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Based on the philosophical treatise by Jean Baudrillard. This art project is an attempt to retrace the history of Lebanon through signs and signifiers.
Simulacra are defined as copies that depict things that either had no original, or that no longer have an original, whereas simulation is the imitation of the operation of a real-world process or system over time.
Lebanon has not had a common official history book since before the war, students still study in archaic books that end somewhere around 1972. The reason for that is simple, since history is not the real version of the events but simply the narrative dictated by the winner, and since there was no clear winner of the Lebanese war at the abrupt end of it, then the saying by Bill Farrell - the late New York Times reporter in Lebanon - "there's no truth in Beirut, only versions" still holds.
To make things worse, the same political families which ruled Lebanon during the war, are still there and refusing to look at their past and be able to understand what they did wrong or assess their legacies in the bloody events. Still, all is not lost, for - no matter in which shelter one was in the Lebanese war - we were all listening to the same ads, jingles, watching the same soap operas, using the same products, going to (different) cinemas which were showing the same movies, enjoying the same heartthrobs - be they in roman photo (translated Italian photoromanze) or singing sensations, and the list goes on.
Only the signs and signals of pop culture of Lebanon will be able to join us when "politics" divides us. Politics stems from the two Greek words, "polis" and "ethos" - polis or the "heart of the fortress" and ethos which means ethics. So the original meaning of the word meant "the ethics of living in a community" and if that had to go through advertising jingles, then so be it.
The project aims to use pop culture, in terms of symbols, names, catchphrases as a way to unify the Lebanese around the same concepts and ideas, and using the said elements as emotional triggers to help preserve memories both personal and collective.
Baudrillard has said about the iconoclasts: "One can live with the idea of distorted truth. But their metaphysical despair came from the idea that the image didn't conceal anything at all". Should this be true then the images of this project do not conceal anything either.
The project is composed of "episodes" each being a video art 13,5 seconds long, with each video containing 9 high resolution related images (thematically, geographically or time wise) with a total time of 120 minutes. Along with a two-hour long soundtrack which explores the Lebanese collective memory in terms of audio rarities and songs (specifically related to the war era).