FADIA AHMAD BEYROUTH | BEIRUT
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FADIA AHMAD
BEYROUTH | BEIRUT
P R E S S F I L E
A M M A N
E X H I B I T I O N – F E B R U A R Y 3 – M A R C H 2 3
- J O R D A N N A T I O N A L G A L L E R Y F O R F I N E A R T S
C U R A T O R - P A S C A L E L E T H O R E L
BEYROUTH | BEIRUT T A B L E O F C O N T E N T S
01 I n t r o d u c t i o n b y P a s c a l e L e T h o r e l ,
Exhibition Curator
P R E S S R E L E A S E
02 THEME & PLAN OF THE EXHIBITION
03 FADIA AHMAD, BIOGRAPHICAL REFERENCES
04 JORDAN NATIONAL GALLERY FOR FINE ARTS
05 PASCALE LE THOREL, CURATOR
06 MEDIATION
K E Y D A T E S & P R A C T I C A L I N F O R M A T I O N
A B O U T T H E E X H I B I T I O N
07 CATALOGUE OF THE EXHIBITION
08 PRESS VISUALS
09 CONTACTS, RATES, ACCESS
FADIA AHMAD
I N T R O D U C T I O N
B Y P A S C A L E L E T H O R E L ,
01
E X H I B I T I O N C U R A T O R
R E M I N D E R , 2 0 1 6
BEYROUTH | BEIRUT 02
B
EYROUTH | BEIRUT, whose perspective was developed, that she
curation was entrusted to is alone to bear, on this strange
me, brings together for the composite that is the capital of
first time a large set of Lebanon.
big-format photographs by the Her photos are like Beirut, the
Lebanese photographer Fadia Ahmad partition, the difference, the
dedicated to the city of Beirut and its ambience. If they often refer to the
inhabitants. This series to which the history of art and photography, they
artist is devoted since 2003 is certainly are also those of a human and artistic
the one that is the dearest to her heart, adventure, which I wanted to share.
although she works in parallel with Beyond the city of Beirut, where this
other cycles of photography, mainly event took place for the first time
centered around landscapes and before it was hosted in Amman, the
portraits. aim is to support a commitment to a
The singularity of the approach of this territory and an artistic project
photographer, which is part of the aiming to make contemporary art
international contemporary scene, lies accessible to the general public.
in the constant dialogue she has with
the city of Beirut that she travels daily
with her camera in order to capture it.
Indeed, Fadia Ahmad, born in exile in
Spain during the Lebanese war, only
became acquainted with the country
of her ancestors in 1991. A special
FADIA AHMAD
T H E M E & P L A N O F T H E
02
E X H I B I T I O N
T
The exhibition features history of art and photography. From
unexpected photographs of the wave of Hokusai to the landscapes
the city of Beirut, allowing of Courbet, from monochromes and
viewers to discover in seven abstracts to the geometric
main sections the details of Fadia abstractions of Peter Halley, from the
Ahmad’s daily routine walks that chromos of Ed Ruscha to the urban
started in 2003 as she followed an architecture of Michael Wolf, from the
itinerary of 10,452 m mirroring the area photos of graffiti and signals of Peter
of Lebanon, 10,452 sqKm. District after Klasen to the inscriptions of street
district, house after house, she artists.
explores the complexity and humanity
of the city and its people. Her poetic Sometimes showing traces of war, the
series eloquently captures the photos more importantly demonstrate
quintessential details of city life: the desire of the Lebanese people to
merchants on street corners, grocers, live and thrive. These photo-paintings,
fishermen, bathers, street artists, far from being a documentary on the
collapsed buildings, new construction… city, are a quest for light and beauty.
They witness a search for the essence
of emotion and show poetic instants
Photographs as Paintings nestled in the slightest details.
Fadia Ahmad’s photographs are
conceived as paintings, at the image of
the Lebanese capital, with its intricate
layers, its differences and its feel. The
photographs transmit a particular
expression of the Lebanese art
photographer, one that is sensitive
and precise, poetic and humanist. The
photos are in color or black and white,
in large scale, some carefully framed,
others snapped in an instant and
sometimes, just like chromos of a
dreamed-up country that reveals itself
quite differently, presenting fragments
of life through fragments of the city
itself. More than a style, they affirm a
present-day vision, and portray an
artist who refers often to the universal
BEYROUTH | BEIRUT 04
"I decided to follow this itinerary, always the same, to avoid being dispersed.
