teaacake

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<channel>
	<title>teaacake</title>
	<link>https://tamarakalo.com</link>
	<description>teaacake</description>
	<pubDate>Sat, 06 Dec 2025 18:30:34 +0000</pubDate>
	<generator>https://tamarakalo.com</generator>
	<language>en</language>
	
		
	<item>
		<title>home</title>
				
		<link>https://tamarakalo.com/home</link>

		<pubDate>Sat, 21 Apr 2018 15:32:15 +0000</pubDate>

		<dc:creator>teaacake</dc:creator>

		<guid isPermaLink="true">https://tamarakalo.com/home</guid>

		<description>
&#60;img width="6170" height="3111" width_o="6170" height_o="3111" data-src="https://freight.cargo.site/t/original/i/366577024d59c5d64a079d78aff85f6fd10f727e40334cd4579ccdb434d385f2/name4.png" data-mid="174873176" border="0" data-scale="43" src="https://freight.cargo.site/w/1000/i/366577024d59c5d64a079d78aff85f6fd10f727e40334cd4579ccdb434d385f2/name4.png" /&#62;
ᐯ</description>
		
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	<item>
		<title>project list</title>
				
		<link>https://tamarakalo.com/project-list</link>

		<pubDate>Sat, 21 Apr 2018 15:32:19 +0000</pubDate>

		<dc:creator>teaacake</dc:creator>

		<guid isPermaLink="true">https://tamarakalo.com/project-list</guid>

		<description>/ selected works&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp; she is mine and and i am her
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; the only body that can hold our world’s grief &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
optics of a rising sun&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; bitter flight&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; current sea
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; the green screen line&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; millenary witness&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
her in sight

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; how do you sleep at night&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
olive leaves memories&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
eternal witness
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; home shell

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; grounding elisar&#38;nbsp;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; gated oasis&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
shattered light


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; shattered horizon&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
folds unfolding&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; balconies of beirut&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; this sea is mine


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; thought-books
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


/ photo&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; border wall


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; bitter flight
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; tranquil tragedy&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; mourning dusk
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; and then we rose

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; rose portraits
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; here


/films


/&#38;nbsp;about


︎ &#38;nbsp; tamaras.kalo@gmail.com</description>
		
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	<item>
		<title>the only body that can hold our world's grief</title>
				
		<link>https://tamarakalo.com/the-only-body-that-can-hold-our-world-s-grief</link>

		<pubDate>Sat, 06 Dec 2025 18:30:34 +0000</pubDate>

		<dc:creator>teaacake</dc:creator>

		<guid isPermaLink="true">https://tamarakalo.com/the-only-body-that-can-hold-our-world-s-grief</guid>

		<description>the only body that can hold our world’s grief
2025&#38;nbsp;

&#60;img width="2048" height="3089" width_o="2048" height_o="3089" data-src="https://freight.cargo.site/t/original/i/1cb3b3de3b721ea64f6f7cc73df77d0fb9bc7d92b0aed0839c0fae44175faf7c/WhatsApp-Image-2025-11-20-at-08.54.01.jpeg" data-mid="241503700" border="0"  src="https://freight.cargo.site/w/1000/i/1cb3b3de3b721ea64f6f7cc73df77d0fb9bc7d92b0aed0839c0fae44175faf7c/WhatsApp-Image-2025-11-20-at-08.54.01.jpeg" /&#62;
commissioned by Beirut Art Center&#38;nbsp;

	“The only body that can hold 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.


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		<title>bitter flight</title>
				
		<link>https://tamarakalo.com/bitter-flight</link>

		<pubDate>Thu, 11 Oct 2018 15:51:18 +0000</pubDate>

		<dc:creator>teaacake</dc:creator>

		<guid isPermaLink="true">https://tamarakalo.com/bitter-flight</guid>

		<description>Bitter Flight
2018-ongoing

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.


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	<item>
		<title>ode to elisar</title>
				
		<link>https://tamarakalo.com/ode-to-elisar</link>

		<pubDate>Tue, 28 Mar 2023 19:29:36 +0000</pubDate>

		<dc:creator>teaacake</dc:creator>

		<guid isPermaLink="true">https://tamarakalo.com/ode-to-elisar</guid>

		<description>

Grounding Elisar, 2023
Ode to Elisar is a performative multimedia video installation embodying the artist’s porous relation to her own physical boundaries and that of the compound’s. The performance annotates the displaced body’s constant search for a home, and its ritualistic act of movement and migration. 

