Booth B4

Galerie Tanit was founded in Munich in 1972 by Naila Kettaneh Kunigk. In 2007 it opens in Beirut with the intention to participate in the cultural and artistic revival of Lebanon.

Based in Beirut’s vibrant Mar Mikhael district, the gallery supports young Lebanese artists while maintaining a lively international program.

Since its beginnings in Lebanon, it encouraged innovation with openness to the diversity of contemporary art, offering new experiences to the public. In the flourishing local art scene Tanit provides stimulating encounters with the visual arts to build cultural bridges and open meaningful discussions.

La galerie Tanit a été fondée par Naila Kettaneh Kunigk à Munich en 1972. Le programme des débuts est axé sur des artistes minimalistes et conceptuels tels que Donald Judd, Carl André, Michelangelo Pistoletto ou Olivier Mosset. Après 2002, la programmation consacre une jeune génération d’artistes internationaux dont Jeremy Blake et Michael Lin, Martin Assig ou Julia Mangold.

En 2007, Tanit s’installe a Beyrouth, et cherche à promouvoir les jeunes artistes Libanais, tout en conservant un programme International assez actif.

Depuis son ouverture au Liban, la galerie a pour but d’encourager l’innovation et l’ouverture a la diversite du monde de l’art contemporain.

Andreas Gursky

Andreas Gursky is a photographer best known for his colorful, bold, large-format depictions of contemporary life. He finds inspiration in his own spontaneous visual experience and via reports of global phenomena in the daily media. The resulting pictures have a formal congruence deriving from a bold and edgy dialogue between photography and painting, empirical observation and artfulness, conceptual rigor and spontaneity, representation and abstraction. Gursky presents a world view that fuses the flux of life and nature with the stillness of metaphysical reflection.

Gursky was born in Leipzig, Germany, in 1955 and grew up in Dusseldorf, where his father worked as a commercial photographer. In his early 20s, he studied photography at the Folkwang School, West Germany’s leading establishment for professional photographers. His early, unadorned compositions are heavily influenced by his years at Folkwang, where the curriculum was largely focused on the straight-shot techniques of photojournalism. In the early 1980s, Gursky studied under the internationally recognized photographers Bernd and Hilla Becher at the State Art Academy. During his years at the academy, Gursky was heavily influenced by the conceptual aesthetic philosophy of the Bechers, as well as his fellow students Sigmar Polke and Gerhard Richter.

Hong Kong Port . 1994 . 149.5 x 126.5 cmChromogenic Print, mounted on Diasec, framed . Edition of 6

Selected Solo Exhibitions2016 - Not Abstract II. Gagosian Gallery, West 21st St., New York, NY.2016 - Not abstract. Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Germany.2015 - Museum Frieder Burda, Baden-Baden, Germany.2015 - Landscapes. Parrish Art Museum, Water Mill, NY.2014 - White Cube, London, England.2014 - Early Landscapes. Sprueth Magers, London, England.2014 - The National Museum of Art, Osaka, Japan.2013 - The National Art Center, Tokyo, Japan.2012 - Gagosian Gallery, Hong Kong.2012 - Stiftung Museum Kunstpalast, Dusseldorf, Germany.2012 - Louisiana Museum of Modern Art, Humlebaek, Denmark.2011 - Gagosian Gallery, West 21st Street, New York, NY.2010 - Spruth Magers, Berlin, Germany.2010 - Gagosian Gallery, Beverly Hills, CA.2009 - Moderna Museet, Stockholm, Sweden.2008 - Matthew Marks Gallery, New York, NY.2008 - Emirates Hotel, Abu Dhabi.2008 - ArchiTektur, Institut Mathildenhöhe, Darmstadt, Germany.2008 - Pinchuk Art Center, Kiev, Ukraine.2008 - Museum Haus Esters Haus Lange, Krefeld, Germany.2008 - Museum fur Moderne Kunst, Frankfurt, Germany.2008 - Works 80-08. Kunstmuseen Krefeld, Krefeld, Germany. 2008 - Moderna Museet, Stockholm, Sweden, and Vancouver Art Gallery, Canada2008 - Victoria Art Museum, Melbourne, Australia.2008 - Kunst und Natur, Château de Chaumont-sur-Loire, France.2007 - Retrospektive 1984–2007, Haus der Kunst, Munich, Germany.2007 - United Arab Emirates; and Ekaterina Foundation, Moscow, Russia.2007 - Kunstmuseum Basel, Basel, Switzerland.2004 - Matthew Marks Gallery, New York, NY.2003 - Antipodes 6, White Cube, London, United Kingdom.2002 - Fotowerke, Van Abbemuseum, Eindhoven, the Netherlands.2001 - Museum of Modern Art, New York, NY.1999 - Contemporary Arts Museum, Houston, TX.1998 - Currents 27. Andreas Gursky. Milwaukee Art Museum, Milwaukee, WI.1998 - Fotografien 1984 – 1998. Kunstmuseum Wolfsburg, Wolfsburg, Germany.1995 - Images. Tate Gallery Liverpool, Liverpool, England.1995 - Montparnasse, Portikus, Frankfurt am Main, Germany.1995 - Center for Contemporary Art, Malmö, Sweden.1992 - Kunsthalle Zurich, Zurich, Switzerland.1992 - Fotoprojekt 13, Siemens AG Kulturprogramm, Munich, Germany.1989 - Kunstmuseum Krefeld, Krefeld, Germany.1988 - Galerie Johnen and Schöttle, Cologne, Germany.

