Page 140 - Ahmed Fouad Selim
P. 140
ﺣﯾﺎة اﻟﺻورة و ﻣوﺗﮭﺎ ﻓﻲ ﺑﯾﺎن ﺑﯾﻧﺎﻟﻲ اﻟﻘﺎھرة اﻟدوﻟﻲ اﻟﻌﺎﺷر
) ٢٠٠٦ دﯾﺳﻣﺑر ١٣(
ﻧظل داﺧل اﻟﻣرﺋﻲ ﺣﺗﻲ."إن اﻟﺻورة اﻟﺗﻲ ﺗﻠﻣس اﻟﺣواس ﺗوﺻد ﻋﻠﯾﻧﺎ اﻟﺑﺎب ﺣﺗﻲ ﻧظل داﺧل إطﺎرھﺎ و ﻟﯾس ﺧﺎرج إطﺎرھﺎ
ﻟذا ﻓﺈﻧﮫ ﻛﺎن.ﻓﺈن ﻗوة اﻟﺻورة إﻧﻣﺎ ﺗﺄﺗﻲ ﻣن ﻛوﻧﮭﺎ ﺗﺟﺳد اﻟﻣﺳﺗﺗر ﻓﻲ اﻟوﻋﻲ اﻟﺑﺷري.ﯾظل ﻏﯾر اﻟﻣرﺋﻲ ﻋﺻ ﱠﯾﺎ ﻋﻠﯾﻧ ﺎ
".أي ﻋن اﻟﺗﺎرﯾ ﺦ .أو ﺟﻼﻟﮭﺎ و إﻧﻣﺎ أﯾﺿﺎ ﻋﻣﺎ وﻗﻊ ﻓﻲزﻣﺎﻧﮭ ﺎ،ﯾﻧﺑﻐﻲ أن ﺗﻛﺷف اﻟﺻورة ﻟﯾس ﻓﻘط ﻋن ﺟﻣﺎﻟﮭﺎ
. ﻛوﻧﮭﺎ ﻣن ھﻧﺎﺗزﯾﺢ اﻟﻐﯾب،و اﻟﺗﻧﺑ ؤ،"إن اﻟﺻورة – أ ﱠﯾﺎ ﻣﺎ ﻛﺎﻧت أﺑﻌﺎدھﺎ – ﺳﺗظل وﺣدھﺎ اﻟﺗﻲ ﺗﻣﻠك ﻣﯾزة اﻟﺗﺑﺷﯾر
".و ﺳره اﻟﻣﻌﻠن،ﺑﻣﺎ أﻧﮭﺎ ﺗﺎرﯾﺧﮫ و زﻣﺎﻧ ﮫ.ذﻟك أن اﻟﺻورة ھﻲ اﻹﻧﺳﺎ ن
أمحد فؤاد يلسم
Picture Life and Death in the Statement of the 10th Cairo International Biennale
December 13th, 2006
The picture that touches the senses locks the door so that we remain inside its frame not
outside. We remain in the visible scene so that the invisible one remains unobtainable to
us. The power of the picture comes from embodying the human unconsciousness; the
picture should reveal not only its beauty or majesty, but also what happened in its time
and history.
The picture, whatever its dimensions, will remain the only thing that owns the advantage
of preaching and predicting, since it removes the unseen; it is the human being, since it
is his date and time, and his declared secret.
Ahmed Fouad Selim
138
) ٢٠٠٦ دﯾﺳﻣﺑر ١٣(
ﻧظل داﺧل اﻟﻣرﺋﻲ ﺣﺗﻲ."إن اﻟﺻورة اﻟﺗﻲ ﺗﻠﻣس اﻟﺣواس ﺗوﺻد ﻋﻠﯾﻧﺎ اﻟﺑﺎب ﺣﺗﻲ ﻧظل داﺧل إطﺎرھﺎ و ﻟﯾس ﺧﺎرج إطﺎرھﺎ
ﻟذا ﻓﺈﻧﮫ ﻛﺎن.ﻓﺈن ﻗوة اﻟﺻورة إﻧﻣﺎ ﺗﺄﺗﻲ ﻣن ﻛوﻧﮭﺎ ﺗﺟﺳد اﻟﻣﺳﺗﺗر ﻓﻲ اﻟوﻋﻲ اﻟﺑﺷري.ﯾظل ﻏﯾر اﻟﻣرﺋﻲ ﻋﺻ ﱠﯾﺎ ﻋﻠﯾﻧ ﺎ
".أي ﻋن اﻟﺗﺎرﯾ ﺦ .أو ﺟﻼﻟﮭﺎ و إﻧﻣﺎ أﯾﺿﺎ ﻋﻣﺎ وﻗﻊ ﻓﻲزﻣﺎﻧﮭ ﺎ،ﯾﻧﺑﻐﻲ أن ﺗﻛﺷف اﻟﺻورة ﻟﯾس ﻓﻘط ﻋن ﺟﻣﺎﻟﮭﺎ
. ﻛوﻧﮭﺎ ﻣن ھﻧﺎﺗزﯾﺢ اﻟﻐﯾب،و اﻟﺗﻧﺑ ؤ،"إن اﻟﺻورة – أ ﱠﯾﺎ ﻣﺎ ﻛﺎﻧت أﺑﻌﺎدھﺎ – ﺳﺗظل وﺣدھﺎ اﻟﺗﻲ ﺗﻣﻠك ﻣﯾزة اﻟﺗﺑﺷﯾر
".و ﺳره اﻟﻣﻌﻠن،ﺑﻣﺎ أﻧﮭﺎ ﺗﺎرﯾﺧﮫ و زﻣﺎﻧ ﮫ.ذﻟك أن اﻟﺻورة ھﻲ اﻹﻧﺳﺎ ن
أمحد فؤاد يلسم
Picture Life and Death in the Statement of the 10th Cairo International Biennale
December 13th, 2006
The picture that touches the senses locks the door so that we remain inside its frame not
outside. We remain in the visible scene so that the invisible one remains unobtainable to
us. The power of the picture comes from embodying the human unconsciousness; the
picture should reveal not only its beauty or majesty, but also what happened in its time
and history.
The picture, whatever its dimensions, will remain the only thing that owns the advantage
of preaching and predicting, since it removes the unseen; it is the human being, since it
is his date and time, and his declared secret.
Ahmed Fouad Selim
138
