Biography
Alfred Tarazi is a Lebanese artist born in Beirut in 1980, known for his multidisciplinary approach of diverse mediums, spanning across painting, photography, digital collage, sculpture, and installation. His art delves deep into the intricate layers of Lebanon's war-ridden history. With a degree in Graphic Design from the American University of Beirut obtained in 2004, and a formative residency at Krinzinger Projekte in Vienna in 2011, Tarazi has developed a unique artistic voice that resonates both locally and internationally.
Alfred’s childhood is one marked by conflict, particularly the second half of the Lebanese Civil war (1975-1990). His earliest memories were spent re-enacting war battles in the schoolyard with his classmates, despite attending a private, upper-class school. Tarazi also recounts the impact of war on his learning the alphabet. While children in other countries were learning childish and innocent alphabet associations, he was taught that the letter A in Arabic represented Abtal "أبطال" which translates to heroes, and the letter B to the word of Batal “بطل” in Arabic translating to hero, the singular form of Abtal. Alfred uses these metaphors in order to describe the intrinsic impact the war had beyond the external damage and destruction. These experiences documenting his life as a child amidst the Lebanese civil war are a narrative which Alfred adeptly relays through his art.
Tarazi's artistic repertoire is wide, and each medium he utilizes is meticulously used to critically examine and reinterpret historical narratives. At the core of his work lies a profound interrogation of Lebanon's collective memory, challenging the authenticity of historical documentation and the selective nature of archival practices. Having grown up during Lebanon’s Civil war years (1975-1990), Tarazi skillfully brings historical events to life, through a nuanced blend of past and present elements, drawing viewers to reassess the ways in which history is recorded and remembered.
Tarazi's artistic repertoire is wide, and each medium he utilizes is meticulously used to critically examine and reinterpret historical narratives. At the core of his work lies a profound interrogation of Lebanon's collective memory, challenging the authenticity of historical documentation and the selective nature of archival practices. Having grown up during Lebanon’s Civil war years (1975-1990), Tarazi skillfully brings historical events to life, through a nuanced blend of past and present elements, drawing viewers to reassess the ways in which history is recorded and remembered.
A Nation's Inflation, 2010 by Alfred Tarazi is a detailed multimedia installation that studies the socio-political and economic crises in Lebanon. A distinctive feature of the project is its use of Lebanese money bills as a backdrop for the artworks, symbolizing the pervasive issue of inflation. The installation is made up of large-scale collages, archival photographs, and intricate illustrations, each meticulously combining historical narratives with contemporary issues to reflect on Lebanon's turbulent past and its impact on the present. In the artwork 25llA: The Hostage Host, Tarazi specifically explores the Palestinian presence in Lebanon post-1967, examining the dynamics of Palestinian guerrilla activities and the Lebanese army's responses, including the vital Cairo Agreement of 1969. The use of currency bills in the background emphasises the financial strain and political fragmentation worsened by these events.
The artwork 50ll F: The Failure of Modernity depicts the Lebanese Civil War's onset in 1975, contrasting leftist movements with right-wing Christian factions highlighting the war's evolution from social and political turbulence into a devastating sectarian conflict. While 50ll A: The Outcry of the Oppressed focuses on the socio-economic neglect of the Shiite community in South Lebanon, describing their mobilization through movements like Amal, founded by Musa Sadr. The use of devalued currency notes as a backdrop across the installation movingly emphasizes the crippling impact of inflation and economic instability, serving as a powerful metaphor for the nation's socio-political and economic struggles. The installation, as a whole, invites reflection on the cyclical nature of violence and the lasting effects of historical trauma on Lebanon's contemporary society.
Another piece by Alfred Tarazi is the mixed media installation When the Sun is High at Noon, 2012, that offers a compelling exploration of Lebanon's socio-political climate. It draws on imagery and texts from Lebanon's complex history, including archival photographs, military paraphernalia, and political documents, to create a layered narrative. The project examines the intersections of personal and national history, using these references to highlight the recurring themes of loyalty, betrayal, and the burden of promises. This combination of historical context and personal experience aims to provoke reflection on the enduring impact of promises in shaping individual and collective identities. With a stainless-steel box and mixed media on paper, Tarazi invites viewers to immerse themselves in Lebanon's history and present condition, prompting deep reflection on the nation's past and future trajectory.
Another significant project by Tarazi is The Lovers: National Reunion, 2022, produced as Giclee print, and displayed at the Hope in an Age of Dystopia, 2024 exhibition curated by the Ramzi and Saeda Dalloul Art Foundation. It complexly merges archival photographs with contemporary imagery to explore the intertwined stories of Georgina Rizk, crowned Miss Universe in 1971 at eighteen years old, and Ali Hasan Salemeh, previous chief security officer with the Palestinian Liberation Organization (PLO) in 1970, symbolizing the broader socio-political landscape of Lebanon. Rooted in the personal histories of these two individuals, the artwork delves into themes of identity, memory, and the enduring legacy of conflict. Through the connection of historical and present elements, Tarazi's piece highlights the lasting impact of past events on Lebanese society, while also hinting at possibilities for reconciliation and mutual understanding. At its heart lies the symbolic bond of Rizk and Salameh’s tragic yet beautiful relationship, symbolic of resilience within adversity and provoking reflection on the potential for unity within division.
Tarazi's contributions to contemporary art have not gone unnoticed, earning him significant recognition both locally and internationally. Notable awards include the famous Prince Claus Mentorship Award: Moving Narratives in 2024 and the Sovereign Art Prize in 2016. He has also delivered lectures and workshops at various institutions, emphasizing themes of memory, historical documentation, and the Lebanese Civil War such as the one held at FUTURE SENSE, FHNW Academy of Art and Design, Basel in 2019, and TALK 20 at the American University of Beirut in 2016. Tarazi is also a member of Atelier Hapsitus, a multi-disciplinary group founded by architect Nadim Karam, and an instigator of the Feel Collective, which aims to change cultural thinking patterns. His works are featured in prestigious collections and have been exhibited across the globe, solidifying his reputation as a catalyst in Lebanese contemporary art.
Alfred Tarazi's art serves as a powerful outlet for exploring Lebanon's tumultuous history and collective memory. Through mastering the use of various media and narrative techniques, he offers critical insights into the role of history in shaping contemporary identity. Tarazi continues to provoke thought and reflection, urging audiences to confront the complexities of the past while envisioning possibilities for a more harmonious future.
Works
Beirut Zoo, 2025