Selected Public Collections:Centre Pompidou, Paris, France. The Museum of Modern Art, New York, NY.The Metropolitan Museum of Art, New York, NY. Los Angeles County Museum of Art, Los Angeles, CA. Guggenheim Museum, New York, NY. Milwaukee Art Museum, Milwaukee, WI. Museum of Contemporary Art, Chicago, IL. The Museum of Contemporary Art, Los Angeles, Los Angeles, CA. Kunsthaus Zurich, Zurich, Switzerland. Kunstmuseum Wolfsburg, Wolfsburg, Germany. Moderna Museet, Stockholm, Sweden. Kunstmuseum Basel, Basel, Switzerland. Scottish National Gallery, Edinburgh, Scotland. SFMoMA, San Francisco, CA. Tate Modern, London, United Kingdom. Walker Art Center, Minneapolis, MN. Hamburger Bahnhof - Museum fur Gegenwart, Berlin, Germany. The Broad Art Foundation, Santa Monica, CA. Vancouver Art Gallery, Vancouver, Canada. Castello di Rivoli Museo d’Arte Contemporanea, Turin, Italy. Hamburger Kunsthalle, Hamburg, Germany. Museum Kunstpalast, Dusseldorf, Germany. Fotomuseum Winterthur, Zurich, Switzerland. Louisiana Museum of Modern Art, Humlebæk, Denmark. National Museum of Art, Osaka, Japan. Auckland Art Gallery, Auckland, New Zealand.

Gilbert Hage

“The 2006 Israeli attack on Lebanon signaled the upcoming end of the postwar era. Lebanon was back at war. As Beirut was filled with thousands of refugees escaping from the South, the city’s more privileged inhabitants fled to the mountains for safety. A few bars, Torino and Dragonfly among them, kept their doors open to those who stayed. In the aftermath of this 33-day war, Gilbert Hage produced With Strings Attached, a series of photographs in a bar setting that framed seated women’s butts revealing their pantie’s strings. Similarly, Gilbert Hage used his mobile phone camera to shoot cleavages of women seated in a bar. His series Phone[ethics] (2006) foregrounds the emerging question of the vulnerability of privacy in the face of new imaging technologies.”

Beirut by Night - A Century of Nightlife PhotographyGregory Buchakjian (1)

‘’ What I have, all along, tried to do in my photographic work, initially in an obscure approach but increasingly in a deliberate manne, is to convey the present without ending up having only done a report of facts or even of events; as well as to imagine the future without falling back on speculations based on assumptions.’’