The artist’s body here, is as a tool of measurement as well as comprehension of one’s ownership of space within a shifting urban landscape. The act of then marking the physical dimension of the compound exterior walls with a chord, and embracing the self in various forms, personifies an uncomfortable shift in one’s relationship to memories of home. 

The artist has actively engaged in the documentation of the interior compound space for two years. Experimenting with a multitude of photo and video methods to record a period of time in which the compound structure and plan began to shift. Having lived in what the artist describes as this ‘gated oasis’ since early childhood, this collection of visual and material references, here extends to a physical chord which weaves together these fragments of memory. &#38;nbsp; 

This is an extension of a larger body of works exploring notions of home-sickness and home-making through photography, videography, performance, alchemy, archiving, weaving, sculpture and other material assemblages.
(This work was done as part of the Intermix Residency second edition).&#38;nbsp;
PRESS

&#60;img width="3360" height="1770" width_o="3360" height_o="1770" data-src="https://freight.cargo.site/t/original/i/e2d1703e634adb615ec3de9d3acdb3b08ee5d97d8a9d147f1d58b5cdee53d904/Screen-Shot-2023-03-14-at-5.49.10-PM.png" data-mid="173420727" border="0"  src="https://freight.cargo.site/w/1000/i/e2d1703e634adb615ec3de9d3acdb3b08ee5d97d8a9d147f1d58b5cdee53d904/Screen-Shot-2023-03-14-at-5.49.10-PM.png" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>optics of a rising sun</title>
				
		<link>https://tamarakalo.com/optics-of-a-rising-sun</link>

		<pubDate>Tue, 28 Jan 2025 11:27:00 +0000</pubDate>

		<dc:creator>teaacake</dc:creator>

		<guid isPermaLink="true">https://tamarakalo.com/optics-of-a-rising-sun</guid>

		<description>The Optics Of A Rising Sunقلب المناظر

Commissioned for the second edition of the Islamic Arts Biennale.
Showing 25/01/2025 - 25/05/2025

Reflecting on the flood of visual information in the age of the internet, Tamara Kalo’s practice questions humans’ ways of perception. The artwork is a contemporary adaptation of a historic instrument: Ibn Al Haytham’s camera obscura. Realized as a copper sculpture, it enables viewers to contemplate a live image of their surroundings through an upside down projection. The artist pairs Ibn Al Haytham’s discovery, who was also the first to formulate&#38;nbsp; that human vision is a result of light entering the eye and then processed by the brain, with copper crafts popularized during the Abbasid Caliphate (AH 132 - 656/750–1258 CE). 

The artwork is an interpretation of the Qur’anic verse from chapter Al-Nur (24:35), in which Allah’s light is described as coming from a blessed olive tree that is neither in the west nor in the east. The two lenses of the camera are located opposite of each other, eastward where the sun rises, and westward, where it sets. The antiquated dichotomy of east and west, Global North and Global South, or up and down, and the illusion of past and future, is symbolically bridged. This act of reversal allows for alternative sensorial experiences and brings awareness to the complex and subjective processes of perception.في إطار تأمُّلها في تدفُّق المعلومات البصرية في عصر الإنترنت، تستكشف تمارا كالو في ممارستها الفنية طرق الإدراك لدى البشر. يمثِّل هذا العمل الفني صياغة معاصرة لآلة تاريخية؛ وهي الكاميرا المظلمة التي اخترعها ابن الهيثم.

يأخذ العمل شكل منحوتة نحاسية، تتيح للمشاهدين التأمل في صورة حية لمحيطهم، معروضة بصورة مقلوبة. تربط الفنانة بين اكتشاف ابن الهيثم، الذي توصّل إلى أن الرؤية البشرية هي نتيجة لدخول الضوء إلى العين ثم معالجته بواسطة الدماغ، وبين الحِرَف النحاسية التي ازدهرت في العصر العباسي (132-656 هـ/750-1258م).

