The atmosphere is festive at the Sursock Museum in Beirut, which reopened its doors on May 26 after a little more than two years of work. Two years of indecision for the only museum of modern and contemporary art in the Lebanese capital, closed in the aftermath of the explosion of August 4, 2020, which devastated half of the city and killed 300 people. To see the curious babbling in its freshly painted rooms, one could nevertheless believe oneself in this "Beirut before" when the city lived to the rhythm of its legendary carefreeness. "It's a symbol," says Karina al-Helou, its director, who speaks of resilience: "A crucial moment for the cultural sector."
With the Beirut Art Center (BAC), which is also resuming its activities, this reunion launches in any case a positive signal, to which Zad Moultaka has perhaps best given body. In the huge lower room of the museum, the Franco-Lebanese artist presents Ejecta, an immersive installation that evokes both the fall and the repercussion
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