<nettime-ann> CRITICALSECRET_THE MONTHLY NOTEBOOKS March-April #OlivierHadouchi Columnist

["Aliette C. Guibert" <aliette@criticalsecret.org>]

.
CRITICALSECRET_LES CARNETS MENSUELS_THE MONTHLY NOTEBOOKS
\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\\/\/\/\/\/\/\/\/\/\/\/\/\//\/\/\/\/\/\/\/\/\/\/\/\//\/\/\/\/\/\/\/\/\/\/\/\
2013 OLIVIER HADOUCHI @ Carnet de mars-avril_Notebooks of March/April


Storytelling and documenting a world in turmoil

In these tumultuous times we confide the notebooks of March and April
to Olivier Hadouchi. He is a film historian, a film critic and
lecturer, a film program planner as curator of filmic events.
Additionally, he is a sessional lecturer in film studies. His Ph.D. in
Arts and Media (University of Paris III, 2012) is entitled : "Cinema
as part of the liberation struggles : genesis, practical initiatives,
and formal inventions around the Tricontinentale (1966-1975)." We
warmly thank him for honouring our proposal ...


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
EDITORIAL / Return towards the tumultuous springtime ?
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

After a very long winter, one that tried to claim permanent residency,
it is time to head for a new spring season under the sign of
rediscovery : the cinematographic work of Jocelyne Saab (Lebanon,
Egypt ...) and memories of the tumultuous 60s and 70s in Latin
America.

When Jocelyne Saab directed her first feature film, âLebanon in
Turmoil,â co-directed with JÃrg Stocklin in 1975, Latin America was
crushed by bloody dictatorships against a wall of repression
unification under the Condor Plan. Meanwhile, Lebanon was at war, one
that lasted more than fifteen years. Throughout most the 70s in Latin
America, âthe hour of the fumacesâ[1], announced in 1968 by the
Argentine filmmakers Octavio Getino [2] and Fernando Solanas (in La
hora de los hornos, in the era of Che, Fanon and epic liberators of
the nineteenth century such as Simon Bolivar, Josà Marti or San
Martin), lead to destruction and despair. On September 11, 1973, the
coup of General Pinochet abruptly ended the Popular Unity, a governing
union of the left led by the democratically elected Salvador Allende
(who chose to commit suicide rather than surrender to the junta) ; a
few months before in Uruguay, a military regime took over in the same
way triggering also a wide repression against the left and its
sympathizers. In Lebanon, the left Lebanese, ally to the Palestinians,
hope for victory and a profound social and political change, was
brought to an end in 1976, the year when Argentina fell under
dictatorship led by a military junta, after many months that proved
particularly chaotic with dozens of extra-judicial executions
committed by death squads. From 1967, a Cassandra lost in chaos and
destruction, namely the poet and artist Etel Adnan, predicted the
âArab Apocalypseâ (which became the title of a poem published in
1973), a risky series of steps from âdefeats to defeatsâ against some
optimismâwasnât then the world being under the "hour of fires,
creating âtwo, three if not more Vietnams,â as had Che advocated in
his Message to the Tricontinentale [3], made public in 1967 a few
months before his death in October of the same year ? âDreams of
liberation were quickly obliterated. However, one can ask : what could
bring the eyes of the Lebanese filmmaker Jocelyne Saab and those of
filmmakers in Argentina, Chile or Uruguay ? Little, we would be
tempted to say, with the exception of the influence of a great
documentary filmmaker, Joris Ivens, somewhat forgotten by now and much
less regarded by film enthusiasts of my generation (born in 1970) and
those coming afterwards. Like Fernando Solanas and Mario Handler,
Jocelyne Saab is a great admirer of the documentary art of Ivens. And
if, for some viewers, his work remains (too) connected to the
Stalinist and Maoist regimes (in short, the art at the service of
zealous propaganda), it is interesting to note that among the Cuban
filmmakers who chose exile, having been trained in the early 60s by
the famous globe-trotter, many have retained a great affection for him
and said they have learned a lot from his teachings. Not to mention,
and this is important, the desire to (re) discover by means of
travelling within oneâs own country, of confronting its
contradictions, its divisions and gaps, leading to believe that the
process of Jocelyne Saab is close to that of Fernando Solanas and a
Octavio Getino, for example.

