrage et le traitement \u00e0 grande \u00e9chelle de l'argile sauvage du Liban.<\/p>\r\n

Dr. Pierre Karam<\/em> est professeur agr\u00e9g\u00e9 de chimie \u00e0 l'Universit\u00e9 am\u00e9ricaine de Beyrouth. En 2018, le Dr Karam a \u00e9t\u00e9 s\u00e9lectionn\u00e9 par le Forum \u00e9conomique mondial comme l'un des 50 scientifiques extraordinaires de moins de 40 ans pour ses contributions \u00e0 l'avancement des fronti\u00e8res de la science, de l'ing\u00e9nierie et de la technologie. Au nom d'AUB Labs, le Dr Karam et son \u00e9quipe fourniront une analyse chimique de l'argile sauvage collect\u00e9e dans diff\u00e9rents coins du Liban, qui offrira des indices pr\u00e9cieux sur la fa\u00e7on de stabiliser l'argile \u00e0 des temp\u00e9ratures plus \u00e9lev\u00e9es.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Contact :<\/h3>\r\n<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
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Repr\u00e9sentant\u00b7e AIC aupr\u00e8s de l'UNESCO \u00e0 venir.<\/p>\r\n<\/td>\r\n

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Juliana Khalaf Salhab, Mus\u00e9e d'art de Beyrouth (BeMA) Codirectrice
director@bema.museum<\/a><\/p>\r\n

Haloren Mellendorf, Cheffe de projet \"Mission sur l'argile, la c\u00e9ramique et la g\u00e9ologie au Liban\"
halorenmellendorf@gmail.com<\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\u200b<\/p>\r\n

 <\/p>","_fr_post_name":"mission-geologie-liban","_fr_post_excerpt":"Le projet \"Mission sur l'argile, la c\u00e9ramique et la g\u00e9ologie au Liban\" est n\u00e9 d'une conversation avec le professeur Samar Mogharbel, membre AIC du Liban.","_fr_post_title":"Mission de l'AIC sur l'argile, la c\u00e9ramique et la g\u00e9ologie au Liban","_en_post_content":"\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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IAC Ceramics & Science: Clay, Ceramics and Geology Mission in Lebanon<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Following on from UNESCO R\u00e9sili'ART project:<\/p>\r\n

    \r\n
  • to give a voice to artists who are prevented from expressing themselves artistically<\/li>\r\n
  • to offset Lebanon's economic and social instability<\/li>\r\n
  • to ensure that Lebanon's ceramists and sculptors are hear<\/li>\r\n
  • to make creativity a priority for sustainable development<\/li>\r\n<\/ul>\r\n

     <\/p>\r\n

    HISTORICAL & CULTURAL CONTEXT<\/span><\/p>\r\n

    In Lebanon, pottery is both culturally bounded and historically specific. The Levant has a longstanding tradition of pottery\u2014 a historical continuity that shaped the relatively recent introduction of studio ceramics. Earthenware clay is a naturally-occurring material throughout the region, typically harvested from bedrock or riverbeds. Potters have manipulated this clay into functional vessels for centuries, but their methodologies \u2014 predominately based on oral transmission \u2014 are largely undocumented, and thus their memory is struggling to prevail.<\/p>\r\n

    In the context of the Levant, the form of pottery that locals understand and recognize as craft is referred to as fakhar<\/em> \u2013 in Arabic, \u0627\u0644\u0641\u062e\u0627\u0631 . Several locations throughout Lebanon are known for fakhar<\/em>, including the mountains of Assia outside Batroun, the souks of Tripoli, Saida, and parts of the Chouf. Traditional Lebanese fakhar<\/em> is typically characterized by six to twelve repetitive forms \u2014 lidded jars for arak (a local alcohol), large bowls, or wide-handled dishes for eggs or foul (fava beans) \u2014 all of which are utilitarian in nature and whose designs are frequently passed down from generation to generation.<\/p>\r\n

