Market in 2013 for plastic surgery was mainly female, says data released by the British Association of Aesthetic Plastic Surgeons. Women had 45,365 operations, compared with 4,757 for men.
Image Matters presents the story of a close-knit community of bourgeois women in Lebanon who live in a culture of “perfectability.” But it’s not confined to Lebanon – in the developed world all women face these choices.
Why does Image matter so much? Why are we prepared to cut, burn and inject poison into ourselves to “look perfect”?
Wed Nov 13 was the screening party for cast, crew and supporters of the film Taking Over the King’s Land, held at the highly congenial Dalston Social. It started as a “cast and crew” screening party but everybody decided that friends should come too, and then strangers (but in our neighbourhood no-one’s a stranger)
After the film and the Q and A with director Gillian McIver and artist (and subject of the film) Nazir Tanbouli, LION TRIBE played a 45 min set of intense funk rock that topped the whole evening off perfectly. On the walls, art work by Nazir’s student KROM complemented the atmosphere of the event.
On another note, the very first mural of the KING’S LAND project, that the film documents, is the only one still standing. As the estate is demolished, the first mural can still be seen; from above, here it is:
TAKING OVER THE KING’S LANDhas been completed and signed off. The film is now winging its way around the world in festival submissions.
Portrait of Nazir Tanbouli
London Summer 2012. It’s Jubilee year, Olympic year.
And in a forgotten corner of East London, in the shadow of the Olympic site, Egyptian artist Nazir Tanbouli is battling weather, vandalism and lack of funds, to create a massive mural installation throughout a semi-derelict housing estate.
One man, one brush. Taking Over the King’s Land follows Nazir through his self appointed task on the Kingsland estate. Can art counter the urban atmosphere of deprivation, blight and neglect?
“The two women talking about shopping in the midst of war—there are so many layers of contemporary culture captured here simultaneously, such as a distracting investment in the surface, a solution to anxiety.”
Rozy was interviewed ahead of the screening on 24 August of IMAGE MATTERS at the Lebanese Film Festival in Sydney Australia. The Festival showcases Lebanese arts and culture through film, with a wide variety of movies made by Lebanese and international film makers. http://lebanesefilmfestival.com.au/