Gilbert Hage

Phone[ethics], 2006 . Print on fine art paper . 13 x 17 cm each . Edition of 3 + 2 AP

Gilbert Hage is a photographer. He lives, teaches and works in Lebanon.

Selected Photographic Projects2011 - I Hated You Already Because of the Lies I Had Told You2011 - Why Do We Feel Like Kafka?2009 - Eleven Views of Mount Ararat2008 - Smoking Area2008 Strings (aka With Strings Attached)2007 - Pillows 2006 - Screening Berlin 2006 - 242 cm2 2006 - Homeland 1 (aka Toufican Ruins)2006 - Phone [Ethics] 2005 - Here and Now 2004 - Beirut 2002 - Anonymous 1999 - Roses 1997 - Le Sentier Des Douaniers

He is the co-publisher and co-editer, with Jalal Toufic, of Underexposed Books.

Selected Exhibitions2017 - Bienal Sur - Argentine 2017 - Galerie Ygrec - Paris2017 - Art 17- Paris 2017 - Galerie Tanit- Beirut 2017 - Hellerau Dresden2017 - Photomed / Galerie Tanit2016 - Salon d’automne sursock Beirut2016 - Gallery Isabelle van den Eynde - Dubai2015 - Beirut Exhibition Center2014 - Paris Photo 2014 - Art 14 London - London2013 - Paris Photo2013 - Galerie Tanit - Beirut2013 - Art 13 London - London 2013 - Arts Santa Monica – Barcelona2012 - Katara - Doha2012 - Galerie Tanit - Munich2012 - Fomu - Anvers2012 - Espace Kettaneh Kunigk - Beirut2011 - Subtitled-Royal College of Art - London2011 - Thessaloniki Museum of Photography - Thessaloniki2011 - Paris Photo2011 - Rencontres d’Arles - Arles2011 - Sharjah Biennial - Sharjah2010 - White Box - Munich2010 - Paris Photo2009 - Kunsthal - Rotterdam2009 - Espace Naila Kettaneh Kunigk - Beirut2007 - Kunsthalle - Vienne- Autriche 2007 - Casa arabe- Madrid - Espagne 2007 - Institute of contemporary art - Dunaujvaros - Hungary2006 - Arabise me - V+A Museum - London2006 - Modern Art Oxford - Oxford2005 - Haus der Kulturen der Welt - Berlin2005 - FIAC - France2004 - Espace SD - Beirut2004 - Galerie Alice Mogabgab - Beirut 2004 - Galerie Tanit - Munich2004 - Mantes la jolie - France

Serge Najjar

Serge Najjar’s approach to photography is intuitive. It derives from his passion for modern and contemporary art. He easily references Kazimir Malevich’s “Architectons”, Josef Albers’ abstract compositions, Robert Mangold and Ellsworth Kelly, and also Lygia Clark, Aurélie Nemours, Frank Stella and Sol Lewitt. The graphic approach of the Russian Avant-garde and, specifically, Alexander Rodchenko catches Najjar’s interest early on his career: deciphering the image and its construction will come to guide the structure of his future endeavours.Serge Najjar’s pictures place the viewer within a world where reality and fantasy meet. They capture the passing of time, or a space where the transient disposition of man would inhabit ideal radical constructions. Motionless variations on a theme, the photographs engage in a dialogue, complete each other or not, but always create a singular space that is inhabited by the onlooker within the space they are presented in.In a sort of backward movement, Najjar uses photography in the digital age while adhering to an approach that embraces the formal rigour better known from analog photography. Always on foot across the city, the photographer tracks down architecture, surfaces and “ordinary” shapes which when seen from unusual angles appear as surreal figures. One click and the concert of the outdoors is frozen into evidence.Shadow and light, passerby, subject, worker; thus architecture and man stay on the edge of abstraction. This is where we find the formal language of the photographer. By appropriating the principles of capture of immediate reality, where direct photography is only possible thanks to the distance of the subject, and the photographer too.Whether colour or black and white photographs, Najjar’s body of images forms a coherent sum that emerges instantly, without mediation, as a dance between flatness and depth. Careful, calm, without outcry, the photographer plays with elements that are readily available. Shadows become geometric sculptures; three dimensional shapes morph into planes. Perspectives tilt, the image is constructed, reality is cut, riffled through and rebuilt by the lines that surround us.

