Izložba u Bejrutu čuva uspomene na život i gubitke u južnom Libanu

A new exhibition in Beirut has begun showcasing personal memories and artifacts from southern Lebanon, offering a glimpse into daily life amid ongoing displacement and destruction. The exhibit, titled Hkeeli Ya Jnoub, meaning “Tell Me, O South”, is housed in parts of Beit Beirut, the historic Barakat building that still shows signs of Lebanon’s civil war. The space includes a recreated traditional southern Lebanese home, featuring a bedroom, kitchen, living room and study, designed to evoke a sense of normalcy and continuity. Over 3,500 visitors have attended the exhibition since its opening, with many contributing personal items such as letters, drawings and written recollections. The exhibition combines photographs, letters, videos and interactive installations to explore themes of memory, place and loss. One standout piece is Keys Without Homes, an installation by filmmaker and researcher Adeeb Farhat. It features keys collected from southern Lebanese residents whose homes were either destroyed or rendered uninhabitable. These keys, suspended from the ceiling, symbolize both the longing for return and the absence of the doors they once opened. Fatima Hajj Ali, a 23-year-old from Nabatieh Al Fawqa, described her emotional reaction upon seeing the installation. She recalled how her family had hoped to return home and open the door with the key, only to find that the door no longer existed. Other works highlight the personal and historical narratives of southern Lebanon. Manufacturing Estrangements, created by artist Rawan Mazeh, draws on letters exchanged between Hassan Saeed and Abda Malkani, a married couple imprisoned in Khiam during Israel’s occupation. The letters reveal the couple’s struggles with separation, detention and physical abuse, yet they also reference mundane concerns such as olive trees, gardens and family members. Meanwhile, What Remains by Sama Beydoun presents photographs of her grandfather’s destroyed house in Bint Jbeil. Due to a technical issue, many of the images appear blurred, an effect Beydoun interprets as reminiscent of fragmented memories from dreams. The exhibition also incorporates technology to bring communities together. An augmented-reality map allows visitors to see villages through photographs and personal archives. Family photos and messages are pinned to a digital representation of southern Lebanon, while notebooks are available for visitors to document their own experiences. This interactive element encourages participation and helps build a collective archive of personal histories. Public programming complements the exhibition, celebrating southern Lebanese traditions. Workshops, such as a saj bread-making session led by Sitt Salma, provide opportunities for cultural engagement. Organizers emphasize that Hkeeli Ya Jnoub does not aim to capture every individual experience of the south. Rather, it functions as a dynamic repository, evolving through contributions from those who lived in the region. By focusing on homes, traditions and relationships, the exhibition seeks to preserve elements of identity that might otherwise be erased by conflict. The exhibition’s location in the war-scarred Beit Beirut adds another layer of significance. The building itself serves as a backdrop for the display, reinforcing the connection between past and present. Visitors walk through spaces that reflect both the resilience of the community and the lingering effects of violence. As the exhibition continues, it offers a platform for storytelling and remembrance, ensuring that the voices and lives of southern Lebanon remain visible and valued.