It is its consistency that allows me to discover, to unite with this city. "
Fadia Ahmad
E
xhibition Plan 01 The seashore and the ‘Corniche’
The exhibition is divided into The first two rooms of the exhibition are
seven main parts where the a vision of a Beirut open to the sea. In
city of Beirut appears in the first room, in black and white or in
fragments, and reappear, as in a loop. color, Fadia Ahmad’s work is articulated
around the fragment and the serial,
On the ground floor, the sea, sporting, sometimes arranged in triptychs to
beaches and fishermen. recompose a new landscape, it shows
the power and strength of nature, the
On the first floor: an urban geography; waves and the foam gushing out and
architectures - past and present push us to contemplate this sequence.
confronted; the communities. The second room is devoted to a
popular Beirut tradition, the fishery on
On the second floor: neighborhood life, the coast road. The photographer
the train station or time stopped; the retains the particular colors of the
seashores Mediterranean. Her photographic
paintings capture peaceful,
contemplative, timeless scenes; the
alignments of fishermen and the fine
geometric lines of their long fishing
rods.
Mazarine, 2017
FADIA AHMAD
02 Architectures - past and present 03 The communities
confronted. In this series, Fadia Ahmad gathers an
A large set of photographs is inventory of religious and civilizational
dedicated to the heart of the city of presences that could be a summary
Beirut. As we approach the Martyrs portrait of Lebanon. This is Us shows in
Square, the Solidere neighborhood, the sky the minaret of the mosque and
and their surroundings, urban the bell tower of the Saint George
stratifications appear as layers of Maronite church. A Maronite church
sedimentation of time from ancient adjoins an Orthodox church, the Roman
times till nowadays. Fadia Ahmad baths seem indestructible, as well as
stops on the emblems, the stigmata of the town hall or the Seraglio ...
Beirut civil war; on the concrete The reconstruction district, Solidere, or
spaceship of the old cinema, riddled the bronze statue of Rafic Hariri are just
with bullet holes (The Egg), on the as imposing (The One or the Other)
building in ruins, near Saifi village, on while a large photographic tableau
the facade of the Holiday Inn, on the grabs an inscription on a wall and
big mosque that appears in a gigantic challenges the visitor (God is that you?).
construction site and on locations
where the past and present are
confronted (Before and after;
Fragments).
The plates that define the sectors are
the subjects of an almost abstract
series: a wall, a small piece of yellow or
green wall becomes very important.
Their responses are images of the
abundant creations of street artists.
BEFORE AND AFTER, 2018 THE ONE OR THE OTHER, 2018BEYROUTH | BEIRUT 06
04 An urban geography 05 The train station or the
Fadia Ahmad dedicates a series of time stopped
photographs to the neo-Ottoman or The Train Station series shows the train
Art Deco houses with the brightly station cemetery, a huge abandoned
colored facades or the gilded stone territory (there are no more trains in
features of Mar Mikhael and Lebanon since the war). Fadia Ahmad
Gemmayze. Far from wanting to has managed to enter this forbidden
constitute a stereotyped or objective place, located in the heart of the city,
representation of these architectures, that is closed to the public and bring
she addresses a very personal out its poetry and peculiarity.
inventory of these neighborhoods,
considered as a living organism that The ground is invaded by the
may be endangered, where light and vegetation, the giant eucalyptus trees,
color reign. the rubbers, the ferns, and the lianas.
Locomotives, wagons, car carcasses,
On the second floor: neighborhood life, sometimes covered with graffiti, are
the train station or time stopped; the becoming fossilized little by little
seashores
ELECTRICITÉ DU LIBAN, 2018 TRAIN STATION III, 2018FADIA AHMAD
06 Neighborhood life 07 ‘Corniche’ and the sunsets
Fadia Ahmad looks at the people of This series of photographs present
Beirut and the places they visit daily another vision of Beirut, the city by the
that she describes as "this small city sea. These photographs could have
which is the amphitheater of a melting been taken from other shores of the
pot", which is like the modeling of the Mediterranean or even California. We
new multicultural world. Her artistic see the families on the beaches, the
outlook is also a silent commentary on lovers who reinvested in the capital
the political, economic and social after the war and the sunsets as poetic
situation of Lebanon's capital. Photos metaphors holding the luminous
like Sans Souci du Passé or The Show energy of the city of today, reflecting
Must Go On, just like the the work of the artist herself.
entanglements of electric wires are
just as eloquent.
