ALTHOUGH WIDELY KNOWN for his performance pieces that build imaginative scenarios revisiting his country’s traumatic civil war (1975–90), the Lebanese director, playwright, actor, and artist Rabih Mroué has only now gained his first solo show. We can credit BAK curator Cosmin Costinas for this exhibition of Mroué’s videos and installations, which, owing to their wit and philosophical depth, confirmed his status among the leading figures of his generation of Beiruti artists.
Not surprisingly, given Mroué’s primary association with stage appearances, the strongest pieces here were concise videos that similarly feature the artist inquisitively challenging the line between being and performing, remembering and inventing. The double-channel installation I, the Undersigned, 2007, presents the artist apologizing for his part in the war, with one screen showing Mroué gazing earnestly into the
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