Tuesday, October 29, 2013

The dark lords invaded Hamra last Halloween | 2012

Last year we had no Halloween costumes on. We were just four designers carrying four illustration cut-outs and a few cans of neon spray. We walked the dark alleys of Hamra, Jean d'Arc, Bliss, Abdel Aziz… and sprayed our creatures of the night on the walls, sidewalks, and any immobile or even mobile object we came across.


Aya Krisht drew grim reaper and a vampire bat, and she still wished you a Happy Halloween.






Anastasia Matar drew a skull out of the sentence "يا ماما" (which translates to "oh mama").


Mira Mortada, who came for a few days to Lebanon from Dubai, had a silhouette of a be-witched cat in front of a full moon.


Alaa Kabalan was tagging along to help out or maybe spray his hands with Silver?


Check out below a selection of images documenting the different illustrated creatures and us invading Hamra and other Beirut streets. You can also check the full album on our Facebook page.


Happy Halloween

What are your plans for this Halloween? Share with us your illustrations, designs, costumes... Maybe we can highlight them in a future post.

Monday, October 14, 2013

معايدات عيد الاضحى من مصممين حول العالم

في العام الماضي، اجتمعنا في ساحة ٢٤٧ (247square) وقمنا بتصميم عدد من البطاقات وزعناها على محلات الحلى والقهاوي في بيروت وسائر لبنان. (في هذا الرابط المزيد من التفاصيل http://blog.247square.com/2013/10/paraposal-short-film-for-beirut-48-hour.html)  ما زال لدينا بضعة بطاقات لمن يحب ان نرسل له معايداتنا.

اما في هذا العام، نعرض لكم مجموعة تصاميم لمبدعين من حول العالم. شاركونا تصاميمكم للاضحى انتم ايضاً.

بطاقات معايدة للاضحى (Adha greeting cards)

في المناسبات، يبدع الكثيرون في تصاميم للترويج الذاتي (self promotional designs)، لا يلتزمون فيها بقيود الزبائن، حتى ولو في كثير من الاحيان كان عليهم الالتزام بقيود علامتهم وهويتهم التجارية (their own branding and identity)

ارابيسك (arabesque) او زخرفة عربية

هذه البطاقة هي من تصميم نتوف، مؤسسة انشأتها مريم بن نتوف عام ٢٠٠٧ بلورةً لشغفها بالرسم وحبها للابداع.


حج مبرور وسعي مشكور

هذا ما شاركته دار هيا (Haya Design) للتصاميم الجرافيكية المطبوعة والرقمية من قلب جدة، في المملكة العربية السعودية، لمتتبعي صفحتها على الفيسبوك.

يا ترى ما الذي تحضّره لهذا العام؟


اضحى مبارك من كشيدة

كشيدة (Kashida design) بدورها شاركت متتبعيها ومحبي منتجاتها، هذه البطاقة للمعايدة بالاضحى.


بطاقة معايدة، فنجان، رزنامة وكيس للهدايا

مجموعة مستوحاة من الاضحى صممتها ريما الغفيلي. اقرأ المزيد هنا.


تصاميم فكاهية من وحي العيد (Adha humour)

لا يخلو اي عيد من جو المرح. وهنا بعض التصاميم التي ابتغى مصمموها اضفاء روح الفكاهة في معايدات الاضحى.

عيد مبارك من النينجا

محمد نجم الرحمن، مصمم علم نفسه بنفسه. يهتم في مجال التصاميم الرقمية، وحالياً يعمل في مجال تصميم الالعاب الالكترونية.


خطة الهروب لهذا العام

Deek-MantooF هو اسمه على DeviantArt. يهوى الرسم ويملك روح الفكاهة. لمناسبة عيد الاضحى، البس الخروف زى الخنزير للتمويه، فمحرم على المسلمين اكل لحم الخنزير، وهكذا ينجو من الذبح.


لا تنسو مشاركتنا تصاميمكم لهذا العيد او لاي مناسبة اخرى.

 لمن لا يعرف ما هو الاضحى

اليوم يوافق ١٠ ذو الحجة، آخر ايام الحج واول ايام عيد الاضحى، يوم النحر، العيد الكبير، عيد القربان... مهما كانت تسميته، تبقى المناسبة واحدة. هو عيد ديني اسلامي ولكن قصته وبداياته تتفق عليها الاديان السماوية الاخرى، ان كانت اليهودية ام المسيحية.
ففي هذا اليوم، أراد ابراهيم عليه السلام التضحية بابنه اسماعيل بناء على طلب الله، قبل ان يأتي نداء من السماء يأمره بذبح كبش أرسل اليه عوضا عن ابنه. وهكذا اصبح تقديم الاضاحي من مناسك الحج.