Was it the intervention of Jocelyne Saab in the documentary by Ferid
Boughedir devoted to the âArab cameras,â or her name and her films
mentioned in old film magazines, or the knowledge that she had filmed
in Lebanon on several occasions during the war ? I was curious to see
her pictures and explore her work in general. I was able to do so in
2010 which quickly led to a series of interviews with her,
conversations about her workâfar too little known in Franceâwhich
seemed like something necessary and outstanding. Her work is highly
coherent, beginning in 1973, in a context of television journalism and
reporting, while covering various conflicts in the Middle East
(repeatedly in Syria, Iraq, Iran, and Lebanon of course), and in 1975,
Lebanon living in turmoil, she documented the peculiar fall of her own
country, one that occurred light-headedly, quite unconsciously, into a
state of war, as the filmmaker said at the opening session of the
retrospective cycle of âJocelyne Saab, under the signs of warâ (as
part of Nicole Brenezâs sessions âAvant-Garde Cinema, General
Counter-Cultureâ) , on the 29th of March at the French CinemathÃque.
We know what happened then, without being able to fully assess the
extent of the disaster and the consequences of the war in all its
dimensions. Tension re-emerges regularly. The country has faced
campaigns of targeted assassinations and bombings from Israel (letâs
remember the war in the summer of 2006), the Syrian chaos has and
probably will have major repercussions on Lebanon and, to some extent,
on the entire region.

Isnât it war that devastated childhood dreams, wrecked Beirut, this
âgreat gardenââas imagined like a teenager wouldâcrushed Jocelyne
Saabâs hopes, like most of her own generation craving for freedom and
social change ? This is probably the reason why her film wanders
through the city and the whole country with such tenderness and
compassion. So many places she used to know well, starting with her
home, which concealed her screenplays and so many family memories,
most of which have not survived the war. In her films, she captured
and magnified the soul and architecture of cities and villages,
listened to survivors, recalled the poetry and the precise atmosphere
of a specific place, always reclaiming devastated space, sometimes
passing by the impassible murmur of the sea. Every recollection is a
victory against the results of a destructive war and a disfigured
country.

In order to outline the definition of Jocelyne Saabâs film curriculum,
we would say that her work, which is similar to the story of a
filmmaker caught in a storm, is characterized by patterns and elements
: the struggle for life against anything that maims, imprisons, and
prevents men, women, and children to thrive ; the quest for the right,
and freedom, to tell a story.

âWe must discover, inventâ wrote Frantz Fanon (a quote from the
manifesto Towards a third cinema by Solanas and Getino, published in
1969). However, it is not suggested to revisit some of these movies
from those years of embers and fire without a critical eye as if they
had become self-sufficient iconsâfrozen and unreachableâremains of a
(now) unattainable golden age, trapped by some mystifying nostalgic
impulse, but to rediscover with deference a whole corpus engulfed in
(and by) the 80s and subsequent decades. Travel back to those filmic
journeys whrn liberating experiences often were subjected to a
metamorphosis, provoking fragmentation (separation and exile), where
disfigured cities served as distant or absent backdrops.

Rediscover to somehow better reinvent ?

Olivier Hadouchi
Unpublished translation into English by Michel Belisle

Iconography--folllow the link:
http://www.criticalsecret.net/olivierhadouchi-editorial-retour-vers-de-tumultueux-printemps-return-towards-the-tumultuous,107.html

#OlivierHadouchi EDITORIAL Retour vers de tumultueux printemps ? /
Return towards the tumultuous springtime ?



/\/\/\/\//\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\//\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\//\/\/\/\/\/\/\/\/\/\/\/\

Jocelyn Saab : A Retrospective in Paris
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~


Thanks to the commitment of Nicole Brenez the curator and program
planner of the cycle devoted to Jocelyn Saab, entitled "Les Astres de
la guerre," at the National Film Archive âCinÃmatheque FranÃaise,"
Olivier Hadouchi with the filmmaker as dedicated artist have presented
her first filmic retrospective in Parisâi.e. a dozen documentaries and
fiction films includedâwhich reviews much of her cinematographic work
since 1973. The event is taking place from the 29th of March till the
24th of May, 2013. Here is the schedule so that you can keep it for
memory.

N.B. Unpublished translations into English thanks to Michel Belisle.


