Joined in 2023 
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63 About this deal
Throughout this time, our search for better premises never ceased. After visiting over 15 different places and endless negotiations, we are excited to announce our move to Aresco in Hamra by early Spring 2023, together with another cultural partner. The two entities will independently run two separate but linked spaces, sharing resources where possible and potentially collaborating on programming. This builds on our continuous efforts to be in dialogue with other disciplines, be it the performing arts, cinema or music. It is envisaged that our new expanded library and workstations carry AIF's image-related books, documents and audio-visual material and potentially other references from cultural partners, including the rich library of Dawawine, to allow for multi-disciplinary enquiries. Building on the solar energy pilot that resulted in more autonomy and safety for our physical and digital collections, the aim is to expand such capacities to accommodate bigger mobile cool storage facilities and archival labs.
The AIF began its work at a time when museums only started to display their collections online and the idea of a universal dissemination of information on the cultural heritage they catalog became increasingly attractive. [3] Digital media and the Internet not only changed the contemporary production and everyday use of photography and the circulation of images, but also fostered the reevaluation of their status as historical sources by giving them new “exposure.” With the Internet and digital storage came what Jacques Derrida called a “promise of the archive”: a seemingly more democratic ground for historiography and a guaranteed afterlife for documents and knowledge, which otherwise would have most likely—sooner or later—been forgotten. [4]
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Mapping Sitting was subsequently on view at the House of World Culture in Berlin, the National Museum of Contemporary Art in Athens, the Singapore Contemporary Art Museum, and the Krannert Art Museum in Illinois, among other locations. History of the Last Things Before the Last: Art as Writing History (a symposium proposed by Clément Chéroux and Akram Zaatari, organized by the Centre Pompidou and the Arab Image Foundation, 2012) [15] This point was emphasized in the introductory text to the exhibition. It described Zaatari’s interactions with the former owners and originators of the photographs and contained direct quotes about their relationship to specific pictures, as well as the circumstances they were taken in. Parallel to the titles, dates, and names of the photographers that accompanied each picture in the show, the text contextualized the pictures on display while also accentuating the link between personal memory, history, and photography.
This project is important because there is little scholarly work done on photography in the Middle East, and even less on women photographers. It focuses on gender representation in the photographs of Marie al-Khazen, a Lebanese amateur photographer, and Karimeh Abbud, a professional photographer in Palestine during the period between the 1920s and 1930s. Nachabe Taan provides a feminist reading of the images by analyzing the female photographer’s depiction of ‘modernity’ around Lebanon. There is so much more we’d like to say, but let us be patient; we'll share more updates with you very soon.AIF is able to stand on its feet also because of our current major donors. The Norwegian Embassy in Beirut has been very accommodating and receptive to adaptations in our work, and the Violet Jabara Charitable Trust Foundation continues to be the wind beneath our wings. To decide when to use shallow foundations, it is necessary to know when it is economical. It is economical when:
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