"BEYROUTH, MON AMOUR"
Cities, much like individuals, bear scars etched in their walls and streets, remnants of a forgotten past engraved on brick and stone. Amongst various cities, Beirut’s scars appear recent, yet paradoxically quick to mend.
In an era where our world is increasingly homogenized, bespoke shops yield to massive retailers, and neighborhoods lose their distinctive charm. As the unique imprints defining cities are gradually paved over, our gaze is often harshly reflected in towering glass structures, replacing the imperfect edifices of yesteryears with glittering towers.
“Beyrouth, Mon Amour” serves as a visual ode to Beirut, a city deeply cherished by Antaki. His discerning eyes discern beauty in chipped paint and cracked bricks that bear witness to an ageless history. Beyond capturing the poetic essence of Beirut’s scars and timeless beauty, “Beyrouth, Mon Amour” embodies a profound ambition. This photographic series stands as a visual Trojan Horse, an artistic endeavor aiming to transcend the confessional divisions that have long marked Lebanon’s history. In a country segmented into eighteen religious denominations, the series strives to dissolve invisible borders segregating neighborhoods and beliefs.
Antaki immortalizes the facades of houses across Beirut, transforming each image into a pattern reminiscent of traditional Arab mosaics. This deliberate metamorphosis seeks visual homogeneity, eliminating the ability to identify specific documented neighborhoods. In this artistic pursuit, each facade becomes a piece of a collective mosaic, symbolizing unity in diversity.
Aspiring to be a catalyst for understanding and solidarity, “Beyrouth, Mon Amour” transcends denominational divides. By celebrating the rich culture and shared history of Beirut’s people, the series underscores the significance of unity in preserving the city’s collective identity. Through this artistic approach, Antaki endeavors to foster a visual dialogue that surpasses barriers, urging everyone to look beyond differences and recognize the common essence binding the hearts of all Beirut residents, irrespective of faith. Amidst the fading wounds of civil war, Antaki emphasizes the importance of bringing these scars to life before they fade into oblivion. “Beyrouth, Mon Amour” concurrently reminisces about the past, reflects on the present, and gestures towards the future.
“Beyrouth, Mon Amour” was presented for the first time at the Institut du Monde Arabe in Paris during the Third Biennale of Photographers of the Contemporary Arab World in September 2019 and on view digitally from July to September 2020 at the Middle East Institute in Washington.
