Firas el-Hallak poses at the site of the Tripoli International Fair designed by Oscar Niemeyer. (Credit: Image provided by Firas al-Hallak)
Before it became a film, an album, or an installation shown in European museums, the dome of the Rachid Karame International Fair was a playground for Firas al-Hallak and his friends. They would sneak into this unfinished structure in Tripoli, sing towards the concrete walls, scare themselves and wait for their voices to come back to them. "We thought that ghosts inside the dome were repeating what we said," Firas said. The ghosts were, no doubt, just echoes.Years later, he returned to the site with microphones, musicians and a camera. What began as a series of musical performances recorded inside the dome grew into "The Dome Sessions" — a project that brings together the recordings as an album, an experimental documentary, and an immersive installation.The film came laterThe film was never the starting point. The...
Before it became a film, an album, or an installation shown in European museums, the dome of the Rachid Karame International Fair was a playground for Firas al-Hallak and his friends. They would sneak into this unfinished structure in Tripoli, sing towards the concrete walls, scare themselves and wait for their voices to come back to them. "We thought that ghosts inside the dome were repeating what we said," Firas said. The ghosts were, no doubt, just echoes.Years later, he returned to the site with microphones, musicians and a camera. What began as a series of musical performances recorded inside the dome grew into "The Dome Sessions" — a project that brings together the recordings as an album, an experimental documentary, and an immersive installation.The film came laterThe film was never the starting point. The...
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