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Thanks to the efforts of friends and members of the Arab Image Foundation, we continue to mobilize new and recurring individual philanthropists. A big warm thank you goes to all those individuals who encourage us to keep going no matter what. An up-to-date list of names we are indebted to can be found here. Parr, Martin; Badger, Gerry (2006). The Photobook: A History - Volume 2. London and New York: Phaidon. p.129. ISBN 0-7148-4433-0.

We have been graciously accompanied by so many supporters since news of the August Beirut port explosion rippled across the world. We are grateful to the latest foundations and institutes: Pardoe-Westermann Family Fund, American Institute for Conservation of Historic & Artistic Works, Savvy Wood Photography, Centre de la Photographie, Benevity, PhotoArts Studio, Robert Rauschenberg Foundation, and Stanley Thomas Johnson Stiftung. What is very precious is their unrestricted funding that allows AIF the flexibility to prioritise. Due to their digital remediation, the digitized images of the AIF collection are reconfigured into a new image-form with modified structures, functions, and ways of presentation, which considerably affects the way they are perceived and interpreted. [7] While their accelerated and simplified distribution as digital images might increase their visibility and value as visual information, it might also endanger their significance as historical documents. [8] “The photographic transformation of matter into information changes its tempor(e)ality as well,” says media theorist Wolfgang Ernst. He continues, Arthur Ross Architecture Gallery, Graham Foundation, LAXART View of “Every Building in Baghdad: The Rifat Chadirji Archives at the Arab Image Foundation", 2016, Graham Foundation, Chicago. Photos by: RCH | EKH.In the context of shrinking liberties across the Arab region and beyond, Yasmine Eid-Sabbagh, Kristine Khouri and Vartan Avakian - all three board members of the Arab Image Foundation - invite students to think beyond this precarity. They put together a hands-on remote Practitioners-in-Residence for the upcoming Spring semester at the Hagop Kevorkian Center for Near Eastern Studies at NYU to challenge researchers, conservationists, archivists, artists, and writers to reflect on collective work practices and governance as well as custodianship and rights. Using the diverse collections at AIF, they prod us to imagine ways of taking care of a collective inheritance and to think critically about it in relation to our times. The Arab Image Foundation along with Ashkal Alwan were invited to give a presentation to the group, speaking about our specific areas of work related to cultural heritage protection but also highlighting the challenges and possibilities in a stifling socio-political and economic context. IMAGE Skincare Vital C Hydrating Repair Crèmeis your path to ageless, radiant skin. With a potent blend of antioxidants, vitamin C, and nourishing botanicals, it restores vitality to your complexion. This serum is not just skincare; it's a daily ritual that rejuvenates your skin and boosts your confidence. Lamha is a podcast in Arabic put together by the Arab Image Foundation with the aim of presenting the collections in its custody through a series of short snippets. Conditioning botanicals and antioxidants: Plant extracts that help to condition and nourish the skin

Omayma A. Shafy (Co-founder & CEO) and Yasmine Hussein (Researcher in charge of Archive), and Ali Al-Adawy (film curator), Wekalet Behna For Arts (Alexandria, Egypt). The Vehicle. Picturing moments of transition in a modernizing society, Curated by Akram Zaatari (1999) See Stefan Römer, Künstlerische Strategien des Fake: Kritik von Original und Fälschung (Cologne: DuMont, 2001), 117.In fact, the members of the AIF initially planned to open a “Center for Photography” in Beirut that was supposed to house the AIF collection and would have been a venue for exhibitions, workshops, and other public events. Yet, over the years, as more artists and scholars like Walid Raad and Lara Baladi from Lebanon, Yto Barrada from Morocco, Issam Nassar from Palestine, and German-Lebanese Yasmine Eid-Sabbagh joined the foundation, it took on a different, hybrid shape. Instead of becoming a cultural institution as such, the AIF today combines the features of an institutional entity with the characteristics of a long-term collective artistic project.

To mark the end of the workshop, we held a public conversation on Friday 16 December at 5pm, in which the participants shared their research and work in progress over the past two weeks. The participants were joined by Edmund and Ben, and the conversation was moderated by AIF outgoing director, Heba Hage-Felder. Header image: 0024ab00016, 0024ab - Abdel Hadi family collection, courtesy of the Arab Image Foundation, Beirut. Wolfgang Ernst, “Archive, Storage, Entropy: Tempor(e)alities of Photography,” in The Archive as Project – the Poetics and Politics of the (Photo)Archive, ed. Krysztof Pijarski (Warsaw: Fundacja Archeologia Fotografi, 2011), 56–78, here 64. In early February 2021, Lokman Slim, writer, activist, critic and co-founder of UMAM D&R was assassinated in the south of Lebanon. We condemn all political assassinations and call on duty bearers to bring this crime to justice. Courtesy of Marwan Tahtah There is so much more we’d like to say, but let us be patient; we'll share more updates with you very soon.IASA-TC 03 The Safeguarding of the Audiovisual Heritage: Ethics, Principles and Preservation Strategy Mina Image Centre is a non-profit organisation and a dedicated space for the image in all its forms. With a yearly programme of exhibitions and parallel public programmes, including screenings, performances, and workshops, Mina seeks to showcase the work of local artists across disciplines, providing a platform for reflection and encounter around image and artistic practices.

Against Photography - An annotated history of the Arab Image Foundation, curated by Akram Zaatari (2017) In this exhibition, Nour Helou and Afrang Nordlöf Malekian present a series of photographs from the Asghar Beechareh, Photo Caron, Studio Marjan, and Photo Bahar Collections. They examine transformations of the concept of ​ beauty and gender norms over time. How are the notions of class, race, and gender staged through these photographs?

This is the most widely recognized and most straightforward shallow foundation type, as this is the most economical type. They are typically utilized for shallow establishments to convey and spread concentrated burdens caused, for instance, by pillars or columns. They are generally used for ordinary buildings (Typically up to five stories). Figure: Isolated shallow foundation image We can think of endless efforts that go into holding that space and preventing its closure. The more bookshops, libraries, performance spaces, galleries, archives, museums, and community halls we have access to, the more our stories breathe and grow. We die a little every time such spaces are lost or are at risk. Sharing our experiences on how we protect and uphold what is in our custody during times of crises is invaluable to make us weather potential future storms. Some regions are in the throes of multiple crises more than others – that does not make us more special but more marked by scars, fear and above all, hope. As we deal with calamities, we have an urge to continue and confront the complex social and political realities we live in. So many have done so before us, while others have lost their bearings, or were silenced. In each instance, there is always a story to tell. ​ Furthermore, considering the size of the AIF collection and the time it will take to digitize it in its entirety (which is essentially the objective of the foundation), the AIF and its online database at this point paradigmatically illustrate what Ernst calls “a divided memory world” in which some data circulates online “while undigitized photographs remain largely unseen in physical archives.” [10] This meticulous process requires its own set of guidelines of course, which were effectively developed during a testing period ahead of the digitisation phase while the albums were still being catalogued by the archivists in the preservation lab. Always a work in progress, those guidelines are constantly fine-tuned and updated. We often encounter things that were not anticipated, and we must respond to the requirements of each object to ensure its integrity but also obtain best results. This entails adjusting the lighting setup and imaging equipment, but also the use of special tools for handling. I am grateful to be part of the Foundation and its team that is conscious about the importance of being collectively responsible for what is in our custody. As did previous colleagues, peers and fellow community members, we strive to pass on the inheritance of knowledge and objects for generations to come.