2018 Selected images  Tanya Traboulsi’s series,  Undo , explores the politics of  (self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”   Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.  Text by Muriel Kahwagi

2018
Selected images

Tanya Traboulsi’s series, Undo, explores the politics of
(self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”

Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.

Text by Muriel Kahwagi

 2018 Selected images  Tanya Traboulsi’s series,  Undo , explores the politics of  (self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”   Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.  Text by Muriel Kahwagi

2018
Selected images

Tanya Traboulsi’s series, Undo, explores the politics of
(self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”

Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.

Text by Muriel Kahwagi

 2018 Selected images  Tanya Traboulsi’s series,  Undo , explores the politics of  (self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”   Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.  Text by Muriel Kahwagi

2018
Selected images

Tanya Traboulsi’s series, Undo, explores the politics of
(self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”

Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.

Text by Muriel Kahwagi

 2018 Selected images  Tanya Traboulsi’s series,  Undo , explores the politics of  (self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”   Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.  Text by Muriel Kahwagi

2018
Selected images

Tanya Traboulsi’s series, Undo, explores the politics of
(self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”

Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.

Text by Muriel Kahwagi

 2018 Selected images  Tanya Traboulsi’s series,  Undo , explores the politics of  (self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”   Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.  Text by Muriel Kahwagi

2018
Selected images

Tanya Traboulsi’s series, Undo, explores the politics of
(self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”

Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.

Text by Muriel Kahwagi

Installation-views.jpg
 Station, Beirut

Station, Beirut

 Station, Beirut

Station, Beirut

 2018 Selected images  Tanya Traboulsi’s series,  Undo , explores the politics of  (self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”   Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.  Text by Muriel Kahwagi
 2018 Selected images  Tanya Traboulsi’s series,  Undo , explores the politics of  (self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”   Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.  Text by Muriel Kahwagi
 2018 Selected images  Tanya Traboulsi’s series,  Undo , explores the politics of  (self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”   Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.  Text by Muriel Kahwagi
 2018 Selected images  Tanya Traboulsi’s series,  Undo , explores the politics of  (self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”   Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.  Text by Muriel Kahwagi
 2018 Selected images  Tanya Traboulsi’s series,  Undo , explores the politics of  (self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”   Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.  Text by Muriel Kahwagi
Installation-views.jpg
 Station, Beirut
 Station, Beirut

2018
Selected images

Tanya Traboulsi’s series, Undo, explores the politics of
(self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”

Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.

Text by Muriel Kahwagi

2018
Selected images

Tanya Traboulsi’s series, Undo, explores the politics of
(self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”

Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.

Text by Muriel Kahwagi

2018
Selected images

Tanya Traboulsi’s series, Undo, explores the politics of
(self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”

Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.

Text by Muriel Kahwagi

2018
Selected images

Tanya Traboulsi’s series, Undo, explores the politics of
(self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”

Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.

Text by Muriel Kahwagi

2018
Selected images

Tanya Traboulsi’s series, Undo, explores the politics of
(self-)representation in an increasingly digital age. Here, the artist investigates our relationship to images; our precarious dynamic with the camera; and how these affinities color and contour both our construction of the self and our perception of “happiness.”

Taking over a hundred selfies with her phone camera and applying Instagram filters, Traboulsi attempts to create a repertoire of imagery that speaks to our covert desire to look “happy” on social media. The resulting mosaic of photographs, obsessively preoccupied with the self, mirrors the flood of images we are exposed to on our social media channels. In distorting her own selfies through Instagram filters, the artist reflects on how digital media exerts inordinate pressure for us to look a certain way – which is often untrue to our own “reality” – and how it warps our perception of the self in the process.

Text by Muriel Kahwagi

Station, Beirut

Station, Beirut

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