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View of “Akram Zaatari,” 2014–15. From left: Untitled, 2014; Time Capsule, Skeleton, 2013; Ain El-Mir 23.11.2002. Photo: Cengiz Tanc.

Akram Zaatari

SALT | Beyoğlu

View of “Akram Zaatari,” 2014–15. From left: Untitled, 2014; Time Capsule, Skeleton, 2013; Ain El-Mir 23.11.2002. Photo: Cengiz Tanc.

This impressive survey of Lebanese artist Akram Zaatari’s career included twenty-seven works from 1998 to the present, thematically spread across three spacious floors. The top floor, “Poses and postures,” was a study of the representation of self through photographic and digital mediums; the middle floor, “On photography,” an in-depth revisit and study of the photographic archives that led Zaatari to establish, in collaboration with fellow artists, the seminal Arab Image Foundation; and the first floor, under the unwieldy rubric “Acts of excavation and their reverse, archaeology and its opposite,” both an excavation site and a regrouping of some artworks that was at once intimate, poetic, and scientific—an apt description of Zaatari’s oeuvre as a whole.

His strength as an artist owes much to his embracing and discussing in conceptual terms the sensibilities prevalent in the

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