Written by CHRISTINE LABBAN

Ziad Antar is a Lebanese visual artist, a luminary in the world of documentary photography^[i]. He was born in 1978 in the coastal city of Saida, south Lebanon. Antar’s artistic practice delves into photographic theoretic discourses and material complexity, unraveling narratives that surpass the boundaries of traditional photography often characterized with theatrical humor and an unabashed delivery.  

Ziad Antar specialized in agriculture engineering, a path aligned with his family business, before venturing into the realms of visual storytelling. In 2001, after attending a workshop with Lebanese filmmakers Mahmoud Hojeij and Akram Zaatari, Antar decided to shift his focus. He pursued his art education at the École Supérieure d’Études Cinématographiques in Paris.

In 2003, he earned a residency at the Palais de Tokyo in Paris and received a post-diploma from the École Nationale Supérieure des Beaux-Arts in 2004^[ii]. His work found a home in public collections such as the Centre Georges Pompidou in Paris and the British Museum in London^[iii], a testament to the profound impact of his artistic endeavors.

Antar's photographic and video works serve as investigations into architecture and landscapes.^[iv] For the implementation of his artworks, he favored outdated techniques, such as Holga cameras and Rolleiflex. His visual narratives became a poignant exploration of the challenging choices facing nations torn between past and present. In his photographic series titled Expired, 2001, Antar deploys expired film negatives challenging advanced digital photography. The body of work was first shown as part of the exhibition The Mediterranean Approach and The Future of a Promise at the 54^th Venice Biennale. Antar's approach circles around questioning photography itself – the medium, its constraints, and limitations. He refuses to be a "functionary" of the camera, choosing to break free from the rules that apparatuses set. Antar portrays narratives through the disruption of vital photographic elements such as time, light, and lens. In a journey to Asir, southwestern Saudi Arabia, he sought the places of the very first stories, weaving a visual tapestry that encompasses tales of Adam and Eve, Moses, Noah’s rainbow, and the tree of knowledge.

For instance, Tokyo Tonight^[v], 2003 is a 3-minute audiovisual piece that blends elements of nature, culture, and a sense of journey. The use of folk music and the serene imagery of an empty road, sheep cattle, and mountains connect us to rural landscapes and traditions. The introduction of a shepherd walking towards the camera adds a human element to the composition, symbolizing a journey or pilgrimage. The moment, when the shepherd stops and simply says “Tokyo”, introduces an intriguing contrast between the pastoral setting and the urban reference. This abrupt transition can be seen as a commentary on the intersection of traditional, rural life and the modern, industrial world represented by cities such as Tokyo. Here, Antar manages to deliver concise storytelling while creating a multisensory experience, contributing to the overall atmosphere and emotional impact of the artwork.

In a solo exhibition titled Portrait of a Territory, Ziad Antar unveils a series of captivating photographs that capture the essence of the UAE coastline, spanning the years between 2004 and 2011. The exhibition Portrait of a Territory was hosted by the Sharjah Art Foundation^[vi] curated by Christine Macel, Chief Curator at Musée National D’Art Moderne Centre Pompidou, Paris. With a spontaneous approach to photographing the coast, Antar's methodology evolved into a systematic documentation of the coastline, Emirate by Emirate. The culmination of this focused effort occurred during a Sharjah Art Foundation Residency in 2011. The resulting collection of 211 black and white and colored photographs stands as a profound visual narrative, depicting the borders between each Emirate and the sea, as dynamic spaces of connection and interaction with the wider world. The photographs, viewed in succession, narrate the tale of an economic boom and its inherent challenges. From monumental architectural structures to the poignant scenes of abandoned construction sites, the collection encapsulates the dichotomy of progress and its pitfalls. Here, again, Antar's aesthetic journey is marked by an exploration of outdated film and experimental methods that breathe life into nostalgic aesthetics.

In Policemen on Motorbikes, 2009, a series of inkjet photographic prints on paper, part of the Ramzi and Saeda Dalloul Art Foundation (DAF)^[vii], Antar explores the powerful symbolic nature of ‘uniforms’ and their role in representing codes of authority. In this project, Antar photographed approximately a dozen police officers members of Lebanon's Internal Security Forces (ISF). Shot in a studio setting, the policemen are either standing next to or riding on their motorcycles. Antar poignantly captures the policemen’s banal facial expression; their posture relays a sense of pride, boasting their gifted motorcycles. 

The series emerged from Antar's formal invitations to the police station, where officers unexpectedly accepted the proposition^[ix]. A notable aspect of this collection is Antar's intentional decision to shoot his subjects at eye level, subverting the conventional tendency to capture individuals in positions of power from a lower angle. The resulting portraits, while rooted in documentary realism, possess a certain theatricality that challenges conventional perceptions. Antar's exploration of the Internal Security Forces’ (ISF) policemen's uniform becomes a commentary on the abnormalities and complexities surrounding violence, guns, and the adherence to laws in regions affected by conflict.

