The Pixelated Revolution is a lecture-performance by artist Rabih Mroué about the use of mobile phones during the Syrian revolution. The lecture looks at the central role that the photographs taken with these devices played in informing and mobilizing people during the revolutionary events, due to their ability to be shared and spread through virtual and viral communication platforms.
Rabih Mroué is an actor, director, playwright and visual artist as well as contributing editor for The Drama Review (TDR) and the quarterly Kalamon. Employing both fiction and in-depth analysis as tools for engaging with his immediate reality, Mroué explores the responsibilities of the artist in communicating with an audience in given political and cultural contexts. His works deal with issues that have been swept under the rug in the current political climate of Lebanon, connected to the enduring marks left by the Lebanese Civil War as well as more recent political events.
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
“Other photographers used to send me negatives of cross-eyed people, asking me to retouch them...
To make Mickey Mouse (2010), Paul McCarthy altered a found photograph—not of the iconic cartoon, but of a man costumed as Mickey...
Untitled is a black-and-white photograph of a wave just before it breaks as seen from the distance of an overlook...
“When you position your hand on someone’s shoulder, your shoulders become straight and horizontal...
“In the 1980s I started using coloured paper backdrops, one of which was yellow...
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
As the caption purposely admits, these drawings were made by friends of Ondák’s at home in Slovakia asked to interpret places he has journeyed to...
“While taking the picture it was challenging to make the boys sit properly without moving...
McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...
This work is one of Koller’s many variations which he began to use from 1970 to describe the ‘cultural situations’ he created...
This work needs to be considered in relation to one of his performances during which people were made to queue in front of the Kunsthalle of Frankfurt in 2003 (Tate Collection)...
Anti-Happening refers to Koller’s 1965 manifesto, ‘Anti-Happening (System of Subjective Objectivity)’...
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...