عيد اضحى مبارك :)

Tuesday, October 1, 2013

Paraposal, a short film for the Beirut 48 hour film project | 2013 (3rd edition)

We participated, as #247square, in this year's Beirut 48 hour film project. It is the third edition in this city, and quite the experience for us (it is about time we post about it)


As the name of the competition indicates, all teams had 48 hours to complete their short #film (4 to 7 minutes). 22 teams registered but only 21 made it. Here are the participating teams:

Group A
10 big toes, nour hatem 

3acha3ra, Mike Malajalian

Cinemaniac, paula layoun 

FADE IN: and FRIENDS, Nadia Tabbara 

Farah ALHashim, farah alhashim

Insight, Hasan Noureddine

Mad House Films, Joe Soubaih 

Mad men production, Elie Bassila 

nothing specific, dany fares

Ntgm prod, Fourate Chahal 

Houssam Hariri, OM

Mo Rida, Producer/Director of Operations at The Beirut 48 Hour Film Project, & Nadia Tabbara, director of Once Upon a Clown
image source: https://www.facebook.com/Beirut48HFP
Group B

On the spot, Ziad Salem 

Pixels, Hussein Shaalan 

Revolution Team, Maher Hasbany 

SandBox Kir, Tarek Chehab

Serendipity, Assaad Thebian 

Test Run, Bassel Fatayri 

The Crew, Alaa Kabalan

The Little Filmmakers, Faisal Attrache 

Tilt-up, Mohammad Madi

Yellow Taste, Selim Mourad

Mindfunk, Tanya Abou-Ghazaly

On Friday June 21 2013, we all gathered at AltCity Hamra. At 6.30 pm, each team got his genre from a hat. At 7:00 pm, we were given the 3 elements to be included in all movies:

the prop: ice-cream

the character: Dani or Dima Mourad, Event Planner

the line of dialogue: Can you please shut your mouth? عمول معروف سدّ بوزك

...and we were released. We were team “The Crew”. Our genre was thriller/suspense. Paraposal, the movie we produced, is about a young man experiencing weird things around his house. This might sound paranormal, but he has the power to end all this. Will he make the call to put his mind at rest? Watch the full video below to find out what happens with him.



directed by Alaa Kabalan
starring Mohammad Shaaban & Rafic Saab
music by Walid Aboul Joud
assistant director Saba Sadr
story by Alaa Kabalan & Mohammad Shaaban
director of photography and editor Alaa Kabalan
produced by 247square productions

We did not win, we did not even make it to the top 10. But it was still totally worth the trial. It was fun; stressful but fun.

Screenings of all the movies were at Metro Al Madina on June 29 and 30. A week after, the judges announced the top 10 movies and named the winners of the different awards:

The winners posing for the Camera | image source: https://www.facebook.com/Beirut48HFP
Best Use of Character [tie] “Once Upon a Clown” by Fade in and Friends & “Dani” by Sandbox Kir
Best Use of Prop [tie]
 “Pigment” by The Little Filmmakers 
& “A Touch” by Cinemaniac
Best Use of Line [tie] 
“Hiek Sar” by Ntgm prod 
"Hua Mish Hua” by Pixels
Best Use of Genre “
Pile ou Face” by 3acha3ra
Most Promising Filmmakers 
“I Scream Salvation” by Mindfunk
Best Costumes 
“Pigment” by The Little Filmmakers
Best Choreography
 “Backstage” by Tilt-Up
Best Special Effects [tie]
 “Backstage” by Tilt-Up & “Alshughal Shughal” by OM & 
“A Touch” by Cinemaniac
Best Sound Design
 “Backstage” by Tilt-Up
Best Musical Score
 “Dani Bou-Maroun” For “Once Upon a Clown”
Best Cinematography
 "Mar Y Sol Blues” by Yellow Taste
Best Editing [tie] 
“Mar Y Sol Blues” by Yellow Taste & 
“Alshughal Shughal” by OM
Best Actor 
“Bassel Madi” for “Once Upon a Clown”
Best Ensemble Acting
 “Mar Y Sol Blues” by Yellow Taste
Best Writing 
“Once Upon a Clown” by Fade in and Friends
Best Directing [tie]
 “Mar Y Sol Blues” by Yellow Taste 
Pigment" by The Little Filmmakers
Second Runner Up for Best Film “
Pigment” by The Little Filmmakers
Runner Up for Best Film 
“Once Upon a Clown” by Fade in and Friends
Best Film
 “Mar Y Sol Blues” by Yellow Taste