JOCELYNE SAAB, Les Astres de la guerre / The Signs of War
SÃrie Contre-culture gÃnÃrale

du 29 mars au 24 mai 2013


CinÃmathÃque FranÃaise (informations pratiques)

51 Rue de Bercyâ, 75012 Paris
MÂ : Bercy - Lignes 6 et 14
Bus : nÂ24, nÂ64, nÂ87
En voiture / By car : A4, sortie Pont de Bercy


foreclosed

- Le 29 mars 2013

Jocelyne Saab 1 - Vendredi 29 Mars 2013 / 19h 30
Jocelyne Saab 2 - Vendredi 29 Mars 2013 / 21h 30

upcoming

- Le 19 avril 2013

Jocelyne Saab 3 - Vendredi 19 Avril 2013 / 19h30
Jocelyne Saab 4 - Vendredi 19 Avril 2013 / 21h30

outcoming

- Le 24 Mai 2013

Jocelyne Saab 5 - Vendredi 24 Mai 2013 / 19h30
Jocelyne Saab 6 - Vendredi 24 Mai 2013 / 21h30




â


Jocelyne Saab 1 - Vendredi 29 Mars 2013 / 19h 30 (foreclosed)
SALLE GEORGES FRANJU
En prÃsence de Jocelyne Saab et Olivier Hadouchi

- 85â

=/=/=/=/=/=/=/=/=/=/   Les Nouveaux croisÃs dâOrient / Portrait dâun
mercenaire franÃais â
de Jocelyne Saab
France / 1975 / 10â / 16mm

Portrait dâun mercenaire franÃais au Liban. Godet a dÃjà servi en
Indochine et en AlgÃrie. Il aime retrouver le goÃt du sang.

The Portrait of a French mercenary in Lebanon. Godet served in
Indochina and Algeria. He enjoys the taste of blood.

Suivi de / followed by

=/=/=/=/=/=/=/=/=/=/   Le Liban dans la tourmente â
de Jocelyne Saab et Jorg Stocklin
France-Liban / 1975 / 75â / 16mm

Quelques mois aprÃs lâincident du 13 avril 1975, au cours duquel des
civils palestiniens furent mitraillÃs par des miliciens phalangistes,
le bilan est des plus tragiques : six mille morts, vingt mille
blessÃs, des rapts incessants, une capitale semidÃtruite. Ce film
retrace les origines du conflit libanais, la perception dâune sociÃtÃ
qui part à la guerre en chantant.

A few months after the incident of the 13th of April, 1975âwhen
Palestinian civilians were shot by Phalangist militiaâthe result was
most tragic : six thousand death tolls, twenty thousand wounded,
incessant kidnappings, the capital city half-destroyed. This film
traces the origins of the Lebanese conflict, the perception of a
company that goes to war singing.

â

â â

Jocelyne Saab 2 - Vendredi 29 Mars 2013 / 21h 30
SALLE GEORGES FRANJU

- France / 80â

=/=/=/=/=/=/=/=/=/=/  Les Enfants de la guerre â
de Jocelyne Saab
France / 1976 / 10â / VOSTF / VidÃo

Quelques jours aprÃs un massacre dans un bidonville proche de
Beyrouth, la rÃalisatrice retrouve les enfants qui y ont survÃcu. Elle
se rapproche dâeux en leur offrant des crayons pour dessiner. Un lien
se crÃe entre eux. Ils la laissent filmer leurs jeux, guerriers et
violents : ils rÃpÃtent les scÃnes dâhorreur quâils ont vues se
dÃrouler sous leurs yeux...

A few days after a massacreâ1500 death tollsâin the Karantina slum
near Beirut, the director found children who survived. She approaches
them by offering pencils to draw. A link is created between them. They
let her film their games and violent warriors acts : they re-enact the
horror that they saw unfolding before their own eyes ...

Suivi de / followed by

=/=/=/=/=/=/=/=/=/=/   Beyrouth, jamais plus â
de Jocelyne Saab
France /1976 / 35â / VOSTF / 35mm

En 1976, Beyrouth connaÃt le dÃbut de son calvaire. Avec les yeux de
son enfance, la rÃalisatrice suit six mois durant, au jour le jour, la
dÃgradation des murs. Tous les matins, entre six et dix heures du
matin, elle  descend en ville Â, à lâheure oà les miliciens des deux
bords se reposent de leurs nuits de combats. Film surrÃaliste et
ÃlÃgie à la ville avec un poÃme dâEthel Adnan.

