Very happy to announce and super honored that my film FEELERS was awarded ‘Best Experimental Short Film’ in the Mediterranean Film Festival Cannes. That film was my recent artist response to the inspiring Cassata Drone walkscapes in Niscemi, Sicily in October 2018. For more details on the festival and winners: https://www.mediterraneanfilmfestivalcannes.com/winners-2018-1
Announced today! I am one of the four winners of the Yicca art contest! I am super delighted I won an artist residency in Italy! for more details on the winning artists: http://contest.yicca.org/index.php/previous-contests/yicca-17-18/winning-artists-17-18
Happy news! My work has been selected for the YICCA art contest. The final exhibition of the 18 selected artists will open on the 12th of May at Hernandez Art Gallery in Milan. For more info on the selected artists, the competition, and final exhibition: http://contest.yicca.org/index.php/previous-contests/yicca-17-18
I am happy to be participating in Luminaria 03, art interventions in Usera markets of Madrid! The exhibition opens on the 7th of April and will run through the 21st of April. For more information: https://www.luminaria-usera.com/home
As the Premio Ora Prize winner, I get to have a solo exhibition at the amazing gallery, Gagliardi e Domke, in Turin opening on the 4th of November. For more info: http://gagliardiedomke.com/exhibitions/christine-kettaneh-solo-show/#press
I am the happy winner of the Aomi Okabe Jury Award in the Art Olympia 2017 competition! My work "SMELL ME" will be exhibited along with all the other finalists' works in Tokyo opening the 17th of June. For more details follow this link: https://www.artolympia.jp/englishhtml/e-exhibition.html
[...] Touristes venus de Pologne, d'Australie ou Libanais amateurs d'art, tous se sont prêtés au jeu : s'aventurer dans la ville aux cascades, à la recherche des œuvres... Read more: https://www.lorientlejour.com/article/1054551/a-jezzine-une-collaboration-entre-artistes-et-habitants-coule-de-source.html
بهدف تشجيع اللامركزية الفنية في جميع المناطق اللبنانية ، كانت النسخة الثانية من "برنامج الإقامة الفنية"، في منطقة جزين الجنوبية ، في محاولة لدعم العمل في مجال الفن المعاصر عبر إشراك المجتمعات المحلية في مشاريع فنية تحاكي الواقع٠
On the 28th of May, the residents Mo Abd-Ulla, Suzy Halajian, Ashraf Mtaweh, Hussein Nasreddine, Mahmoud Safadi and I will be sharing our research and participatory projects culminating our one-month residency in Jezzine.
In-situ works will be on view as of 2.00 pm.
Open Day program includes:
12:00 - 1:00 pm: Official launch of Open Day and program at Jezzine Hub
1:30 - 2.30 pm: Buffet at Serhal Palace (exceptionally open for this event)
5:00 - 7.00 pm: Guided hike from Roum to Bisri with Maroun Waked
8:00+ pm: Closing party at Jezzine Hub
تحمل هذه النسخة عنوان «المياه»، المستوحى من الطبيعة الجغرافية لجزين وشلالاتها، ومواردها المائية الوافرة. ستتركّز أعمال وأبحاث الفنانين الستة المشاركين على المياه، باعتبارها جذر الحياة الأساسي، وباعتبارها مورداً اجتماعياً وثقافياً أساسياً لدى جزين وسكانها٠٠٠
Read more: http://www.al-akhbar.com/node/276494
I am very happy to be one of the selected artists in residence for the BeMA Residency//Jezzine. For more info on the residency or the profiles of the artists follow this link: https://www.temporaryartplatform.com/2017-bema-s-residency-jezzine
Quel est le rapport entre ces fourmis et ces savons qui s'exposent à la galerie Janine Rubeiz ? Une démarche artistique signée Christine Kettaneh et intitulée « Smell me, Touch me, Kiss me » qui invite à la réflexion sur les nouvelles pratiques de l'art... Read more: https://www.lorientlejour.com/article/1029801/lart-de-sentir-de-toucher-et-de-communiquer.html
Smell me, Touch me, Kiss me
Christine Kettaneh at Janine Rubeiz Gallery.
“Despite our advanced forebrains, we remain ignorant at a macro scale. We are, like ants, only conscious of our micro-decisions”. In the opening of her manifest Christine Kettaneh defines her understanding of the surrounding, the world and the universe.