48HFP Audience Awards
The audience has spoken! The following teams won the audience awards for their respective screenings. Congratulations!
Audience Award Winner: Group A 
“Once Upon a Clown” by Fade in and Friends
Audience Award Winner: Group B
 “Hua Mish Hua” by Pixels

The movie that we liked the most, as 247 square, was “Once Upon a Clown”, written and directed by Nadia Tabbara from Fade in Beirut. Check the video below:



starring
Bassel Madi as The Mobster
Nadia Hassan as Deema Murad, event planner
Steve Wakeem as the tourist
Jad Batlouni as the muscle
Rami Saidi as the tech guy

story by the whole cast and crew
produced by Steve Wakeem and Nadia Tabbara
director of photography Nada Ammous
art director Sara Jawad
gaffer Joe Saad
camera assistant Imad Zouain
sound Tarek Souleiman
script supervisor Yasmine Ghorayeb
hair and make up Lama Saab
key production assistant Jessica Araji
editor Omar al Nimer
graphics / colorist Hadi Chatila
original music composed by Danny Bou-Maroun

Monday, May 20, 2013

STEP BY STEP | Build a Kite using Benjamin Franklin's Technique

In our second kite-building workshop, we distributed a manual showing the making-of kites following Benjamin's way. Whoever missed the workshop, lost the hand-out we gave last time, or simply is so excited to join 247 square team on the 26th of May 2013 (facing Rouche Rock, Beirut, Lebanon) to fly some kites, here is your chance to make one yourself.

Follow the complete how-to below. Build your kites and share them with us, be it on twitter, facebook, email, or simply at our kite-flying event.

poster designed and illustrated by Layla Smaili

Things You'll Need

- one 24-inch wooden dowel
- one 20-inch wooden dowel
- large piece of paper (at least 26" x 26") or a nylon trash bag
- tape
- lightweight string, twine, or fishing line
- craft knife
- ruler
- pencil, pen, or marker
- scissors

What You'll Do

Step 1: With the craft knife, carve a notch into both ends of each wooden stick.


Step 2: Take the longer wooden stick. Using a ruler, mark off a spot that is 6 inches from the end (or 1/4 of the way into the stick).


Step 3: Take the shorter wooden stick. Using a ruler, mark off a spot that is 10 inches from the end (or halfway into the stick).

Step 4: Place the shorter stick crosswise over the longer stick, matching up the marks you just made. When the sticks are laying down, all the notches should run parallel to the ground.


Step 5: Take the string and wrap it tightly around the center of your sticks, binding them together. You will be making an "X" shape with the string. Double check that the notches remain parallel to the ground.


Step 6: Thread the string through all the notches, creating a diamond shape. Wrap it around twice, making sure the string is taut. This is the frame of your kite.


Step 7: Pull the end of the string back towards the center of your kite. (Make sure the frame is still taut.) Wrap your string tightly around both sticks (mimicking the "X" shape you made earlier with the string) and tie it off with a knot.


Step 8: Cut your paper or plastic bag so that it is slightly larger than the kite frame.


Step 9: Fold the paper over the string frame, and either tape or glue it down.


Step 10: Reinforce the top and bottom tips of your kite with tape. Then, using a pen or needle, punch a tiny hole through these reinforced tips.


Step 11: Cut a 2 foot piece of string. Knot one end of the string through the top hole and the other end through bottom hole. This will form the bridle of your kite.


Step 12: Take the remainder of your string. Attach one end of it to the bridle (about 1/3 of the way down). This will be your flying string.


Step 13: Either tape or knot a 2 yardlong string to the bottom tip of your kite. Then, take your ribbon and tie bows around the string. The tail of your kite will add stability when it is in flight.

 

Now, it is time to fly your kite!

