Jan 22, 2018Jan 30, 2018 · Galerie Tanit, Beyrouth

Antonello Ghezzi in dialogue with Gilbert Hage


The duo presents at the Galerie Tanit the performance “BLOW AGAINST THE WALLS” based on a collective participation moment, in dialogue with Gilbert Hage’s "I HATED YOU ALREADY BECAUSE OF THE LIES I HAD TOLD YOU"

>> The project is a journey around the world, searching for barriers built by humans to keep far away other men or just because one needs to leave and couldn’t do it.

>> Each participant could blow bubbles against the separation barriers that divide the world, leaving a colorful and indelible tracks.
The bubbles will impact into the wall and will go through it.

The performance is part of the on-going project BLOW, which had been shown at Petit Bain in Paris, at The Art Foundation in Athens for DOCUMENTA 14 and in Spazio Testoni, Bologna (IT).

Formed in Bologna in 2009, young duo Nadia Antonello and Paolo Ghezzi have appeared at prestigious exhibitions across Italy and abroad, including, Italian Institute of Culture of Athens, Usina del Arte in Buenos Aires, Petit Bain in Paris, the Moscow Biennale, the Sarajevo Winter Festival, the Biel Center in Beirut, the National Gallery of Bologna and recently at the Sound Design Festival of Hamamatsu in Japan.
ANTONELLO GHEZZI has distinguished itself in the crowded contemporary art world by disrupting our expectations of art and finding the extraordinary in the seemingly everyday. ‘Don’t forget the magic,’ the artists insist, rehabilitating the beauty of the simple over our fascination with the complex.
Their main purpose is to express messages of peace and to show that art can make life better. Their motto, found directly or indirectly in their works, is "Don't forget the magic."

The series “I HATED YOU ALREADY BECAUSE OF THE LIES I HAD TOLD YOU” were realized by GILBERT HAGE in 2011. The series includes photographs of tongues as shown in the images attached.
The context of realization of these shots was the upraisals in the middle-east and the political deadlock in Lebanon. Like often in Hage's serial photographic oeuvre, the complexity or absurdity of contextual and existential issues - political, intimate or social – are tackled in his photographs like studies, inquiries or investigation. These tongues are inspected in an acute aesthetic, disturbing and beautiful at the same time.
- After Amanda Abi Khalil