    In the 1970s, a new, \u201cmodern\u201d style of pottery took form in the region: studio ceramics. Lebanese studio ceramists generally view themselves as artists, intentionally contrasting themselves from craftsmen who produce fakhar<\/em>. The work tends to be more experimental, with the creation of one-of-a-kind pieces that may never hold food or drink. A relatively small and interconnected lineage of studio potters is actively producing work in and around Beirut, most of whom use branded stoneware or porcelain clay as their primary clay body and fire at high temperatures. These bodies of clays \u2014 particularly stoneware, which is harder and denser than earthenware \u2014 are not naturally occurring in the Levant and must be imported from abroad. Since the onset of Lebanon\u2019s crippling economic crisis \u2014 which has devalued the local currency by over 99% since 2019 \u2014 the cost of these imports has soared prohibitively high. Thus, many studio ceramicists are struggling to continue their work. Their freedom of expression is actively hampered.<\/p>\r\n

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CLAY, CERAMICS & GEOLOGY MISSION<\/span><\/p>\r\n

The \"Clay, Ceramics, and Geology Mission in Lebanon\" project was born out of a conversation with Prof. Samar Mogharbel, Lebanon\u2019s sole member of IAC, who called attention to the fact that Lebanon does not have naturally occurring clay that is suitable for sculpture or high-fire ceramics. Technical and chemical solutions exist. It is possible to harvest and transform Lebanon\u2019s natural earthenware clays to make them suitable for studio ceramists and sculptors. The IAC cannot accept the current state of affairs and wants to give Lebanese artists back their right to express themselves and to enable their economic autonomy. The IAC decided to act under the banner of the UN's Sustainable Development Goals (SDGs) and the 2005 UNESCO Convention on the Protection and Promotion of Diversity of Cultural Expressions*.<\/p>\r\n

On the local level, the programme developed by the IAC benefits from the help of Lebanese ceramists, including Prof. Samar Mogharbel; the briqueterie<\/em> of Mr. Charles M\u00fcller, who is willing to share his facilities and knowledge of local clay deposits; the laboratories at the American University of Beirut; as well as Beirut Museum of Art Director Juliana Khalaf and her team.<\/p>\r\n

The IAC put out a call to its members \u2014 a call to send its knowledgeable members on a field mission to Lebanon to prospect, harvest, and process wild Lebanese clays to make them compatible for sculpture and high-fire studio ceramics. Eleven extremely competent and experienced IAC members have already volunteered to intervene locally and develop modeling clay for large-scale works capable of withstanding the required firing temperatures: Shooli Azadeh (Islamic Republic of Iran), Avi Amesbury (Australia), Doug Casebeer (USA), Guangzhen Zhou (China \/ USA), Robert Harisson (USA), King Houndekpinkou (Benin \/ France), Jacques Kaufmann (France), Joao Rola\u00e7ao, Oficinas do Convento ass. (Portugal), Katherine L. Ross (USA), Nicole Seisler (USA), Hitomi Shibata (Japan \/ USA) and invited member, Expedit Ago (Benin).<\/p>\r\n

The IAC GEOLOGY MISSION TEAM is complementary, mobile, international and supportive.<\/p>\r\n

On the administrative side, Juliana Khalaf, co-director of the Beirut Museum of Art, her assistant Haloren Mellendorf, and St\u00e9phanie Le Follic-Hadida (Vice-President of the IAC and AIC representative to UNESCO) and IAC Office are in charge of the project.<\/p>\r\n

The project can also count on the assistance of the American University of Beirut's Chemistry Department for lab analysis. The first clay harvests have been sent to AUB labs and initial results are being processed. These results will then be submitted to the IAC group for expert appraisal. The IAC group will analyze the initial results, recognize possibilities and, eventually, travel on site to help implement protocols for transforming or rebalancing local clays to make them viable for Lebanese ceramists and sculptors. In this way, Lebanese artists will regain their right to express themselves through their art without having to import costly materials from abroad.<\/p>\r\n

 <\/p>\r\n* The 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions:<\/span>\r\n

    \r\n
  • \u201cCultural policies are a sovereign right<\/span><\/li>\r\n
  • Media diversity nurtures the diversity of cultural expressions<\/span><\/li>\r\n
  • Unhindered mobility is a prerequisite for transnational cooperation<\/span><\/li>\r\n
  • Investing in creativity is a priority for sustainable development<\/span><\/li>\r\n
  • The contribution of women to creativity must be recognised<\/span><\/li>\r\n
  • Artistic freedom is essential for creativity\u201d<\/span><\/li>\r\n<\/ul>\r\n(Investing in creativity, 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions)<\/span><\/td>\r\n<\/tr>\r\n
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Project partners:<\/h3>\r\n<\/td>\r\n

