Salvar História do Instagram

Exhibition | 𝘴𝘭𝘰𝘸 𝘣𝘶𝘳𝘯 | Afram Chamoun
𝘗𝘰𝘸𝘦𝘳 𝘚𝘵𝘢𝘵𝘪𝘰𝘯 (𝘑𝘪𝘺𝘦𝘩), 2025
Oil on canvas, 35 x 50 cm
Pencil on wall (site-specific)

The works are based on separate photographs of the same power station, taken after its destruction in 2006. Reproduced in paint on canvas and in pencil directly on the wall, the images differ slightly, echoing one another yet never aligning.
The wall drawing exists only for the duration of the exhibition, a transient and gradually disappearing image. The painting, by contrast, preserves a still, permanent fragment, an image already emptied of presence. Its muted surface reflects the distance between image and experience, and the way catastrophe becomes perceptible or understood only once it has receded.
Together, they reflect on how memory and documentation diverge, and how the repetition of an image erodes rather than confirms its meaning. Detached from its original context, the image has become an echo, an afterimage of an event already mediated and consumed.

Exhibition | 𝘴𝘭𝘰𝘸 𝘣𝘶𝘳𝘯 | Afram Chamoun
𝘗𝘰𝘸𝘦𝘳 𝘚𝘵𝘢𝘵𝘪𝘰𝘯 (𝘑𝘪𝘺𝘦𝘩), 2025
Oil on canvas, 35 x 50 cm
Pencil on wall (site-specific)

The works are based on separate photographs of the same power station, taken after its destruction in 2006. Reproduced in paint on canvas and in pencil directly on the wall, the images differ slightly, echoing one another yet never aligning.
The wall drawing exists only for the duration of the exhibition, a transient and gradually disappearing image. The painting, by contrast, preserves a still, permanent fragment, an image already emptied of presence. Its muted surface reflects the distance between image and experience, and the way catastrophe becomes perceptible or understood only once it has receded.
Together, they reflect on how memory and documentation diverge, and how the repetition of an image erodes rather than confirms its meaning. Detached from its original context, the image has become an echo, an afterimage of an event already mediated and consumed.

Exhibition | 𝘴𝘭𝘰𝘸 𝘣𝘶𝘳𝘯 | Afram Chamoun
𝘗𝘰𝘸𝘦𝘳 𝘚𝘵𝘢𝘵𝘪𝘰𝘯 (𝘑𝘪𝘺𝘦𝘩), 2025
Oil on canvas, 35 x 50 cm
Pencil on wall (site-specific)

The works are based on separate photographs of the same power station, taken after its destruction in 2006. Reproduced in paint on canvas and in pencil directly on the wall, the images differ slightly, echoing one another yet never aligning.
The wall drawing exists only for the duration of the exhibition, a transient and gradually disappearing image. The painting, by contrast, preserves a still, permanent fragment, an image already emptied of presence. Its muted surface reflects the distance between image and experience, and the way catastrophe becomes perceptible or understood only once it has receded.
Together, they reflect on how memory and documentation diverge, and how the repetition of an image erodes rather than confirms its meaning. Detached from its original context, the image has become an echo, an afterimage of an event already mediated and consumed.

Extracted sound from the contribution of Afram Chamoun from ‘Opact 6’ in Dignified life: Outliving Impossible Ecologies

Download, read and listen through the publication found in our linktree

Dignified Life: Outliving Impossible Ecologies came together during an ever escalating genocide in Gaza, the intensification of annexation in the West Bank, and the perpetual war on Lebanon. The publication made up of twelve contributions centres ecology as a central site of struggle through which we are confronted with the insistence of life despite the efforts of its erasure.

Exhibition | 𝘴𝘭𝘰𝘸 𝘣𝘶𝘳𝘯 | Artist Highlight: Afram Chamoun

Afram Chamoun (b. 1999, Lebanon) is a visual artist whose practice examines the power of images to both reveal and withdraw. Working through drawing, painting, and sound, he traces the lingering effects of historical events and their mediated representations, reflecting on how the residual pressures of violence and trauma shape perception and memory.

معرض | على وشك | أفرام شمعون

‫أفرام شمعون (مواليد 1999، لبنان) فنان بصري تبحث ممارسته في قدرة الصور على الجمع بين الكشف والحجب. ومن خلال الرسومات واللوحات والأصوات، يتتبع أفرام التأثيرات المستعصية للأحداث التاريخية وتمثيلاتها المتداولة، متأمّلًا إسهام الضغوطات المتبقية للعنف والصدمة في صياغة الإدراك والذاكرة.‬

Exhibition views from Land Marked, a group show at @modernamuseetmalmo organized by @curage.c
Curated by @marienourh @sararossling

Extraction, Spillage (2025)
10 drawings – Graphite on paper
45 × 35 cm

Images taken by Olof Nimar

Exhibition views from Land Marked, a group show at @modernamuseetmalmo organized by @curage.c
Curated by @marienourh @sararossling

Extraction, Spillage (2025)
10 drawings – Graphite on paper
45 × 35 cm

Images taken by Olof Nimar

Artifacts (2024)
Graphite on paper, series of 10 drawings
Previously on view as part of Foreshadows at @beirutartcenter , curated by @reemus6

Artifacts (2024)
Graphite on paper, series of 10 drawings
Previously on view as part of Foreshadows at @beirutartcenter , curated by @reemus6

Artifacts (2024)
Graphite on paper, series of 10 drawings
Previously on view as part of Foreshadows at @beirutartcenter , curated by @reemus6

Artifacts (2024)
Graphite on paper, series of 10 drawings
Previously on view as part of Foreshadows at @beirutartcenter , curated by @reemus6

residency @macamlebanon

residency @macamlebanon

residency @macamlebanon

residency @macamlebanon

residency @macamlebanon

residency @macamlebanon

residency @macamlebanon

residency @macamlebanon

residency @macamlebanon