يشير العمل الفني إلى الآية القرآنية في سورة النور (24:35)، والتي تصف نور الله بأنه يوقَد من شجرة زيتون مباركة، لا شرقية ولا غربية. تقع عدستا الكاميرا مقابل بعضهما البعض، شرقًا حيث تشرق الشمس، وغربًا حيث تغرب. يتجاوز العمل الحدود التقليدية بين الشرق والغرب، أو الدول الغربية وغير الغربية، أو بين الأعلى والأسفل، ويفكّك الفاصل الوهمي بين الماضي والمستقبل؛ ليقدِّم رؤية رمزية ومتصلة بهذه المفارقات والتمييزات. يُتيح هذا الفعل العكسي تجارب حسّية بديلة، ويعمِّق إدراكنا لتعقيدات الرؤية وذاتيّتها.


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	<item>
		<title>Current Sea</title>
				
		<link>https://tamarakalo.com/Current-Sea</link>

		<pubDate>Fri, 01 Sep 2023 13:54:01 +0000</pubDate>

		<dc:creator>teaacake</dc:creator>

		<guid isPermaLink="true">https://tamarakalo.com/Current-Sea</guid>

		<description>Current Sea
2023 - Ongoing
This series of hanging textiles are embroidered glitches of the lebanese currency. the bills are transfigured into abstracted fluid forms through scanography, a tactile process producing a seemingly digital distortion. The work is a commentary on the economic crisis, it contrasts the devaluation of monetary worth with the value of the skilled labor force. The work is commissioned to local artisans to support craft during the current inflation. 