Find a breeze and an open space with no power lines or trees. Let the wind work its magic! 
(Hint: If your kite jerks or dips when you fly it, try moving the location of the flying string knot up or down the bridle.)

Monday, May 13, 2013

WORKSHOP | Stop-Motion Animation | LATC 2013

It was hosted by LATC (Lebanese Armenian Technical College, at Arax Street, Sophia Hagopian College, Burj Hammud), on Saturday, 27 April 2013, gave birth to my first experience at giving a public workshop.

What mostly worried me was the attendees' age. Expecting kids or teenagers, I soon realized that they were all almost my age, if not older. The lame jokes I prepared suddenly felt lamer when I said them in the workshop – the half I remembered, anyway. But the intensity and pressure didn't last long, and faded with the attendees' introductions. They all had a passion or a reason to know more about animation. From different backgrounds and with different interests (the audio visual student, the aspiring designer, the special effects fan, the actor, the web designer…), they knew what they were expecting.

clay character by Melkon Babeyan and Njteh Meqerdichian

The workshop started with a lecture defining animation as an illusion of motion. Stop motion, the main purpose behind the workshop, was the act of moving an immobile object or element or person… one increment at a time, one picture at a time (then repeating this over and over again for hours and hours).

After that, we covered a few basics. From keyframes, to anticipation, to overlapping actions, we learned about the principles of the walk and lip-syncing, watched a few excerpts from famous animation movies (and some of their making-of) (Coraline, ParaNorman, Corpse Bride…), a stop-motion ad shot with a Mobile phone (Gulp shot with 3 Nokia N8), a music video made with pixelation (Her Morning Elegance by Oren Lavie)… We even had a look at frame by frame drawn animations (example: Alice in Wonderland).

We concluded the workshop with applying what we briefly learned in the lecture. In our first animation, we threw Omar Talhouk out of his chair. Lots of fun for us, an extremely painful process for him.


After that, they divided themselves into groups of two, and each worked on their own animation idea using clay (claymation). Check out their beautiful results:

1- “Banana Revolution” animation by Vahan Yian and Joe Sahakian


2- “She” animation by Omar Talhouk and Shoghag Ohannessian


3- “7ayalla” animation by Melkon Babeyan and Njteh Meqerdichian


4- “Lord of the Rings” animation by Maria Bakkalian and Hagop Tashjian


workshop by Alaa Kabalan
post edited by Zeina Shaaban

Saturday, May 11, 2013

INTERVIEW | Joe Sacco

“Thanks for coming to listen to me blab,” Joe Sacco says to me as he signs my copy of his graphic novel, Palestine. A throng of people stand around us, holding books to be signed, waiting to catch a moment with the man who we’ve all been lucky enough to have spent the past hour listening to.

AUB’s Hostler Center is the venue of Sacco’s sit-down on the ninth of May with animator/comics artist Lina Ghaibeh as part of the Hay Festival. His visit to Beirut has also seen him interviewed by Mazen Kerbaj the day before. As a slideshow of selections from Sacco’s work begins to play in the background, Ghaibeh makes the introductions that are oh-so-unnecessary to an audience comprised of local lovers and makers of comics, congregated on the day out of particular appreciation for the Sacco variety. 


 “My books haven’t actually been translated into fourteen languages. I just made that number up. Don’t tell my publishers,” Sacco opens up with, garnering laughs, in reference to a point from Ghaibeh’s introduction. He’s easy and elegant and the rest of the interview continues along the same engaging note. Sacco discusses things like how he began – very much as a pioneer – his comics journalism, why he chooses to tell the stories that he does, how he puts honesty ahead of objectivity and his current project revolving around Mesopotamia. Each question Ghaibeh poses to him prompts a reflective answer and their dialogue has us laughing, learning and captivated. The only downside is that we’ve only got an hour with him, but Ghaibeh’s interview makes the most of it.
 

There’s even a bit of time at the end to take questions from the audience and the microphone gets passed from end to end of the auditorium to cram in as many of the many askers as possible. We get to hear about a new range of topics, from Sacco’s insight on how his books might affect the people in them to why he never draws his own eyes to the influences behind his style. 

In the end, I tell Sacco that his blabbing has been an enormous pleasure. 


