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Tamara Kalo

@tamarakalo_

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🫖 تمارا كالو 🍰
@goldsmithsmfa ‘27
@casa_arabe cordoba until october
@rencontresarles
@designdohabiennial opening november

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𝓈𝒽𝑒 𝒾𝓈 𝓂𝒾𝓃𝑒 𝒶𝓃𝒹 𝒾 𝒶𝓂 𝒽𝑒𝓇
2026

on view at @athrart
curated by @afiabintaleb

🤍🪡 🌊🖤 by @tamarakalo_

𝓉𝒽𝑒 𝑜𝓃𝓁𝓎 𝒷𝑜𝒹𝓎 𝓉𝒽𝒶𝓉 𝒸𝒶𝓃 𝒽𝑜𝓁𝒹 𝑜𝓊𝓇 𝓌𝑜𝓇𝓁𝒹’𝓈 𝑔𝓇𝒾𝑒𝒻
2025

now showing at Beirut Art Center until february 28, as part of the exhibition “slow burn” curated by Danielle Makhoul showcasing works of 20 emerging artists, lots of gratitude and love to everyone involved (some found on image 7) big thanks to @makhould @iai.ee @beirutartcenter & the team 💌

if you’re in beirut you should definitely swing by to see this collective labor of love 🕯️

this project is a mourning ritual resulting in an image captured over three days within a camera obscura (or comra) made in a building overlooking the sea in saida. the resulting scene is fragmented across twenty tiled and stitched sheets of paper, forming an installation that evokes a portal or radiant sun, within which the sea appears to be set ablaze

(silver gelatin paper, brass, cotton dyed in olive leaf & lens)

first image by @ayanzan by @tamarakalo_

قلب المناظر
𝒕𝒉𝒆 𝒐𝒑𝒕𝒊𝒄𝒔 𝒐𝒇 𝒂 𝒓𝒊𝒔𝒊𝒏𝒈 𝒔𝒖𝒏
2025

commissioned by @biennale_sa for the second edition of the Islamic Arts Biennale: And All That Is In Between وما بينهما

the show is up 25/01-25/05 in Jeddah’s iconic Western Hajj Terminal as part of the outdoor Al Midhallah space ☁️ (statement is in the images)

ps. for best viewing, try to catch the work during the day, my personal favorite is around sunset where you get to see the sun set (or perhaps rise?) 🤭

huge thanks to curator @muhannad.shono for the trust, guidance and support throughout 🫰🏼

& huge thank u to everyone involved from the curatorial team, from DBF & from the install team, it was a massive collective effort and process
@joannachevalier @latifaya @wejdanhmr @annalafonta @anasalazarherrera @hayfa_algwaiz @yuridoingyuri +++++ 🤎

thank you to Radwan Hassoun @abed.009613156535 and his whole team who worked under extreme conditions in lebanon, the last few months to produce this remarkable hand-crafted instrument, most of which was made during the harshest months of the war & @limb.00 for overseeing when i could not be there 🧡

i’m incredibly grateful to be given this platform in this moment, this project has helped me through a difficult year

it is an honor to be showing work alongside an exceptional group of artists, architects, makers, both contemporary and past 🤍

thanks also to everyone who helped me talk through this work with them, conceptually, materially, emotionally 🩶

& thank u to everyone who came to the opening, it was a gift to see/meet/chat with u all 🖤

last photo by @ebrozaben by @tamarakalo_

𝓉𝒽𝑒 𝑜𝓃𝓁𝓎 𝒷𝑜𝒹𝓎 𝓉𝒽𝒶𝓉 𝒸𝒶𝓃 𝒽𝑜𝓁𝒹 𝑜𝓊𝓇 𝓌𝑜𝓇𝓁𝒹’𝓈 𝑔𝓇𝒾𝑒𝒻 has traveled for its second showing as part of Douglas Hyde Gallery’s Artist’s Eye programme, showing alongside Nour Jaouda’s Matters of Time & it’s the last week to catch it

honored for the invitation to be in conversation with such beautifully textured and layered work 🫧 @nour.jaouda 🫧 and for the time spent unraveling the not-so-immediately-evident but dense parallels between our practices, from the overarching theme of grief, the use of the negative and the materiality of home’s landscape

it was such a pleasure to meet and work with the whole team at @dhg_dublin
🤍
@georgina_jackson__ @niamhdarling_ @rrachaelgunning @rachelmcin + by @tamarakalo_

𝓉𝒽𝒾𝓈 𝓈𝑒𝒶 𝒾𝓈 𝓂𝒾𝓃𝑒
هذا البحر لي
2025 by @tamarakalo_

tomorrow’s the last day to get your fundraiser prints @soukelfan 💘 by @tamarakalo_

Exhibition Highlights:

𝗧𝗮𝗺𝗮𝗿𝗮 𝗞𝗮𝗹𝗼
𝗛𝗼𝘄 𝗱𝗼 you 𝗦𝗹𝗲𝗲𝗽 𝗮𝘁 𝗡𝗶𝗴𝗵𝘁?
𝗢𝗻𝗲 𝗰𝗵𝗮𝗻𝗻𝗲𝗹 𝘃𝗶𝗱𝗲𝗼 𝟭:𝟰𝟴:𝟮𝟭

How do you sleep at night” is a one-channel video performance in which the artist weaves herself into the bedframe with a green ribbon that acts as a deconstructed green screen. As her body and bedspace are gradually concealed, another realm begins to emerge.
The bed—a ubiquitous symbol of home— gradually becomes a portal to the unseen, where imaginative dreamlike and digital spheres manifest. The bedspace becomes a site of tension between comfort and unease, where worlds collide and compete for space. The work reflects on the difficulty of finding rest amid political unrest, when the world’s violence seeps through our screens and into our most private spaces.