Beyond his individual work, Antar is also recognized as a co-founder of La Vitrine^[x], a small art gallery located on 373 Pasteur street in Beirut, and contributing to the collaborative landscape of artistic expression. This endeavor indicates his commitment to fostering a creative community and providing platforms for fellow artists.

Ziad Antar's work embodies the spirit of Lebanon’s postwar experimental video scene^[xi], exploring architecture and landscapes that reflect the complexities of navigating between historical legacies and contemporary challenges. From his early days in agricultural engineering to his current standing as a celebrated artist, Antar's exploration of photography has been a continuous endeavor to transcend boundaries and create narratives that challenge and inspire. His work not only captures the essence of time and landscape but also invites viewers to question the very nature of visual storytelling.

Edited by Wafa Roz & Elsie Labban

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Notes:

^[1] “Edge of Arabia - Contemporary Art and Creative Movements from the Arab World.” n.d. Edgeofarabia.com. Accessed February 4, 2024. http://edgeofarabia.com/artists/ziad-antar

^[2] “Imago Mundi Collection.” n.d. Imagomundicollection.org. Accessed February 4, 2024. https://imagomundicollection.org/artworks/ziad-antar-absence-unique-piece/.

^[3] “Ziad Antar: Artist Overview.” n.d. Almine Rech. Accessed February 4, 2024. https://www.alminerech.com/artists/385-ziad-antar.

^[4] “Ziad Antar.” 2015. Fondation Louis Vuitton. 2015. https://www.fondationlouisvuitton.fr/fr/collection/artistes/ziad-antar.

^[5] “‘Tokyo Tonight’ by Ziad Antar - Selma Feriani Gallery.” n.d. Www.youtube.com. Accessed February 4, 2024. https://www.youtube.com/watch?v=TwmN1j8bp0U&ab_channel=SelmaFerianiGallery.

^[6] “Exhibitions - Sharjah Art Foundation.” n.d. Sharjahart.org. Accessed February 4, 2024. https://sharjahart.org/sharjah-art-foundation/exhibitions/portrait-of-a-territory.

^[7] “ZIAD ANTAR - Artists.” n.d. Dalloul Art Foundation. Accessed February 4, 2024. https://dafbeirut.org/en/ZIAD-ANTAR.

^[8] https://foreignpolicy.com/ 

^[9] Moroz, Sarah. 2019. “Tattoos, Tans and Techno: The Photographers Capturing the Unseen Beirut.” The Guardian, July 17, 2019, sec. Art and design. https://www.theguardian.com/artanddesign/2019/jul/17/photographers-beirut-lebanese-queer-culture-tattoos-tans-techno.

^[10] “Ziad Antar.” n.d. BEIRUT ART RESIDENCY. Accessed February 4, 2024. https://www.beirutartresidency.com/omar-khouri-1.

^[11] Bidoun. n.d. “Ziad Antar: Goal!” Bidoun. Accessed February 4, 2024. https://www.bidoun.org/articles/goal.

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Sources:                   

Edge of Arabia - Contemporary Art and Creative Movements from the Arab World.” n.d. Edgeofarabia.com. Accessed February 4, 2024. http://edgeofarabia.com/artists/ziad-antar.

Imago Mundi Collection.” n.d. Imagomundicollection.org. Accessed February 4, 2024. https://imagomundicollection.org/.

“Ziad Antar: Artist Overview.” n.d. Almine Rech. Accessed February 4, 2024. https://www.alminerech.com/artists/385-ziad-antar.

“Ziad Antar.” 2015. Fondation Louis Vuitton. 2015. https://www.fondationlouisvuitton.fr/fr/collection/artistes/ziad-antar.

“‘Tokyo Tonight’ by Ziad Antar - Selma Feriani Gallery.” n.d. Www.youtube.com. Accessed February 4, 2024. https://www.youtube.com/.

2024. Onassis.org. 2024. https://www.onassis.org/video.

“Exhibitions - Sharjah Art Foundation.” n.d. Sharjahart.org. Accessed February 4, 2024. https://sharjahart.org/.

“Exhibitions - Sharjah Art Foundation.” n.d. Sharjahart.org. Accessed February 4, 2024. https://sharjahart.org.

Moroz, Sarah. 2019. “Tattoos, Tans and Techno: The Photographers Capturing the Unseen Beirut.” The Guardian, July 17, 2019, sec. Art and design. https://www.theguardian.com/.

“Ziad Antar.” n.d. BEIRUT ART RESIDENCY. Accessed February 4, 2024. www.beirutartresidency.com.

Bidoun. n.d. “Ziad Antar: Goal!” Bidoun. Accessed February 4, 2024. https://www.bidoun.org/articles/goal.

“ZIAD ANTAR - Artists.” n.d. Dalloul Art Foundation. Accessed February 4, 2024. https://dafbeirut.org/en/ZIAD-ANTAR.

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