October 2012

Ashkal Alwan’s Home Workspace Program

Kaelen Wilson-Goldie

SOMETHING HAD CLEARLY GONE WRONG. On a muggy, breezeless evening in Beirut in late July, a crowd was gathered around an artist named Joe Namy, who was nearly in tears. He stood in the doorway of a former factory, which opened onto an empty street running through a drab industrial district on the eastern edge of the city. This wasn’t the glamorous end of the Lebanese …

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