The green ribbon becomes a fluid threshold between the world IRL and the virtual, the conscious and the dreamworld, the intimate and the political, revealing how digital witnessing bleeds into our psyche and how our imagined worlds also shape our reality.

How do you sleep at night is both a meditation and an invitation—a call to reclaim rest as resistance, and highlighting the porous relationship between the subconscious, the imaginative, the material and the digital.

Currently on view at the N.E.S.T Exhibition "Anatomy of the Unseen"

📸 @g.lochis by @tamarakalo_

Exhibition | 𝘴𝘭𝘰𝘸 𝘣𝘶𝘳𝘯 | Tamara Kalo
The only body capable of holding our world’s grief, 2025
Fiber based silver gelatin paper, cotton, brass, lens
180 x 170 x 20 cm

The only body capable of holding our world’s
grief is a mourning ritual culminating in a lumen
photograph made within a camera obscura the
artist constructed in a vacant building overlooking
the corniche in Saida. The image was exposed over
three days, tracing the passage of sunlight as it
entered the room from the exterior landscape. The
resulting scene is fragmented across twenty tiled
and stitched sheets of paper, forming an installation
that evokes a portal or radiant sun, within which the
sea appears to be set ablaze.
Across cultures, three days mark the most intense
phase of mourning — a liminal span between loss
and release. The work turns to the Mediterranean
Sea as both subject and witness: a body of water
that has carried travelers for centuries yet has
also claimed innumerable lives in its depths. It is
a vast, seemingly boundless body that connects
lands recently dissociated. The sea offers a visual
and sensorial repose — its horizon grounding,
its rhythmic waves and charged ions providing
regulating physiological and emotional relief.
Through this gesture of sun exposure and the
material sensitivity of the silver gelatin paper, the
photograph becomes an act of durational mourning
— an attempt to locate a body vast enough to
contain collective grief, and to register loss not
as a singular event but as an ongoing condition
embedded within landscape, light, and time.

—

Tamara Kalo’s (b. 1994, Lebanon) practice dives into
the intersection of land, body, home and collective
memory. She engages distortion, glitching and
fragmentation as modes of image making and
perception. In her works ranging from photography,
video, sculpture, textile and performance, Kalo
centers the body as a relational measure of re-
mapping memory, displacement and boundaries. by @tamarakalo_

how to bend a building
bts of bitter flight by @tamarakalo_

𝒷𝒾𝓉𝓉𝑒𝓇 𝒻𝓁𝒾𝑔𝒽𝓉 now on view at @rotlichtfestival “Life After Extinction” show until sunday alongside 19 other winning projects 🖤

thank you to the curatorial team & jury members @dr._hanin_hannouch @michaellaubsch @dinorekanovic @fuxiduerler @tarekmouradstudio @sebahchaudhry + the volunteers who helped install 🤍

~~~~~~~

Bitter Flight captures light from Burj El Murr, an unfinished Beirut building whose construction halted with the Civil War in 1975. Once among the tallest, it became a sniper post and detention center. Today, abandoned and too costly to demolish, it remains a home for birds and a relic of conflict.

The work centers a structure whose initial human purpose was never fulfilled, yet lives on as an urban carcass — a marker of a bitter collective memory and a glimpse of a post-human landscape, where architecture is inhabited by other-than-human life.

The images are unique silver gelatin prints made in the artist’s apartment-turned-camera obscura. Drawing in the building’s light, she performatively inverts, fragments, bends and mends its rigid form, rendering it mutable — open to quiet, soft, uncanny renewal. by @tamarakalo_

Tamara with Burj El Murr tower projected on her through a Camera Obscura installation she created in her apartment. This is the last picture I made this past summer in Lebanon and we were able to miraculously sneak it into the book at the 11th hour. I am so grateful we did! (Details below)

𝐖𝐡𝐞𝐫𝐞 𝐃𝐨 𝐈 𝐆𝐨? 𝐰𝐢𝐥𝐥 𝐛𝐞 𝐫𝐞𝐥𝐞𝐚𝐬𝐞𝐝 𝐚𝐭 𝐏𝐚𝐫𝐢𝐬 𝐏𝐡𝐨𝐭𝐨

𝐊𝐀𝐏𝐇 𝐁𝐨𝐨𝐤𝐬, 𝐁𝐨𝐨𝐭𝐡 𝐊𝟏𝟕
𝐍𝐨𝐯𝐞𝐦𝐛𝐞𝐫 𝟏𝟑, 𝟓𝐏𝐌
(Limited Edition Box Sets will also be available)

𝐆𝐚𝐥𝐞𝐫𝐢𝐞 𝐓𝐚𝐧𝐢𝐭, 𝐁𝐨𝐨𝐭𝐡 𝐁𝟒𝟐
𝐍𝐨𝐯𝐞𝐦𝐛𝐞𝐫 𝟏𝟓, 𝟒𝐏𝐌

Tamara lives across from the tower and addresses its massive looming presence in her own art. Here the tower is metaphorically “imprinted” on her. In reality it is imprinted on all of us who lived through the war, and on the next generations that followed…

The building still towers massive and abandoned (all 40 stories of it) over Beirut—a traumatic and painful reminder of the Lebanese Civil War. Snipers used to hide in it and shoot at anything that moved on the streets below.

@tamarakalo_ thank you for the Camera Obscura installation and the beautiful collaboration 🤍

Slide 2 for reference (and not in the book) the tower in all its massiveness. Photo by @lancearamouny

@kaph.books @parisphotofair @eskenazimuseum @galerietanit @tamarakalo_ 🤍 by @tamarakalo_

💌

mordancage in the making from a masterclass @beirutprintmakingstudio by @tamarakalo_