The Architecture of Light . 2014 . 70 x 70 cm . Inkjet print Fine Art paper

BiographySerge Najjar was born in Beirut in 1973. He is a lawyer and a doctor of law.He started photographing the interaction of people and architecture in his native Beirut. Influenced by the work of Kazimir Malevich, Josef Albers, Ellsworth Kelly, Frank Stella, and Alexander Rodchenko, Najjar took to the streets, focusing his lens on daily routines: construction workers sitting on a building ledge during lunch break, the sharp lines of a facade, a man looking out an open window, and children sitting on a windowsill. Whether working in Beirut, Munich or other places he visits, Najjar’s vision is unwavering - to show other people what they may not see themselves. As he states: “There is no such thing as an ideal place to photograph, or an ideal city. Architecture inspires me, but my whole approach towards photography is to focus on what people consider as common... the people I photograph are complete strangers. I never plan where I go and what or who to shoot. My images are faithful to what I see. And every single Saturday morning I am convinced that I will never capture the picture I had the chance to capture the week before…. It is a thin line between the ugly and the beautiful, the ordinary and the extraordinary, between chaos and order.“Serge Najjar started publishing his photographs on Instagram in 2011 (@serjios) and became an overnight success. He was immediately contacted by many galleries and started exhibiting at Tanit Gallery in 2012. He is the Laureate winner of Photomed 2014. His works are today exhibited in international fairs.

Solo Exhibitions2017 - A Closer Look at the Ordinary - Catherine Edelman Gallery - Chicago USA 2016 - Sculpting the Shadows” Galerie Tanit Munich - Germany 2016 - Beirut. Between the lines - Médiathèque - Draguignan - France 2016 - A Closer Look at the Ordinary” Galerie Tanit Beirut - Lebanon2014 - Abstract Realities - Sanary sur mer - France 2014 - Winner of the Photomed prize 2014 2012 - Lines, Within” Tanit Gallery Beirut - Lebanon

Group Exhibitions2017 - Catherine Edelman Gallery, Chicago, Gallery Artists 20172016 - Galerie Tanit, Munich, Serge Najjar, Martin Spengler 2016 - Courbevoie, Parc de Bécon, Paris, France 2016 - Ateliers Relief, Brussels, Belgium 2014 - Paris Photo, Grand Palais, Paris, France 2014 - Framology, Off d’Arles, Rencontres d’Arles, France 2014 - Art 14 London, UK (February 2014) 2013 - Art Elysées, Paris, France 2013 - Swab, Barcelona, Spain

Fair History 2017 - Fotoistanbul photography festival2017 - Chicago, Catherine Edelman Gallery at EXPO CHICAGO 20172017 - New York, Catherine Edelman at Art New York 20172017 - New York, Catherine Edelman at The Photography Show 2017, presented by AIPAD2016 - Miami, Catherine Edelman at Art Miami 20162016 - Chicago, Catherine Edelman at EXPO CHICAGO 2016

Taryn Simon

Exploding WarheadTest Area C-80C

Eglin Air Force Base, Florida

This is a test of an MK-84 IM (Insensitive Munition) Warhead conducted at the Eglin Air Force Base Air Armament Center. The warhead was tested by the 46th Test Wing’s 780th Test Squadron in order to collect pressure and fragment velocity data on a new, experimental explosive warhead fill. Eglin AFB was formerly part of the Choctawhatchee National Forest. All 384,000 acres of the forest were transferred to the War Department during World War II for the fast expansion of the Army Air Corps. The Eglin base has access to 86,000 square miles of airspace, allowing for long-range, all-altitude, air-to-air, air-to-surface, surface-to-surface, and anti-ship evaluation tests and training exercises. The Air Armament Center is responsible for the development, testing and deployment of al U.S. air-delivered weapons. It tripled its production of Joint Direct Attack Munition (JDAM) for Operation Iraqi Freedom. Air Force Materiel Command Public Affairs reported in 2006 that air strike munitions which killed the Iraq-based al Qaeda leader, Abu Musab al –Zarqawi, were developed at the Eglin Air Armament Center. This photograph was taken using a remote sequencer that detonated the warhead from a control bunker.

