“The transformation of the world is illusory. The world is to be deciphered. Exhausted from its autophagy. The project will remain unfinished.”—Salomé Lamas
Fatamorgana is both a political parody and a speculative comedy, in which historical and
contemporary personalities narrate post–World War II global history and geopolitics, through
a web of references and direct citations. The undercurrent is one of sense, illusion, and truth.
Hanan—a Muslim cousin of James Joyce’s Molly Bloom—finds herself, not sure how, in
Beirut’s Hall of Fame waxwork museum after its closing hours. Like Homer’s most virtuous
Penelope, this woman waits for her husband; she appears to have set a date with him, but
he has not arrived—where can he be? While waiting, she begins interacting with the wax
figures in the museum’s empty rooms, and the figures respond in turn.
Blending and clashing sixteen differing languages, as well as a variety of fiction and
nonfiction sources, Fatamorgana is a multidimensional space, a kind of experiment with
truth, or a type of fiction that sets up a platform for the collision of multiple fragments,
elements, stories, facts.
The publication is the final chapter in a longtime endeavor. Fatamorgana is a multiform
project realized between 2016 and 2019, comprising a theatrical work, two films, two
publications, and a sound installation. The current book is dedicated to the graphic
translation of the text at the heart of the project, alongside a variety of related materials,
including project notes and contributions from various authors, while providing online access
to photographic, video, and sound materials, along with technical specifications for all of the
project’s component elements.