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Marwan Rechmaoui, Blazon, 2015–, embroidery and appliqué on 420 flags, fifty-nine laser-cut-brass-on-stainless-steel shields. Installation view. Photo: Agop Kanledjian.

Marwan Rechmaoui

Sfeir-Semler Gallery | Beirut

Marwan Rechmaoui, Blazon, 2015–, embroidery and appliqué on 420 flags, fifty-nine laser-cut-brass-on-stainless-steel shields. Installation view. Photo: Agop Kanledjian.

A clocktower, a lighthouse, a mosque, an aerial view of a public park, a racetrack, a forest of pine trees, a branch of jasmine blossoms, a disused cinema, a derelict hotel, a Ferris wheel, a cemetery, another mosque, a newspaper building, statues of a former president and a poet and a painter, the logo of the first department store to employ women in the Middle East, the fortresslike headquarters of the Druze community in Lebanon, and a stacking sculpture by the inimitable modern artist Saloua Raouda Choucair, one of the few public artworks of note in Beirut: All of these things—and many more besides—are illustrated, either stitched into cloth or cut into brass on stainless-steel shields, in Marwan Rechmaoui’s recent exhibition “Fortress in a Corner, Bishop Takes Over,” which draws upon the rules and vocabularies of chess, heraldry, chivalry, and warfare to consider

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