Obsession, kerkberg, Deventer, 2002

Témoigner, Mathias Flügge (german)
Le sommeil de la raison, Joseph Tarrab (german)
Victims in the Shadow of Account – A Story Behind the Pictures of Salah Saouli, Harald Friecke
Nur ein Hauch von Verlust, Katrin Bettina Müller
The Way We’ve Always Done Before, Michael Wollenheit
Energetic Depots – On the New Works of Salah Saouli, Stefan Rasche (german)
Some say that writing poetry is impossible after Auschwitz, Wilhelm Gauger
Wir wollen wieder gesehen werden und euch sehen können, Wilhelm Gauger
Le mot secret, Abbas Beydoun
Obsession by Salah Saouli,
Heleen Buijs
Supperpositions, Reiner Höynck (german)
Das Labyrinth, Stefan Rasche

By Heleen Buijs*

Obsession by Salah Saouli

Memory, everything we remember and forget, is the point of departure/ starting point of Salah Saouli’s work. The collective memory, which is added to individual experiences and collective images, exists of a myriad of data. It’s a pandemonium of changing perspectives and interwoven events.
Clear, vague, and nearly vanished images come to the forefront and oust/ crowd out/ push aside each other. Saouli’s aims to bring all these images into the limelight, in a visible or blurred way. In the kinetic objects, images, which are lit by TL-lamps or become visible by projection, appear and disappear.In his earlier work, the memory of the violent war in his homeland Lebanon is more prominently present, but in his current work too those images suddenly appear and get a new significance in the world of today.

From Dutch by Peter Speetjens

*Transparantie Exhibition catalogue 2002 / Hannema.de Stuers Fundatie, Heino/ Wijhe

© salah saouli