Exploding Warhead Test Area c-80cEglin Air Force Archival Inkjet Print . 94.6 x 113 cm - framed . Edition 3 of 7

AN AMERICAN INDEX OF THE HIDDEN AND UNFAMILIAR

In An American Index of the Hidden and Unfamiliar, artist Taryn Simon assumes the dual role of shrewd informant and collector of curiosities, compiling an inventory of what lies hidden and outof-view within the borders of the United States. She examines a culture through careful documentation of diverse subjects from the realms of science, government, medcine, entertainment, nature, security, and religion. Transforming the unknown into a seductive and intelligible form, Simon confronts the divide between those with and without the privilege of access.

Her sometimes ethereal, sometimes foreboding compositions, shot with a large-format view camera over a four year period, vary as much as her subject matter, which ranges from radioactive capsules at a nuclear waste storage facility to a black bear in hibernation.

In examining that which is integral to America’s foundation, mythology and daily functioning, Simon creates a collection of works that reflect and reveal a national identity. (2)

BiographyTaryn Simon (b. 1975) is a multidisciplinary artist working in photography, text, sculpture and performance. Guided by an interest in systems of categorization and classification, her practice involves extensive research into the power and structure of secrecy and the precarious nature of survival.

Selected Exhibitions2016 – 2017 - Louisiana Museum of Modern Art, Copenhagen 2016 - The Albertinum, Dresden 2016 - Galerie Rudolfinum, Prague 2016 - Garage Museum of Contemporary Art, Moscow 2015 - Jeu de Paume, Paris 2013 - Ullens Center for Contemporary Art, Beijing 2011 - Museum of Modern Art, New York (2012); Tate Modern, London 2011 - Neue Nationalgalerie, Berlin 2007 - Whitney Museum of American Art, New York

Permanent collections Metropolitan Museum of Art, New YorkTate Modern, LondonGuggenheim Museum, New YorkCentre Georges Pompidou, ParisLos Angeles County Museum of Art, Los Angeles.

Her work was included in the 56th Venice Biennale (2015). Simon’s installation, An Occupation of Loss (2016), co-commissioned by the Park Avenue Armory and Artangel, premiered in New York in 2016. Simon is a graduate of Brown University and a Guggenheim Fellow. She lives and works in New York.

Stephen Waddell

In his earlier works, Waddell’s photographic approach adhered to the hunting and gathering model of direct photography, yet his intention was not documentary or journalistic but rather rooted in the tradition of realism.Dark Matter Atlas presents a body of recent photographs in which the artist has departed dramatically from the subject matter of his earlier work. «The first substantial body of work in black and white for an artist best known for his distinctive use of colour photography». While ultimately leading to a series of photographs of caverns in the United States, Canada, and Lebanon, spaces once difficult to access that are now underground public parks, Waddell interpolated two seemingly unrelated photographs into the group: Portrait Bust and Motorcyclist.Portrait Bust depicts a medieval aristocrat linking us to history (representational, or mimetic, art) and Motorcyclist portrays a young girl riding into blackness on a motorcycle. These pictures express a paradox, as the title Dark Matter Atlas: a map of the unknown, with the intention to alter our understanding of what a photograph can do and climb inside the clammier world of the viewer’s mind. (3)

Boarding . 1999 . 150 x 99 cm

EducationSimon Fraser University, Bachelor of Fine ArtsUniversity of British Columbia, Master of Fine Arts