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Samar Mogharbel<\/em> was born in Beirut and trained with Dorothy Salhab Kazemi, the first studio ceramics artist in Lebanon and the broader Middle East. Later, Samar studied at Goldsmith\u2019s College in London, where she received a postgraduate diploma in ceramics. She was involved in the excavation in downtown Beirut, which influenced much of her work. In 2005, after the assassination of several major politicians, she made six booby-trapped cars using ceramics, which were awarded the Sursock Museum Prize. They were later cast in bronze and exhibited in London in 2011. She has had several solo exhibitions in Beirut, a major exhibition at the Millesgardem Museum in Sweden, and several group exhibitions worldwide including in Lebanon, Croatia, France, and the UAE. Samar was awarded a special mention at the Salon d\u2019Automne of the Sursock Museum in 1998, First Prize of the Sursock Museum in 2006, and the silver plaque at the Zagreb Clay Fest in Croatia. She currently teaches ceramics at the Lebanese American University in Beirut.<\/p>\r\n

Juliana Khalaf Salhab<\/em> is a Beirut-based specialist in Modern and Contemporary Middle Eastern and Islamic Art. Holding degrees in history, art history, and art business, Juliana worked as an art researcher and appraiser at leading institutes, including Masterson & Gurr Johns New York and Sotheby\u2019s London. After three enlightening years at the Sursock Museum, Lebanon\u2019s museum for Modern and Contemporary Lebanese art, she co-founded BAKS Art Advisory in 2014, a regional arts consulting firm specializing in art institution and collection management, taking on large-scale private and public projects. Juliana is currently the co-director of the Beirut Museum of Art (BeMA), a position that aligns with her ongoing pursuit to preserve and promote Lebanon\u2019s cultural art heritage.<\/p>\r\n<\/td>\r\n

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Haloren Mellendorf<\/em> is a Beirut-based researcher and ceramicist. After earning her bachelor\u2019s degree in International Relations, she moved to Lebanon to pursue her master\u2019s degree in Arab and Middle Eastern Studies at the American University of Beirut. Her master\u2019s thesis\u00a0 \u2014 the first ethnographic study of its kind \u2014 focused on the role of memory in crisis-era Lebanese studio ceramics. This thesis marked the first time an academic investigated the boundary between traditional Lebanese fakhar and the relatively modern practice of c\u00e9ramique d'atelier. Haloren currently works with the Beirut Museum of Art as a ceramics researcher, collecting wild clay from all over Lebanon to help preserve the country\u2019s dying cultural material knowledge. She has been practicing ceramics since 2018.<\/p>\r\n

Charles S. M\u00fcller<\/em> is the CEO of\u00a0 M\u00fcller Industries, the leading brick and clay roof tile manufacturing firm in Lebanon. The firm produces a wide variety of red clay roof tiles and accessories, as well as bricks and refractories. M\u00fcller Industries' expertise in the brick & tiles field is not limited to production but includes design, execution, and consultation of all roofing works \u2014 as well as refractory and fire-resistant structures and components. Mr. M\u00fcller has generously offered access to his factory for large-scale filtering and processing of Lebanon\u2019s wild clay.<\/p>\r\n

Dr. Pierre Karam<\/em> is an associate chemistry professor at the American University of Beirut. In 2018, Dr. Karam was selected by the World Economic Forum as one of the 50 extraordinary scientists under the age of 40 for contributions to advancing the frontiers of science, engineering and technology.\u200b On behalf of AUB Labs, Dr. Karam and his team will provide a chemical analysis of the wild clay collected from different corners of Lebanon, which will offer valuable clues on how to stabilize the clay at higher temperatures.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Contact:<\/h3>\r\n<\/td>\r\n

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IAC Representative to UNESCO to be elected.<\/p>\r\n<\/td>\r\n

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Juliana Khalaf Salhab, Beirut Museum of Art (BeMA) Co-director
director@bema.museum<\/a><\/p>\r\n

Haloren Mellendorf, \"Clay, Ceramics & Geology Mission in Lebanon\" Project Manager
halorenmellendorf@gmail.com<\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\u200b<\/p>\r\n

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