In 1976, Beirut sees the beginning of its ordeal. The director,
through the eyes from her childhood, follows daily for six months the
deterioration of the walls of the city. Every morning, between six and
ten oâcloc when the militiamen of both camps are resting after their
nights of fights, she "goes into town." A surrealist movie and an
elegy to the city with a poem by Ethel Adnan.

Suivi de / followed by

=/=/=/=/=/=/=/=/=/=/  Ãgypte, la cità des morts â
de Jocelyne Saab
France / 1977 / 35â / VOSTF / 16mm

Lorsquâune Libanaise se rend en Ãgypte pour rÃaliser un portrait du
Caire, câest le mythe dâune ville  mÃre du monde  quâelle recherche,
alors que sa ville, Beyrouth tombe en ruine sous les coups de la
guerre. Film surrÃaliste et poÃtique sur un cimetiÃre habità par plus
dâun million de personnes.

When a Lebanese woman goes to Egypt to realize a portrait of Cairo,
she is looking for the mythical mother city of the world, while
Beirut, her own place, is collapsing under the blows of war. A
surrealist and poetic movie about a cemetery where more than a million
people are living.

â

â â â

Jocelyne Saab 3 - Vendredi 19 Avril 2013 / 19h 30
SALLE GEORGES FRANJU

- France / 1977 / 94â

=/=/=/=/=/=/=/=/=/=/  Le Sahara nâest pas à vendre â
de Jocelyne Saab
France / 1977 / 94â / VOSTF / 35mm

Conflits et rÃsistance du Front Polisario et des nomades Sahraouis au
Sahara.  Je nâai pas cherchà à adhÃrer à la thÃse des AlgÃriens ou
des Marocains sur le Sahara Occidental. Le plus drÃle ou le plus
Ãtonnant, câest que les deux pays ont indirectement participà au
financement du documentaire. Au fond, je me sentais avant tout
favorable aux Sahraouis, les habitants du dÃsert, dâailleurs jâai
toujours Ãtà fascinÃe par le dÃsert, câest pour eux que jâai fait le
film, et pas pour le compte de tel ou tel Ãtat. Â (J.S.).

Conflicts on the Polisario Front and over the resistance of the
Sahrawi nomads (in Sahara). "I did not seek to adhere to the Algerian
or Moroccan thesis over Western Sahara. It is the funniest or most
surprising fact that both countries have indirectly cooperated into
financing the documentary. In fact I particularly felt close to the
Sahrawisâmoreover I was always fascinated by the desert. I made the
movie for them and not for such or such state." (J.S.)

â

â â â â

Jocelyne Saab 4 - Vendredi 19 Avril 2013 / 21h 30
SALLE GEORGES FRANJU

- France / 114â

=/=/=/=/=/=/=/=/=/=/  Lettre de Beyrouth â
de Jocelyne Saab
France / 1978 / 52â / VOSTF / 16mm

Trois ans aprÃs le dÃbut de la guerre civile, la rÃalisatrice revient
dans sa ville pour quelques mois. Ã cheval entre un pays en guerre et
un pays en paix, elle Ãprouve du mal à se rÃadapter à la vie.
Remettant en marche un bus, alors que les transports en commun ne
fonctionnent plus, elle provoque un sursaut de normalità dans la ville
en guerre : des gens montent dans le bus, oà ils voient un espace de
sÃcuritÃ. (Ethel Adnan et Jocelyne Saab)
Three years after the civil war started, the director had returned to
her own city for a few months. She is having a hard time adapting to a
life in a country alternating between war and peace. While public
transportation are no longer functioning, she successfully repairs a
bus bringing back a token of normality within the afflicted city.
People get on the bus where they find themselves entering a safe
heaven. (Ethel Adnan and Jocelyne Saab)

Suivi de / followed by

=/=/=/=/=/=/=/=/=/=/  Le Bateau de lâexil â
de Jocelyne Saab
France / 1982 / 10â / VOSTF / VidÃo

AprÃs le siÃge israÃlien en 1982, Jocelyne Saab a Ãtà la seule
cinÃaste autorisÃe à monter sur le bateau Atlantis, affrÃtà par la
France pour emmener Yasser Arafat, le chef charismatique des
Palestiniens et son Q.G. vers un nouvel exil. Pendant quarante-huit
heures, elle va filmer ce moment historique.