Selected Solo Exhibitions2016 — Dark Matter Atlas, Vancouver Art Gallery, Vancouver BC2014 — During the Day, Monte Clark Gallery, Vancouver BC2012 — Inhabitants, Monte Clark Gallery, Toronto ON2012 — Einwohner, Baloise Art Forum, Basel2011 — Stephen Waddell, Monte Clark Gallery, Toronto2010 — Stephen Waddell, Monte Clark Gallery, Vancouver BC2009 — Flaneur, Galerie Tanit, Munich, Germany2009 — Stadt Mensch/City Dwellers, Landesmuseum Darmstadt, Germany2008 — Stephen Waddell, Monte Clark Gallery, Toronto ON2008 — Stephen Waddell, 1998-2006, Contemporary Art Gallery, Vancouver BC2006 — Talents, curated by Felix Hoffman, C/O Berlin, Berlin2006 — Mostly Unforeseen Encounters, Kunstforum Baloise, Basel2005 — Stephen Waddell, Monte Clark Gallery, Vancouver BC2004 — Ten Photographs, Schirmer/Mosel Showroom, Munich2004 — Stephen Waddell, Monte Clark Gallery, Toronto ON2003 — Stephen Waddell, Monte Clark Gallery, Vancouver BC2001 — Stephen Waddell, Monte Clark Gallery, Toronto ON2001 — Stephen Waddell, Galerie Tanit, Munich2000 — IL Killer, Monte Clark Gallery, Vancouver BC2000 — Conspirators, Akademie Schloss Solitude, Stuttgart1998 — Stephen Waddell, Galerie K&S, Berlin1997 — Stephen Waddell, Akademie Schloss Solitude, Stuttgart1992 — Subdivisions, Artspeak Gallery, Vancouver BC

Selected Group Exhibitions2017 — Only Entropy Comes Easy - Monte Clark Gallery, Vancouver, BC2017 — Reflector - Monte Clark Gallery, Vancouver, BC2016 — Counterpoints, Justina M Barnicke Gallery, University of Toronto, Toronto2015 — Eye to Eye, Presentation House Gallery, Vancouver BC2015 — Images that Speak, Satellite Gallery, Vancouver BC2014 — Dream Location (curated), Presentation House Gallery, North Vancouver2012 — Builders: Canadian Biennial 2012, National Gallery of Canada, Ottawa 2012 — Photographieren, Galerie Tanit, Munich2011 — Capture, Monte Clark Gallery, Toronto ON2009 — 5×5 Castelló 09, Espai d’art contemporani de Castelló, Spain2008 — Portraits, Monte Clark Gallery, Toronto ON2006 — Contact Photography Festival, Toronto ON2005 — Temporary Import, curated by Susanne Titz, Berlin Art Forum2005 — Emotion Pictures, curated be Dieter Roelstraete, MUHKA, Anterp2005 — Real Pictures, Vancouver Art Gallery, Vancouver BC2004 — Direkte Malerei/Direct Painting, Städtische Kunsthalle, Mannheim2004 — PILOT:1, Limehouse Hall, London2004 — Looking at Painting, Galerie Tanit, Munich2003 — Vacant Community, Fondazione Adriano Olivetti, Rome2003 — Quartieri Milano, Stephen Waddell + Gruppo A12, Openspace, Milan2002 — Proposal for an Exhibition, Monte Clark Gallery, Vancouver BC2001 — Arden, McFarland, Ursuliak, Waddell, Wall, Monte Clark Gallery, Toronto2001 — Solitude au Musée, Musée d’art Moderne, St.Etienne2000 — Solitude im Museum, Staatsgalerie Stuttgart1999 — Pictures of Pictures, Arnolfini, Bristol & The Norwich Gallery, Norwich1999 — After Photography, Monte Clark Gallery, Vancouver BC1997 — Next to the City, Akademie Schloss Solitude, Stuttgart1995 — EAST international, Sainsbury Centre for Visual Arts, Norwich Gallery1994 — UBC MFA Graduate Show, UBC Fine Arts Gallery, Vancouver

Michel Zoghzoghi

Beauty, innocence, power. These are the three qualities that, for me, define the fascination of predators. Yet to many people they will sound like contradictions. Few would deny the beauty of the big cats, or the elegance of their movements, perhaps without recognizing that much of their beauty lies in their power: they are perfectly put together, perfectly co-ordinated hunting machines. A bird of prey plummeting on to its quarry; a great white shark powering through the oceans – these too are magnificent creatures, beautiful in their efficiency and dominance over their environment.

