Lebanese Pavilion: The World in the Image of Man
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For the 59th edition of the Venice Biennale, the Lebanese Pavilion exhibits two Lebanese contemporary artists, Danielle Arbid and Ayman Baalbaki, in the exhibition The World in the Image of Man. The dialogue between these two artists is characterized by different geographical and aesthetic points of view: the video Allô Chérie by Danielle Arbid, a filmmaker and video artist who emigrated to Paris, interacts with Janus Gate by Ayman Baalbaki, a painter who lives and works in Beirut. Within his monumental installation, Ayman Baalbaki creates a work embodying the process of fragmentation suffer...
For the 59th edition of the Venice Biennale, the Lebanese Pavilion exhibits two Lebanese contemporary artists, Danielle Arbid and Ayman Baalbaki, in the exhibition The World in the Image of Man. The dialogue between these two artists is characterized by different geographical and aesthetic points of view: the video Allô Chérie by Danielle Arbid, a filmmaker and video artist who emigrated to Paris, interacts with Janus Gate by Ayman Baalbaki, a painter who lives and works in Beirut. Within his monumental installation, Ayman Baalbaki creates a work embodying the process of fragmentation suffered by the city of Beirut due to the return of barriers and barricades in its streets. The movement of the door of Janus, which is alternately wide open, shuttered or closed, responds to the mother of the artist's frantic race car through Beirut. The video is organized in a split screen, enhancing the impression of a divided city. The soundtrack is composed of snatches of negotiations on the phone accounting for a fractured city in the midst of uncertainty. The catalogue gathers several articles facilitating the apprehension of these two artists and marks the return of the Lebanese Pavilion to the Venice Biennale after 5 years of absence.
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