Article and photography: Aya Krisht



Wednesday, February 13, 2013

شعر | لأنَّك أنت لسوسن مرتضى | ٢٠١٣

حين بدأت أكتب الشعر منذ لا أدري متى، فاجأت نفسي... أتت الكلمات إليّ، فكان حبّ من أوّل حرف! أتاني الشعر زائرًا، فأصبح هاجسًا مقيمًا. وحين أدركت أنّ حبس الأوراق في الأدراج على مرّ السنين هو إخفاء قسريّ يعاقب عليه قانون الحرّيّة، قرّرت أن أنشر ديواني الأوّل “متل السكت” بعد طول انتظار وبعد سجال مع نفسي حول عبثيّة الخطوة... فما جدوى كتاب آخر من الشعر في زمن السباق المجنون الى اللامكان واللامعنى؟! ولكن الشعر هواء... يفتّش دومًا عن منفذ ليعبر منه ويملأ رئتيّ هذا العالم. آمل ان يرى من يقرأني انعكاس صورته في هذه القصائد أو في بعضها. فالشعر بدون آخر يبقى...”متل السكت“!

لأنَّك أنت
شكراً لكَ
لأنَّكَ نزعْتَ عن قلمي
ثوبَ الحِداد
وأطْلقْتَ من أقفاصِها حروفًا سجينة
ولوَّنْتَ جُدْرانيَ
بألوانِ الورد
شكراً
لأنك أخذتني الى روْضةِ الشِّعر
وقطفْتني..
شكراً لأنك هدهدتَ أحلامي
وأضأتَ قمراً نائماً
في سريرِ بالي
وجعلْتَ الثَّلجَ درباً دافئًا
أسلُكُه إليْك
شكراً لأنّك أجملُ ممّا حلِمت
وصوتك أعذبُ ما ارتداهُ الصّمت
ولأنك تُدهشُ أحاسيسي
كوَمْضةِ شهد
شكراً حبيبي
لأنَّك أنت..
الكاتبة / الشاعرة سوسن مرتضى
ترقّبوا قريباً كتاب شعرها الاول تحت عنوان ”متل السكت“

Tuesday, February 12, 2013

EXHIBITION | Ayman Fidda “Of Women and Flowers” | January 2013

It was January 26, 2013, one day after the opening of the exhibition at Artlab, of Ayman Fidda, an artist from Suwaida, Syria. Fidda graduated from the Damascus University with a Fine Arts degree. In the art gallery in Gemmayzeh, Lebanon, he is exhibiting a series of paintings under the title “Of Women and Flowers” until February 16.



As he puts it in his flyers advertising his work, he is “inspired by womanly beauty”. This beauty he paints though is not in its typical, mainstream form, but rather in its basic. He explains that he searches for it in the lines and body curves, in the transparencies and the facial traits as per modern beauty standards. Flowers are there as a standing-alone element of beauty itself or as a complimentary to it, emphasizing the feminine aspect of the paintings.



I found his paintings depicting more than just beauty in its simplest shapes and forms. I was intrigued by the transparencies, the repetitions of faces and their traces in the same piece, and the emphasized expressions. There was as though an attempt at telling a story in depth through the revealing of layers, one petal at a time. One large piece, depicting a close-up of a face, has one eye drawn almost proportionally accurate with respect to the vaguely showing face. If his paintings were about the lines and curves he talked about, I would imagine them to be at least as the perfected as this eye. But in fact the other eye is totally misplaced and distorted. The form of her lips are also mis-registered. It is as if he is stripping the face from its facade only to reveal the other side; the piece I was looking at depicted a face totally worn-out through haphazard brush strokes and blurry edges. It urges you to think and look for the story deep inside. We might not call a distorted face beautiful, maybe because we have been taught this way, but the beauty you search for and find beneath the surface is truer and does surely last longer if not forever.


My visit to Artlab gallery did not stop at observing Fidda's paintings. I had the chance of meeting Antoine Haddad, the owner of the gallery. He showed much enthusiasm about art. He even offers a space for this one young (shy) artist whom I happened to meet that day. He comes right before the gallery closes, and paints in a space behind the main exhibition area. Antoine gave me a tour around the space beyond the white walls. What you see when you enter is a small part of a bigger collection of old and new paintings, lying in different compartments in a neighboring old Gemmayzeh traditional house.

Antoine Haddad


I had a look at some of Guilain Safadi's large black and white paintings from a past exhibition named “Ashes” that I have missed.

From "Ashes" by Guilain Safadi


I even had a peek on Mohammad Abbas's portraits of animals with human figurines from the coming exhibition titled “Are We Not Human?” coming in February 22, 2013. Something to look for for sure.