But innocent? Yes. The most powerful predator, be it a tiger or a polar bear, can be incredibly tender with others of its kind. It is impossible to be indifferent to the dedication of a mother who struggles against all the odds – a pitiless climate, a diminishing habitat, a territory full of dangerous rivals – to raise her cubs. She sacrifices everything, sometimes for years, to ensure that they reach adulthood and can embark on the same struggle themselves. It is absurd to attribute human motives such as viciousness or cruelty to these animals. That is not why they kill. Predation is their nature, their very essence. They do it in order to survive.

This unique, enthralling combination of qualities is what I hope to show through my photography . In the photos on these walls, I want to show how magnificent predators are. But I also want to alert people to the fact that every species portrayed here is endangered and most are on the brink of extinction. I want everyone who looks at these images to feel the urge to do something about it. The animals shown here are at our mercy. They have become the Prey. We humans are the predators in the modern world.

What we need more than anything is to protect their habitat. If we are to save these precious areas, and the animals that depend on them, we must all play our part. We have no right to imprison or to exterminate other species.

It is their planet too!

Sprinkles . Masai Mara - Kenya, March 2013 . 60 x 90 cm . Edition 6 of 20Epson Premium Glossy paper mounted on Dibond and Acrylic

Michel Zoghzoghi discovered a passion for photography 10 years ago: he bought a camera to take to a polo tournament organized by a friend in London and has never been able to put it down since.Michel’s photographic focus is on the “endangered”. From the tigers of India to the polar bears of the Arctic, from the mesmerizing landscapes of Africa to the great white sharks of the Southern Oceans, he has travelled the world in search of the vanishing beauty our planet still has to offer. Through his photography, Michel wants to show how truly beautiful our planet is but he also wants to alert people to the fact that it is endangered with many species on the brink of extinction.His achievements include the following:

Selected Exhibitions2010 - “Wildlife” – Zinc, Beirut, Lebanon2012 - “Prey” – The Venue-Beirut Souks, Beirut, Lebanon2012 - “London Olympics” – Zinc, Beirut, Lebanon2013 - “Prey” – Galerie Matignon, Paris, France2013 - “A Vanishing World” – Smogallery, Beirut, Lebanon2014 - “Prey” – Hotel Grey, Beirut, Lebanon2015 - “A Vanishing World” – RIRA Gallery, Dubai, UAE2016 - “It is their Planet too!” - The Alternative Artspace, Beirut, Lebanon2017 - “Le Silence” - The Alternative, Photomed Lebanon

Awards2012 - Winner 2nd place: HIPA 2012 – Emirates category2013 - Finalist: Wildlife Photographer of the Year 2013 competition2014 - Commended: Sony World Photography Awards 20142014 - Finalist: Wildlife Photographer of the Year 2014 competition2014 - Semi-Finalist: Windland Awards 20142014 - Finalist: HIPA 2014 – General category2015 - Finalist: Wildlife Photographer of the Year 2015 competition2015 - Multiple Honorable Mentions: International Photography Award 20152016 - Finalist: Wildlife Photographer of the Year 2016 competition

Publications2012 - Book: “Prey” - Magazines: Published in a large number of magazines including National Geographic Traveler

Galerie TanitEast Village Building – GF

Armenia Street - Mar Mikhael – Beirut+961 1 562812

espacekk@gmail.combeirut@galerietanit.com

www.galerietanit.com

References1. Beirut by Night - A Century of Nightlife Photography - Middle East Journal of Culture and Communication, Volume 8, Issue 2-3, 256–2812. Taryn Simon: An American Index of the Hidden and Unfamiliar (Book)3. Stephen Wddell - Dark Matter Atlas, “Underworlds” Essay by Craig Burnett Vancouver Art Gallery.