Photographer Joumana Jamhouri showcased her works at Paris Photo, one of the most significant fairs in the field. The event, titled “The Sea in All Its States,” was conducted in collaboration with the Tanit Gallery, founded and directed by Naila Kettaneh and based in Beirut and Munich.
What does it feel like to be exhibited at such a prestigious event as Paris Photo?
I am deeply grateful to Naila Kettaneh, the owner of Tanit Gallery and my gallerist, for displaying two of my photographs at this esteemed fair. It was an exhilarating experience. The photographs were well-received by the French audience. I was very moved to be part of this adventure alongside renowned photographers whose works are exhibited in museums, such as Elger Esser and Rania Matar. It’s truly a dream come true for any photographer!
What were the two exhibited photographs about?
Aligning with the theme of the sea, the first photograph depicted a storm on the Beirut corniche, captured just as the first ray of sunlight broke through the storm, giving it a very special atmosphere. The second photograph was of the Beirut port before the August 4 explosion, taken from one of the tallest buildings in the capital. Both photos share a similar ambiance, as they were taken during my favorite time, sunset.
What do these two photographs symbolize for you?
The storm symbolizes eternal renewal, the city torn apart and then calmed. The port represents Beirut’s relationship with the sea, which has always fascinated me. The port is beautiful and embodies the city’s connection with the rest of the world. I often perched atop tall buildings to capture the beauty of the Beirut port. Mourning it is even more challenging. Let’s not forget that Beirut is almost an island stretching towards the horizon. The photo of the port also embodies the link between the industrial and the sea.
Indeed, Is industrial photography also an essential part of your work?
Yes, I have photographed many factories in my career! It allows me to use my imagination, giving a different life to objects through the lens. For example, I see little red fish where there are actually bricks. It’s the playful side of my work.
Did the French Minister of Culture, of Lebanese origin, visit your stand at Paris Photo?
The visit was not planned. But when I saw her pass by with a delegation just a few meters from the stand without any intention of stopping there, I approached the director of the fair, who was accompanying her, and I said to her: “It would be heartbreaking if you don’t come see us, since this is the only Lebanese stand in the entire fair!” They heard me, and the minister (who was charming and warm) came in and looked attentively at the works on display. This gave me great pleasure.
Do you think artificial intelligence can kill a photographer’s creativity?
When I studied photography, it was analog, and by the end of my studies, we had shifted to digital. I had to relearn everything, but I did it willingly, always open to progress. Analog gave me an important foundation, and being gifted in computing helped me stay competitive. I believe artificial intelligence can greatly contribute to photography, as long as we avoid falling into excesses.
What are your upcoming projects?
Two projects are in the works, which I’ll discuss as soon as they materialize! Additionally, I plan to revive a project halted by the pandemic. A series of photographs of the Rachid Karameh fair in Tripoli, a site built by Brazilian architect Oscar Niemeyer, now listed on UNESCO’s World Heritage in Danger list. The photos were to be featured in a traveling exhibition across all French Institutes in Lebanon.
What would you wish for yourself?
I hope my photographs gain broader visibility. And here arises a fundamental question: do we photograph so that the work is seen, or simply for it to exist? The debate is open!