After the Israeli siege in 1982, Jocelyne Saab was the only director
permitted to get on the Atlantis ship chartered by France to bring
Yasser Arafat, the charismatic leader of the Palestinians and his
headquarters to a new exile. For forty-eight hours, she films this
historic moment.

Suivi de / followed by

=/=/=/=/=/=/=/=/=/=/  Beyrouth, ma ville â
de Jocelyne Saab
France / 1982 / 52 â/ VOSTF / 16mm

En juillet 1982, lâarmÃe israÃlienne assiÃge Beyrouth. Quatre jours
plus tÃt, Jocelyne Saab voit sa maison brÃler et 150 ans partir en
fumÃe. Elle se pose alors la question : quand tout cela a-t-il
commencà ? Chaque lieu deviendra alors une histoire et chaque nom une
mÃmoire... histoire dâun siÃge. Avec un texte et la voix de Roger
Assaf.

In July 1982, the Israeli army besieged Beirut. Four days earlier,
Jocelyne Saab witnesses her house burning down : 150 years gone up in
smoke. This raises the question : when did it all begin ? Each
location will become a story and each name a memory ... history of a
siege. Text and narration by Roger Assaf.

â

â â â â â

Jocelyne Saab 5 - Vendredi 24 Mai 2013 / 19h 30
SALLE GEORGES FRANJU

- 86â

=/=/=/=/=/=/=/=/=/=/  Les AlmÃes, danseuses orientales â
de Jocelyne Saab
France / 1989 / 26â / VOSTF / VidÃo

Plantureuses et toutes vÃtues de lamà les danseuses orientales - les
AlmÃes -, animent toujours les mariages et les circoncisions. Elles
sâinspirent des stars de la danse orientale des annÃes 40 et 50 :
Samia Gamal, Tahia Carioca, NaÃma Akef... Danseuses populaires, elles
arrivent de tous les coins dâÃgypte et rÃvent en secret de devenir un
jour les reines dâun des palaces du Caire. Dina, star des annÃes 80, a
rÃalisà ce rÃve.

Busty and all dressed in lamÃ, oriental dancersâthe AlmÃesâare always
present to liven up weddings and circumcisions. They are inspired by
oriental dance stars of the 40s and 50s : Samia Gamal, Tahia Carioca,
Naima Akef... Popular dancers, they come from all corners of Egypt and
secretly dream to become one day queens in various palaces in Cairo.
Dina, star of the 80s, fulfilled that dream.

Suivi de / followed by

=/=/=/=/=/=/=/=/=/=/  La Dame de SaÃgon â
de Jocelyne Saab
France-Liban-Vietnam / 1997 / 60â / VOSTF / VidÃo

Portrait dâune grande dame, ministre du gouvernement rÃvolutionnaire
sudvietnamien, le docteur Hoa, dont la vie est un combat et le combat,
un bonheur. Elle a connu la prison et le maquis pendant la guerre.
Quand les communistes entrent dans SaÃgon en 1975, une autre lutte
commence... Une histoire dâamour.

Portrait of a lady, South Vietnamese Minister of the Revolutionary
Government, Dr. Hoa, whose life is a struggle, and finds happiness in
fight. She was part of the maquis and has been imprisoned during the
war. When the Communists came in Saigon in 1975, another battle
began... A love story.

â

â â â â â â

Jocelyne Saab 6 - Vendredi 24 Mai 2013 / 21h 30
SALLE GEORGES FRANJU

- Ãgypte / 2005 / 112â

=/=/=/=/=/=/=/=/=/=/  DUNIA Kiss me not on the eyes â
de Jocelyne Saab
Egypte / 2005 / 112â / VOSTF / 35mm

Dunia est une variation sur le dÃsir fÃminin, sujet Ãminemment tabou
dans la sociÃtà arabe et notamment Ãgyptienne. Sâappuyant sur la
puissance Ãrotique du patrimoine poÃtique et musical arabe, le film
parle dâamour et de dÃsir à travers une femme marquÃe par une
Ãducation traditionnelle et contraignante. Le point dâaboutissement du
film est le traumatisme provoquà par la mutilation gÃnitale fÃminine
(qui concerne 97% des femmes en Egypte selon les rapports de lâUNICEF,
dâAmnesty International et du PNUD).