THE SHOW MUST GO ON, 2018 L,A,B, 2014BEYROUTH | BEIRUT 08
F A D I A
B I O G R A
A H M A D
P H I C A L R E F E R E
03
N C E S
F
adia Ahmad was born in 1975 Fadia Ahmad resorts to photography
in Alicante, Spain. She returns in her artistic practice. She creates
to Lebanon in 1991, after a long series of portraits and landscapes
exile and undertakes studies at particularly in Africa, the Middle East &
IESAV in Beirut. Studying film Asia. Engaged in humanitarian issues,
production and cinematography, she she releases two series, photography &
also masters the art of photography. video, about refugees in Lebanon
Moving subsequently to Sub-Saharian (Camps; It could be you). The artist
Africa, where she worked at the family currently lives and works between
business, she simultaneously pursues Beirut & Paris.
her artistic endeavors. She later
returns to Lebanon in 2002, and
undertakes in the following year the
Beyrouth | Beirut series.04
FADIA AHMAD
T
he Royal Society of Fine Arts collection comprises over 2800 works
The Royal Society of Fine Arts is including drawings, paintings,
a non-profit organization, sculptures, ceramics, video art,
founded in Amman in 1979. Its installations, graphic art and
goal is to promote cultural diversity, photography, by artists from all around
disseminate artistic knowledge and the world from the Developing World,
promote contemporary art from mainly Asia, Africa, Europe, Latin
Jordan, the Arab and Developing America and Australia. The Director
Worlds. The Royal Society of Fine Arts General of the Jordan National Gallery
is governed by a Board of Trustees of Fine Arts is Dr. Khalid Khreis.
headed by its founder HRH Princess
Wijdan Al-Hashemi, PhD. It has an The National Gallery has a specialized
independent administrative, financial reference Library of books and
and legal status and derives its budget periodicals on art and architecture
from donations and grants by in different languages and a Graphics
individuals, institutions and Studio equipped with a printing press.
governments in Jordan and beyond. In Local and visiting artists conduct
order to achieve its aims, the Royal classes in printmaking.
Society of Fine Arts relies heavily on
the consistent support of its patrons. In the Gallery gift shop (Mtjr) visitors
can buy books, postcards,
The Gallery photographs and reproductions from
In 1980 the Royal Society of Fine Arts the current exhibition and from the
founded the Jordan National Gallery of Permanent Collection as well as
Fine Arts which is the first and major selected traditional and modern
art museum in the Middle East. The handicrafts by Jordanian Artists.
Jordan National Gallery of Fine Arts
Compound comprises three buildings “Jungle Fever” café is located on the
flanking a sculpture park with a second floor of Building (2). It has a
children’s playground, open-air stage terrace that overlooks the park of the
and a restaurant. The park where National Gallery and views of Jabal
cultural and artistic activities are held al-Weibdeh and the surrounding
in the open air is a model garden for areas. Its opening hours are from 9:00
water conservation. In 2016 it won the am till 11:00 pm. The Café offers free
global Gold Award of the Green World internet service.
Organization in "Sustainability” for
environmental best practice. Since its Youth Programs
establishment, the National Gallery In cooperation with the Directorate of
has organized numerous local and Programs in the Ministry of Education,
international exhibitions, on its own as the National Gallery organises school
well as in cooperation with other and university visits, where students
museums and has participated in art get acquainted with the Permanent
exhibitions, conferences and Collection of the museum in addition
symposiums all around the World. Its to the exhibitions it holds periodically.BEYROUTH | BEIRUT 10
A R T I S T I C C U R A T I O N
05
A
rt critic and editor, Pascale Exhibitions
Le Thorel has curated From 1994 to 2002, Pascale Le Thorel
numerous contemporary was the artistic director of Hall
art exhibits. She has (Congress Palace), patronage space for
recently curated in France the exhibit, contemporary art of the Chamber of
Libres Figurations les Années 80, for Commerce of the City of Paris.