Her exhibition “Smell me, Touch me, kiss me” at Janine Rubeiz Gallery, is a visual presentation of an immediate microcosm. By observing nature, she infiltrated the microcosmic world. It seems to her that the microcosmic is more comprehensible than the macrocosmic. It is within her realm. It is related to her scale. It is in her reach. A realm and scale where she can find herself easily, where she can find the answers that may explain more about life. A life that we may lose in an instant without having any clue what so ever why? Answers about why tomorrow does not fit our great expectations. Observing nature and the microcosmic world became an obsession offering for a tormented soul some answers on the existential level.
Instead of being controlled by the unexplained events and turns of the macrocosm, Christine decided to control the events and turns of the microcosm. One way or another she must have power over destiny.
The ant's instinctive behavior, the systematic spontaneous formation, and deformation of certain matters such sugar and soap are elements of that microcosm that she controlled, and programmed its outcome. Somehow she played God. Throughout her observation, she realized that to dominate the outcomes all she has to do is offer bait to the predator. Still how about sending earthly yet subliminal messages in the process, seducing the spectators with words and intriguing them with letters while documenting the natural behavior of ants and their lust for sugar. Perplexing enough. It is fair to wonder who is the seduced, the ants or the human being? Or are they both similar like she declared? Are they, the human, only but ants in this macrocosm?
Artistically, Kettaneh presented a solid installation, refined, gracious and extremely sensible. Her exhibition a sensorial experience displayed in photographs of ants and letters , laser engraved natural leaves, Hayat soap cubes and posters.
Her black and white photographs document the ant's instinctive behavior and formation over and around the sugar letters. Shot with a DSLR camera and a macro lens in a bird’s eye view. Their small sizes respect the ant's normal size just enough to emphasize the microcosmic proportion with the human scale. Well composed they express the vastness of space on a minute dimension and refer to the harmonious relationship between the empty and the full. The black and white are judicious. The visual content is well contrasted; the cast shadows are soft, and the highlight is off. The overall is perfectly white balanced, the ants are black, the sugar slightly sparkling and the ground is white. Moreover, looking at their visual documents the spectator is certainly intrigued and captured by the ants systematic formation around the sugar letters. It reminds me of the ancient Roman military formation assumed in battlefields. Highly organized the ants surround the letters to form a black contour like rays of black light. Interesting when we know that Ants, like most insects, communicate with each other using pheromones, sounds, touch and smell. They use pheromones as chemical signals, their mouth to touch and their antennae to smell. Smell me, Touch me, kiss me. Nice finale.
Ants are important to the ecosystem. “They turn and aerate the soil, allowing water and oxygen to reach plant roots.” Ants are responsible for continuity of life. Life, or “ hayat” in Arabic, is the end chapter of Kettaneh installation. “Hayat” is the name giving to a traditional known artisanal soap made in Tripoli, Lebanon.
Via a video work, Christine, intimately explores her relationship with the soap. Filming herself gently washing her hands in the washbasin under running water she presents a sensitive cleansing connotation. “Hayat,” Life is an existential enigma on a macrocosmic grade can only be perceived as an object of feeling on the microcosmic dimension. Its use on a daily basis became a hypnotic ritual where touch and smell foster a hyper sensorial living experience. The video edited frames, using tracing contour command, obliterate all connection to real world. Thus the screening becomes an esoteric consciousness.
The esoteric consciousness is touched in another chapter of her installation, The engraved natural leaves. In my perception, this micro chapter transcends her artistic experience to another dimension. All she has to do is invest in that direction. I will not endeavor furthermore on that subject matter. I will gladly offer to the readers the chance to explore themselves the touch, the kiss and the smell of Christine Kettaneh aesthetic enlightenment.
La nouvelle exposition de Christine Kettaneh explore la réalité et les objets quotidiens : savon, sucre, fourmis…. Read more: http://www.agendaculturel.com/Art_Christin+Kettaneh_l_art_entre_macro_et_micro
Christine Kettaneh’s path to the arts took a route some might not expect. A career in finance initially beckoned, and it was a place to study Finance and Economics which brought Christine to Gooodenough College in 2004... Read more: https://issuu.com/goodenoughalumni/docs/onlineproof/14
"So, this body of work is about being aware of what is missing, and about questioning the meaning of presence through absence,” Kettaneh says.... Read more: http://gulfnews.com/culture/arts/the-eloquence-of-silence-1.1903922