Tarek aims at a “second hand” look of the quotidian domestic scenes by drawing, or painting straight from a photograph. This allows for a forensic view into what he calls “Rooms of Neglect” a crime-scene view of our familiar private places. These bathroom scenes, although not personally ours, have this uncanny similarity to our own bathrooms; that we use every day. This familiarity is specifically in the neglect that these rooms suffer from and per se, are reflected directly upon us. The result are paintings and etchings that have a direct connection to their origin in the photographs of random bathrooms that could be ours, the unknown as our very own.
ArtLab and Dongola Limited Editions are pleased to invite you to the opening of The Distance is Always Other, a collaborative photography exhibition presenting the work of British photographer Chris Coekin and Lebanese photographer Noel Nasr. This exhibition is an artistic exploration, grounded in archival documentation, highlighting socio-geographical transformations in Lebanon over the past forty years.
The project investigates and responds to an archive of stereoscopic snapshots taken by an American couple visiting Beirut in 1973. Through their process of experimentation, the photographer duo exposes the instability within the Lebanese landscape. They provide crucial evidence of the social, demographic and architectural changes caused by the lengthy civil war and subsequent reconstruction.
This visual experiment developed into an artist book which carries the same title as the original project, and will be launched in conjunction with the exhibition. Published by Dongola Limited Editions, the book is designed by renowned Iranian artist Reza Abedini, and includes a text by Lebanese writer Fadi Tofeili.
Au Coeur des conflits du Moyen-Orient, je me lève outragé par les actes d’agression et de violence contre les minoritiés.
Un matin, suite a une tentative d’invasion du couvent de Saint Jacques-le-mutilé à Kara au Nord de Damas, bouleversé, j’ai ressenti la colère de l’impuissant m’envahir.
Par pur respect a toutes les minorities de Syrie, d’Irak ou du monde entier, j’ai dessiné ma premiere croix dediée a St Jacques-le-mutilé. Et puis se suivent les dedicaces pour un chapelet de saints et saintes d’Orient qui , en installant la foi Chretienne, ont fondé les bases de la société modern aux levant et par la suite dans le monde entier: ceci est une Verité
Moi, non-Chretien, je reconnais la civilization actuelle dans l’histoire de chacun d’eux; et ils sont d’ici, de chez nous.
Plus j’approfondis mes recherches des Verités les concernant, plus je fonds dans l’amour absolu…
This exhibition, curated by Maysa Harwil, shines a light on the intimate world of painters and their magic of transformation.
The displayed random pieces originated from the studios of 15 Arab artists. They are individually unique offering a glimpse into the artists’ mind, creativity and reinterpretation of daily-use objects.
Explore this world where artifacts meet art.
Azza Abou Rabieh (SY)
Anas Albreahe (SY)
Amira Behbehani (KW)
Serwan Baran (IQ)
Oussama Diab (PS/SY)
Mohamad Khayata (SY)
Semaan Khawam (LB)
Charles Khoury (LB)
Jad Khoury (LB)
Randa Kuzbari (LB)
Mohannad Orabi (SY)
Louma Rabah (LB)
Raouf Rifai (LB)
Ghaylan Safadi (SY)
Kais Salman (SY)
“Lenin lives! Lenin is with you!” Since the Bolshevik Revolution of 1917, this hymn has been more than an ever-present slogan. Throughout the 20th century, the figure of the revolutionary leader was omnipresent. But as Russia prepares to celebrate the centennial of the October Revolution, Ukraine, the other pillar of the Soviet Empire, will have none of him. Summum of decommunization: as of late 2016, none of the 5,500 statues that formerly dotted the territory is still standing.
Lenin has left the square. His face no longer overlooks the metro station. His name has disappeared from the topography of the city. This sudden eclipse evokes more questions than answers. What is the meaning of this decommunization? How does it relate to the war in the east of the country? How should we look at Lenin and the history he shaped?
To visualize these questions, the photographer Niels Ackermann and the journalist Sébastien Gobert went insearch of Lenin. In the summer of 2015, they set off, traveling through Ukraine in search of crumbled stone and fragments of metal. What began as a simple journey of curious friends became a fascinating investigation, an astonishing adventure through Ukraine in upheaval.
Every statue, whether found in a garbage dump, the locker room of nuclear plant, a private collection, or transformed into Darth Vader, tells a story. Through a collection of photographs, halfway between documentary and symbolism, the authors create a catalog and typology of this decommunization, capturing the issues of memory for this country that is seeking itself. Lenin is dead; Lenin is no longer with the Ukrainians. But his name still weighs heavily on the present and future of Ukraine.
Freudian theory claims that the spirits of our ancestors are the guarding totems of actual society. Renaissance artists have erected these totems as large statues with perfect representation of the human body.
This notion of perfection, that we still find today in mass media, opposed to the reality of the human condition drives us to a sexual crisis that shapes our physiognomy.
In “Totem Taboo’ Armin Abedi interprets the Modern Man persona through parts of the human body and decomposed reflective textures representing society’s influence on our inner spirits.
"I knew that my time with Rumi was coming to an end. Through our companionship Rumi and I had experienced an exceptional beauty and learned what it was like to encounter infinity through two mirrors reflecting each other endlessly. But old maxim sill applies: Where there is love, there is bound to be heartache."
(The Forty Rules of Love / Elif Shafak)