the Hélène & Edouard Leclerc Fund for
Culture, that will be exhibited in 2021 . In this capacity, she was the curator of
She is also the author of a monograph the personal exhibitions of François
dedicated to the Lebanese painter Arnal, Glen Baxter, Ben, Christophe
Shafic Abboud, and the Dictionnaire Berhault, François Boisrond, Jose
Larousse des Artistes Contemporains. Manuel Broto, Robert Combas, George
Condo, Jean Daviot, Pierre Dunoyer,
Dominique Gauthier, Hwang
Young-Sun, Jean-Olivier Hucleux, Alain
Jacquet, Lee Kang-So, Peter Klasen,
François Mendras, Jacques Monory,
Bernard Rancillac, Ru Xiao-Fan, Peter
Stämpfli, Claude Viallat, Jacques
Villeglé. In 2002 to 2006, she was
responsible for the Propos d'Europe
exhibitions for the Hippocrene
Foundation, alongside its founder,
Jean Guyot, who brought together
contemporary European artists. From
2007 to 2010, she was responsible for
the constitution of the collection, site
and publications of the Stämpfli
Foundation in Sitges (Catalonia). In
2009-2010, she was the curator of the
Peter Klasen Retrospective at Tri
Postal in Lille and Klasen and
Photography for the Rencontres
Internationales de la Photographie in
Arles. In 2011, she organized a cycle of
exhibitions for the Maeght Gallery in
Paris - Cosmogonies and Landscapes
(Abu Dhabi, for the French Institute,FADIA AHMAD
then Paris); Bestiary - photographies
(with Robert Delpire); Marc Couturier.
In 2012, she was the artistic curator of
Intelligentsia, between France and
Russia, unpublished archives of the
twentieth century, exhibition of the
French Institute in the framework of
the Russian Season at the Fine Arts in
Paris, in 2014-2015, of the Jacques
06
Monory exhibition at the Leclerc Fund
in Landerneau; in 2017, Ru Xiao-Fan's
Retrospective exhibition at the Suzhou
Museum (China), In 2017-2018, Libres
Figurations les années 80 for the M E D I A T I O N &
Leclerc Fund. In 2019, she was the G U I D E D V I S I T S
curator for Fadia Ahmad Beyrouth |
Beirut exhibition at Beit Beirut and for
the Bahrain Pavillon at La Biennale de
Paris.
The exhibition of Fadia Ahmad
Main publications Beyrouth | Beirut at Jordan National
Larousse Dictionary of Contemporary Gallery of Fine offers programs for the
Artists; Larousse Dictionary of Modern public. The artist and the curator will
Artists; Picasso au fil des jours offer guided tours of the exhibition in
(biography, Buchet-Chastel, 2003); the days following the opening. A
Jacques Monory, (biography, mediator will be welcoming visitors
Paris-Museums, 2006); Peter Klasen and offering guided tours (upon
1959-2009, (Actes Sud, 2009); Peter appointment). Guided visits can be
Klasen and photography (Actes sud, arranged for groups, schools and
2009); The Stämpfli Foundation universities.
Collection (City of Sitgès, 2010); Fouad
Bellamine (biography, Skira, 2013); A wide range of fun learning resources
Shafic Abboud (biography, Skira, will be made available to students and
2014); Jacques Monory (catalog, teachers encouraging engagement
Leclerc fund, 2014); Ru Xiao-Fan, with art and ideas.
Suzhou Museum, 2017; Figurations les
années 80 (catalog, Leclerc fund, The full program can be found on the
2017). official website: www.fadiaahmad.comBEYROUTH | BEIRUT 12
C A T A L O G U E
A
on Beirut and includes text by Pascale
Le Thorel. FAD IA AHMAD.
book, in French and English is
published by éditions Norma.
Comprising of more than 120
photographs by Fadia Ahmad
O F T H E E X H I B I T I O N
07
Beyrout hI Beirut
Size:: 246
Size 246x x305
305mmmm
Nb ofof pages
pages:: 192
Nb ofof illustrations:
illustrations:160
160
Fadia Ahmad Beyrouth | Beirut
Hardcover
Hardcover
Language:: English-French
Language English-French
public::80$
Prix public in the Middle East
85 US€
ISBN
ISBN:: 9782376660262
9782376660262
Parution
Parution:: September
September 2019
Auteur
Auteur:: Pascale
Pascale Le
Le Thorel
Thorel
Diffusion France:: L’entreLivres/
DiffusionFrance BLDD
L’entreLivres/BLDD
DiffusionLiban
Diffusion Liban:: Antoine
Antoine
DiffusionUSA
Diffusion USAetetreste
restedudumonde
monde: ACC
: ACC
EXHIBITION AT BEIT BEIRUT, BEIRUT,
SEPTEMBER 19 - OCTOBER 19 2019
149, rue de Rennes 75006 Paris
N O R M A Tél. : 01 45 48 70 96 – Fax : 01 45 48 05 84
Pascale Le Thorel Éditions Norma ÉDITIONS Mail : editionsnorma@wanadoo.fr
www.editions-norma.com
THE BOOK
Fadia Ahmad lives and works between Beirut and Paris. She has produced series on Beirut and on refugee camps as well
as on the theme of travelling in Africa and Asia. She has been walking her city daily since 2003 along a 10,452-meter
route, a sample of territory related to the surface of Lebanon: 10,452 square meters. Neighborhood after neighborhood,
house after house, Fadia explores the city like Léon-Paul Fargue’s Le Piéton de Paris. “I decided to follow this itinerary,
always the same, so I wouldn’t wander around. It was its immutability that allowed me to discover, to embrace the city”,
she explains.
