Fouad Elkoury and Jeremy Peacock. "Sleeping Man," 1994, inkjet print on Hahnemühle FineArt Pearl paper. Courtesy of Galerie Tanit.
BEIRUT — There’s nothing simple about mechanically reproduced images.A photograph exists in a swirl of conversations about truth and representation, in what’s included or excluded, candid or staged, authentic or doctored, hand-made or congealed from internet scrapings.During times of war, these exchanges mingle most conspicuously with news, politics and propaganda. They’re also integral to history, art and entertainment, social control, surveillance, commerce and scientific investigation.Before this region’s current war was ignited by U.S.-Israeli attacks in Iran on Feb. 28, photo imagery was the subject of two Beirut exhibitions: Fouad El Khoury and Jeremy Peacock’s “Le Cerf-Volant,” at Galerie Tanit, and Rania Stephan’s “Isn’t It About Time,” at Marfa’ Projects.In their politics, aesthetics and materials, the images exhibited in these...
BEIRUT — There’s nothing simple about mechanically reproduced images.A photograph exists in a swirl of conversations about truth and representation, in what’s included or excluded, candid or staged, authentic or doctored, hand-made or congealed from internet scrapings.During times of war, these exchanges mingle most conspicuously with news, politics and propaganda. They’re also integral to history, art and entertainment, social control, surveillance, commerce and scientific investigation.Before this region’s current war was ignited by U.S.-Israeli attacks in Iran on Feb. 28, photo imagery was the subject of two Beirut exhibitions: Fouad El Khoury and Jeremy Peacock’s “Le Cerf-Volant,” at Galerie Tanit, and Rania Stephan’s “Isn’t It About Time,” at Marfa’ Projects.In their politics, aesthetics and materials, the...