Dunia is a variation on the theme of female desire, a highly tabooed
subject in the Arab society, including Egypt. Based on the erotic
power of the poetic and musical Arabic heritage, the film is about
love and desire through a woman marked by a traditional and
constrictive education. The culmination of the film is the trauma
caused by female genital mutilation (which applies to 97% of women in
Egypt, according to UNICEF reports, Amnesty International, and UNDP).

â


Source Jocelyne Saab, Les astres de la guerre, CinÃmathÃque franÃaise.


* Si le tweet qui apparaÃt dans la fenÃtre dâenvoi est trop long, (le
nombre de signes en excÃs apparaissant dessous, prÃcÃdà de : "-") le
raccourcir avant de lâenvoyer, en prenant soin de ne pas supprimer le
lien mÃme de lâarticle.


P.-S.


Index des films prÃsentÃs / index of movies being presented
(suivant la chronologie des projections / order follows date and time
of presentation)

â Les Nouveaux croisÃs dâOrient / Portrait dâun mercenaire franÃais
â Le Liban dans la tourmente
â Les Enfants de la guerre
â Beyrouth, jamais plus
â Ãgypte, la cità des morts
â Le Sahara nâest pas à vendre
â Lettre de Beyrouth
â Le Bateau de lâexil
â Beyrouth, ma ville
â Les AlmÃes, danseuses orientales
â La Dame de SaÃgon
â Dunia (Kiss me not on the eyes)


We cÅur Jocelyne Saab / We the Heart Jocelyne Saab

    Elisabeth Lebovici, dans son blog Le beau Vice, le mardi 30 mars 2013 :
     Il y eut un coup de tonnerre à la CinÃmathÃque franÃaise,
vendredi soir entre 19h30 et minuit. Jocelyne Saab y a prÃsentà ces
premiers films : (1975) Portrait dâun mercenaire franÃais ; (1975) le
Liban dans la tourmente ; (â1976) Les Enfants de la guerre ; (1976)
Beyrouth, jamais plusâ ; (1978) Ãgypte, la cità des morts. [ ... ] Â

    Elisabeth Lebovici in her blog "Beautiful Vice," Tuesday, March 30, 2013 :
    "A shockwave hit the French Cinematheque Friday night between
19:30 and midnight when Jocelyne Saab presented these early films :
(1975) Portrait dâun mercenaire franÃais ; (1975) Le Liban dans la
tourmente ; (â1976) Les Enfants de la guerre ; (1976) Beyrouth, jamais
plusâ ; (1978) Ãgypte, la cità des morts. [ ... ]"

Icnography - follow the link :

http://www.criticalsecret.net/olivierhadouchi-une-retrospective-jocelyne-saab-a-paris-jocelyn-saab-a-retrospective-in-paris,110.html


\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\\/\/\/\/\/\/\/\/\/\/\/\/\//\/\/\/\/\/\/\/\/\/\/\/\//\/\/\/\/\/\/\/\/\/\/\/\


    #OlivierHadouchi Nicole Brenez regarding Jocelyn Saab - The
Situation and The Courage / Jocelyne Saab: La situation et le courage
/
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Nicole Brenez
Unpublished translation by Louis-Georges Schwartz

http://www.criticalsecret.net/olivierhadouchi-nicole-brenez-regarding-jocelyn-saab-the-situation-and-the-courage-jocelyne-saab-la,109.html


\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\\/\/\/\/\/\/\/\/\/\/\/\/\//\/\/\/\/\/\/\/\/\/\/\/\//\/\/\/\/\/\/\/\/\/\/\/\
CRITICALSECRET_LES CARNETS MENSUELS_THE MONTHLY NOTEBOOKS
\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\\/\/\/\/\/\/\/\/\/\/\/\/\//\/\/\/\/\/\/\/\/\/\/\/\//\/\/\/\/\/\/\/\/\/\/\/\
2013 OLIVIER HADOUCHI @ Carnet de mars-avril_Notebooks of March/April

Iincoming sum of 10 items  / To follow untill April 30 ...

http://www.criticalsecret.net Diachronic and random news as view from
http://www.criticalsecret.com

_______________________________________________
nettime-ann mailing list
nettime-ann@nettime.org
http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-ann