Capturing street-corner vendors and grocers, parking-lot attendants, fishermen, bathers and street artists, past and future
constructions but also collapsing buildings, Fadia Ahmad expresses the complex cohabitations in the world of today.
Her photographs, conceived like paintings, are in the image of Beirut, of partition, of difference, of her feelings. They are
fragments of a life just as they are fragments of a city.
AUTHOR
PASCALE LE THOREL is an art critic, curator and editor. She has recently curated the exhibition Libres Figurations années
80 for the Fonds Hélène et Édouard Leclerc pour la culture. She is the author of a monograph on the Lebanese painter Shafic
Abboud (Skira) and of the Dictionnaire des artistes contemporains (Larousse).
Fadia Ahmad, Reflections II , 2018
réalise alors comme un inventaire des présences religieuses et civilisationnelles. This
is us montre dans le ciel le minaret de la mosquée et le clocher de l’église maronite
Saint-Georges. La mosquée paraît encore au centre d’un gigantesque chantier, une
église maronite jouxte une église orthodoxe, les thermes romains semblent indes-
tructibles tout comme la mairie ou le Sérail…. Le quartier de la reconstruction,
Solidere, ou la statue en bronze de Rafic Hariri sont tout aussi imposants (The One
or the Other).
Gustave Courbet, Le Bord de mer à Palavas (detail), 1854, Montpellier, Musée Fabre.
Break In, 2018.
Orgasm, 2016.
Chromos
Arrivée à la mer Méditerranée de son enfance en Espagne, Fadia Ahmad pousse
l’intensité des couleurs, fait des chromos.
Au masculin, le chromo est une reproduction (paysage, nature morte, image reli-
gieuse) qui s’est répandue au XIXe avec les nouveaux moyens de reproduction. Au
féminin, une chromo (ou chromolithographie) définit un procédé lithographique de
reproduction en couleurs par impressions successives (quadrichromie) et les épreuves
obtenues par ce moyen. Les chromos, souvent en plans-séquences, de Fadia Ahmad
seront donc les deux, féminin et masculin, impressions successives en séquences
et polychromie intense, saturée et lumineuse du pays rêvé pour lui donner la force
romantique des paysages de Courbet, de Caspar David Friedrich ou de Gerhard
Richter. On y retrouve la même idée de décalage et de sublimation utilisée par l’ar-
tiste américain de la côte Ouest, Ed Ruscha, pour ses séries de chromos de paysages
Ed Ruscha, Not a Bad World, is it?, 1984.
et de cieux.
Le long du bord de mer, Fadia Ahmad cherche un semblant d’éternité. Elle pho-
tographie les amoureux, les pêcheurs, les lignes graphiques de leurs cannes, les
baigneurs et cet autre endroit intouché, inchangé, le Sporting, le club nautique où
se retrouvent les familles beyrouthines depuis les années 1960. Les vagues donnent
lieu à d’autres séquences photographiques, réminiscences d’Hokusai, de Courbet,
de Turner…, jusqu’à cet autre emblème de Beyrouth qu’est la grotte aux Pigeons.
Humanité
En janvier 2019, au sortir de l’exposition Martine Franck à la Fondation Cartier-
Bresson à Paris, Fadia Ahmad m’a fait part de son ravissement, au double sens du
terme. Comment pouvait-il y avoir tant de proximité entre leurs recherches, leurs
photos, les thèmes mêmes qui les retiennent sans qu’elle ait connu son travail ?
Certainement leur quête d’humanité.
Martine Franck disait : « J’aimerais me penser comme quelqu’un qui ajoute un petit
caillou à la cause du Tibet. » Fadia Ahmad comme quelqu’un qui ajoute un petit cail-
lou à la cause du Liban : « Je veux montrer quelque chose qui n’est pas beau – beau.
