Born in 1967, Beirut. Lives in Beirut.

Rabih Mroué's artistic practice merges visual art, performance and theatre. From the 1990s onwards he has explored different aspects of political representation, with a particular focus on the Lebanese civil war. Mroué often uses found documents, video footage, photographs and objects as points of departure, to further deconstruct their authenticity. The three videos, I, the undersigned (2007), Noiseless (2008) and With Soul, With Blood (2003), occupy a space between documentary and fiction. Whilst appearing and performing in the videos, the artist's identity is unclear. I, the Undersigned explores the possibilities and limits of public apology as both a political and artistic gesture. The work consists of two parallel videos and a wall text that all refer to reasons for the artist to apologise. In one continuous shot the camera captures the artist's expressionless and almost motionless face along with a spoken account of his public apologies. He apologises for a succession of personal faults ranging from apologising for what he did during the Lebanese war to an apology for being ambiguous about artistic truth. The video Noiseless uses the artist's archive of cuttings from public notices in local newspapers. These concern the search for missing people, into whose stories the artist inserts his own identity. With blood, with soul refers to the ideological impasse of developing a community based on the concept of a homeland, descent and sacrifice.