“Going to the ball” Oil on canvas by Mohammad Abbas | source: Artlab
Artlab Gallery | from the outside
written by Alaa Kabalan
edited by Azza Hajjar

Tuesday, January 29, 2013

معرض | منير الشعراني يعيد احياء الخط العربي | ٢٠١٣

منذ العهد العثماني، والخط العربي في حالة جمود. بل في حالة اخفاء هوية. لم يصلنا من هذا الفن العربي سوى ستة خطوط لم تتطوّر منذ ذاك. اما منير الشعراني، الخطاط والفنان العالمي، ذو خبرة الـ ٣٥ عاما، فسار في رحلة بحث عن المغالطات والثغرات التي اكتشفها في هذا الفن، مدعماً ايّاها بدراسة اكاديمية للفن التشكيلي والتصميم الغرافيكي.

منير الشعراني في معرضه | المصدر: Art on 56th

أنا عندي اليوم أفكار لعشر سنوات إلى الأمام، لكن بما أن هذا الفن توقف لمدة طويلة لا أستطيع أن أشطح، بمعنى أني لا أغفل مراحل كان من الضروري أن يمرّ بها الخط، ولم يحدث ذلك بسبب العقلية السلفية والتقليدية والجمود التي حكمتنا منذ العصر العثماني، وتستمر حتى اليوم بشكل أو بآخر.



في غاليري Art on 56th، عرض الفنان السوري اعمالا تجسّد ما توصّل اليه من بحوث. فعلى سبيل المثال، يشرح الشّعراني في مقابلة له مع احمد بزون في جريدة السّفير (الجمعة ١١ يناير ٢٠١٣) كيفيّة بنائه للخطّ الكوفي النيسابوري انطلاقا من صفحتين وبعض الحروف المتفرّقة على اوان خزفيّة، وهي كل ما وصلنا الينا من تراث هذا الخط. فاضاف على الحروف ما نقص، ثم استخدمها لرسم صور معاصرة كالّتي تحدّثت عنها رنا زيد في مقالتها في الحياة (الاحد ٢٧ يناير ٢٠١٣)، فوصفتها واقتبس انما تتعالى حروف الكلمات مع المعنى، برشاقة وتداخل عمودي“.

الخط الكوفي النيسابوري | تكاد يدي تندى اذا لمستها وبنيت في اطرافها الورق الخضر

اما الحروف التي رسمها الشعراني في هذه اللوحة ما هي الا حروف كلمات بيت "مجنون ليلى" (قيس بن الملوح)
تكاد يدي تندى اذا ما لمستها | وبنيت في اطرافها الورق الخضر (الخضر اصلها نضر لكن الشّعراني عدّلها في لوحته هذه)

من اليمين الى اليسار بالخط المغربي: العلم في العين حيرة | العارف صاحب تجريد | الناس نفوس الديار

عمل الشّعراني ايضا على الخطّ المغربي الذي كان يستخدم في نسخ الكتب في المغرب العربي والاندلس، فدرس سماته الجماليّة، ومنها صمّم خط هندسي غير مرسل يقوم على العلاقة بين التدوير والاستقامة، خط حديث لكن بذرته تعود الى الخط المغربي المرسل (مرسل اي يختلف شكلا بين خطّاط وآخر) كما شرح في منشورته التي وزّعها في معرضه في غاليري Art on 56th.

من اليمين الى اليسار: قربي منكم حسبي | كانني مذ غبت عني غائب
في بلاد الشام مرآة روحي

من الواضح وجود ثورة على جدران هذا المعرض. ثورة فكريّة وصوريّة على ركود يصيبنا على شتّى الصّعد في العالم  العربي، ثورة ترجمها الفنّان منير الشّعراني في منحاها الفنّي (المتعلّق بالخط العربي) في لوحاته هذه. لكنّ السؤال هو: هل سنرى ترجمة لابحاثه في كتب تحمل دراسات للاجيال القادمة كي تسعى، كما هذا الفنّان، لاحياء فنّ كتمه التّاريخ قديما، وحلّ مكانه الحاسوب والعصر الرّقمي حديثا؟

Art on 56th | Gemmayzeh, Beirut, Lebanon
تنقيح: عزّه حجّار
تدوين: علاء قبلان
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