Je suis dans une constante quête de comprendre l’autre, l’histoire, et moi-même
aussi. Du moins j’essaie. » Elle dit faire « une grande place au sentiment mais aussi
à la réflexion. Je suis très à l’écoute, très touchée par les gens défavorisés ». Fadia
114
115
178
179
Ahmad ajoute ainsi son petit caillou avec les photos de Beyrouth | Beirut , les séries
14
15FADIA AHMAD
P R E S S
01 Ahmad 23, 2018
V I S U A
The old train station is located in the
L S
08
03 Beit Beirut, 2018
All the poetry, all the mystery, all the
history of the Yellow House are
district of Mar Mikhael (trains do not
depicted in this photograph which is
circulate in Lebanon since the war).
above all a work on light. Fadia Ahmad
Fadia Ahmad manages to enter this emphasizes the colors of the golden
place, (that is otherwise closed to the stone and the almost moiré coatings,
public) and creates the Train Station the traces of the war, an unexpected
photo series. We discover this gigantic tree...
abandoned territory, metal carcasses,
rusty, colorful, locomotives, wagons,
overgrown, tattooed with inscriptions.
"Ahmad 23", her last name, speaks to
the artist who sees this image as a
sign, a symbol, a little magic ...
02 Meraki, 2016
The Corniche, the Pigeon’s Rock, and the
agitated sea as seen from the Sporting
Club have given life to this black and white
iconic photograph by Fadia Ahmad.BEYROUTH | BEIRUT 14
04 Alani, 2016
This little girl who is watching the waves
is the emblem of this exhibition. This
photograph in black and white that is
very constructed, framed and poetic
calls for contemplation but also for
effervescence, mirroring the works of
the photographer Fadia Ahmad.
SAINT LOUIS , 2016
05 Monuments
This set of 3 photographs that show the
great mosque of Hariri, a minaret and a
Maronite church testify to a set that the
artist devoted to the presence and
emblems of communities in the capital
of Lebanon. Humanist, deeply
committed to humanitarian
associations, Fadia Ahmad creates her
inventory of religious and civilizational
presences showing cohabitation of
beliefs, commitment but also the
feeling of inadequacy toward the
political and religious scenes.
THE EGG III , 2017FADIA AHMAD
06 Electrical wires 07 Stairs
What is more disturbing, when The stairs of the district of Achrafieh
working on a series of images and are those that Fadia Ahmad do not
fragments than to stop ones lens on climb, who continues her daily journey
the skeins of electric wires, by the sea. They are however one of
construction cables, barbed wire, etc., the most striking elements of this part
in this incredible muddle that is of the Beirut territory. Articulation with
another characteristic of this country, the top of the hills, place of meeting
that is still under construction. and conviviality, territory of the street
artists, cats, cafés, students...
UNTITLED , 2017 UP , 2017BEYROUTH | BEIRUT 16
08 Hollyday Inn / 09 The Egg 10 Home
Near the Martyrs Square, Fadia Ahmad In some ‘hors série’ photos, Fadia
stops on the emblems, the stigmatas Ahmad retains particular moments,
of the Beirut civil war. On the concrete which she fixes in time. Thus this
spaceship of the old cinema, riddled house that collapsed in 2019 near her
with bullet holes (The Egg series). On home, without any particular reason:
the facade of the Holiday Inn, equally neither a bomb, nor a gas explosion
marked, and on which intervened could have caused this significant
street artists to create artistic works damage. This photo of strangeness
around holes and collapses. and exorbitance, is a metaphor for the
wounds that remain open, the fragility
of the city, but also of the fierce will of
the Lebanese people to continue to
live and start again.
THE EGG I , 2017
FRAGMENTS , 2019C O N T A C T S ,
FREE ENTRANCE FOR LOCALS AND ARABS
5 DJ ENTRANCE FEES FOR FOREIGNERS
R A T E S , A C C E S S
09
THE EXHIBITION WILL RUN THROUGH MARCH 23D, 2020
OPENING HOURS: FROM 9:00 AM TILL 5:00 PM DAILY EXCEPT FRIDAYS
FADIA AHMAD
BEYROUTH | BEIRUT
C O N T A C T
INSTAGRAM | @YASNOOR | @BEYROUTH_BEIRUT
WEBSITE | FADIAAHMAD.COM
EMAIL | INFO@FADIAAHMAD.COM
FOR LOCAL & INTERNATIONAL PRESS INQUIRIES:
IMAGES, INTERVIEW REQUESTS AND ANY ADDITIONAL INFORMATION
T +962 6 463 026
info@nationalgallery.org
FADIA AHMAD IS REPRESENTED BY:
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