Current Sea ٥٠٠٠٠2024Silk on cotton
&#60;img width="4000" height="5000" width_o="4000" height_o="5000" data-src="https://freight.cargo.site/t/original/i/3e8753f6ef80960113c901fa981728d21ab5b86f862dc43e8273f19753e5dc9b/Perfume-in-Exile---Friends-Artspace20885-1.jpg" data-mid="228242537" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/3e8753f6ef80960113c901fa981728d21ab5b86f862dc43e8273f19753e5dc9b/Perfume-in-Exile---Friends-Artspace20885-1.jpg" /&#62;
&#60;img width="4000" height="5000" width_o="4000" height_o="5000" data-src="https://freight.cargo.site/t/original/i/eb3fa7925a160360aa0c2f161490fe3ae700befef5ba9373f34469b2a9afcbb6/Perfume-in-Exile---Friends-Artspace20783.jpg" data-mid="228243240" border="0"  src="https://freight.cargo.site/w/1000/i/eb3fa7925a160360aa0c2f161490fe3ae700befef5ba9373f34469b2a9afcbb6/Perfume-in-Exile---Friends-Artspace20783.jpg" /&#62;&#60;img width="4000" height="5000" width_o="4000" height_o="5000" data-src="https://freight.cargo.site/t/original/i/23d3a1cba30ff51a4503c7d654dbd9cbbdd22fe320154bd39f5e15382d67feeb/Perfume-in-Exile---Friends-Artspace20782.jpg" data-mid="228243241" border="0"  src="https://freight.cargo.site/w/1000/i/23d3a1cba30ff51a4503c7d654dbd9cbbdd22fe320154bd39f5e15382d67feeb/Perfume-in-Exile---Friends-Artspace20782.jpg" /&#62;&#60;img width="4000" height="5000" width_o="4000" height_o="5000" data-src="https://freight.cargo.site/t/original/i/e6cb36c979747f64ba4aba1ed611666fec3e6d60e7354ed0b6ee9b6f76d1dbb5/Perfume-in-Exile---Friends-Artspace20780.jpg" data-mid="228243242" border="0"  src="https://freight.cargo.site/w/1000/i/e6cb36c979747f64ba4aba1ed611666fec3e6d60e7354ed0b6ee9b6f76d1dbb5/Perfume-in-Exile---Friends-Artspace20780.jpg" /&#62;&#60;img width="4001" height="5000" width_o="4001" height_o="5000" data-src="https://freight.cargo.site/t/original/i/1980000e3c3812371f43832aa3b32a9ac88cb559a39a921c3d5c569a5933fd37/Perfume-in-Exile---Friends-Artspace20510.jpg" data-mid="228243238" border="0"  src="https://freight.cargo.site/w/1000/i/1980000e3c3812371f43832aa3b32a9ac88cb559a39a921c3d5c569a5933fd37/Perfume-in-Exile---Friends-Artspace20510.jpg" /&#62;
Current Sea 200002024Silk on cotton
&#60;img width="4000" height="5000" width_o="4000" height_o="5000" data-src="https://freight.cargo.site/t/original/i/a6c3761b669fe943f58b8b6bc9a073766b781bd2f055f903a41ae45b4803665e/Perfume-in-Exile---Friends-Artspace20493.jpg" data-mid="228243235" border="0"  src="https://freight.cargo.site/w/1000/i/a6c3761b669fe943f58b8b6bc9a073766b781bd2f055f903a41ae45b4803665e/Perfume-in-Exile---Friends-Artspace20493.jpg" /&#62;
&#60;img width="4001" height="5000" width_o="4001" height_o="5000" data-src="https://freight.cargo.site/t/original/i/e8a019fd1fbc79bb7735f1ecb6382d95b06772a084d9f08bf561031e6227822e/Perfume-in-Exile---Friends-Artspace20787.jpg" data-mid="228243236" border="0"  src="https://freight.cargo.site/w/1000/i/e8a019fd1fbc79bb7735f1ecb6382d95b06772a084d9f08bf561031e6227822e/Perfume-in-Exile---Friends-Artspace20787.jpg" /&#62;
Current Sea 500002024Silk on cotton
&#60;img width="7696" height="5768" width_o="7696" height_o="5768" data-src="https://freight.cargo.site/t/original/i/e1ba302c76967bf78139d3cc508151be628d2f1864a830670841c86cd1611a59/IsabelleGallery-240824-175.jpg" data-mid="228242710" border="0"  src="https://freight.cargo.site/w/1000/i/e1ba302c76967bf78139d3cc508151be628d2f1864a830670841c86cd1611a59/IsabelleGallery-240824-175.jpg" /&#62;&#60;img width="8272" height="6200" width_o="8272" height_o="6200" data-src="https://freight.cargo.site/t/original/i/ab187462a013045abcb52fc5c9f101a3af716c9abd37b22d2fc8ccc3a3ee8390/IsabelleGallery-240824-178.jpg" data-mid="228242711" border="0"  src="https://freight.cargo.site/w/1000/i/ab187462a013045abcb52fc5c9f101a3af716c9abd37b22d2fc8ccc3a3ee8390/IsabelleGallery-240824-178.jpg" /&#62;&#60;img width="7510" height="5007" width_o="7510" height_o="5007" data-src="https://freight.cargo.site/t/original/i/823e0f41b674a02609e2a91cb102da605c250f9267268601e1b41e54a3894a1f/CR2_4906.jpg" data-mid="228242715" border="0"  src="https://freight.cargo.site/w/1000/i/823e0f41b674a02609e2a91cb102da605c250f9267268601e1b41e54a3894a1f/CR2_4906.jpg" /&#62;
Current Sea&#38;nbsp;٢٠٠٠٠
2023Silk on Linen, 90x150cm 1/1

	&#60;img width="1184" height="1776" width_o="1184" height_o="1776" data-src="https://freight.cargo.site/t/original/i/347f71f6bffb549ab013776533c0f56e4b6cc741b6ef33c912735f8d01327bb0/A0CCBC5D-C3E6-4782-A69C-C20BC2885CD0-52783-0000092B6F8CA805.JPG" data-mid="189499299" border="0"  src="https://freight.cargo.site/w/1000/i/347f71f6bffb549ab013776533c0f56e4b6cc741b6ef33c912735f8d01327bb0/A0CCBC5D-C3E6-4782-A69C-C20BC2885CD0-52783-0000092B6F8CA805.JPG" /&#62;
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Current Sea 1000
2023
Silk on cotton, beads, mother of pearl

&#60;img width="4124" height="6186" width_o="4124" height_o="6186" data-src="https://freight.cargo.site/t/original/i/e1fad2c92ec1a51905942b30a2cd296f2df851c164219043579e7ebb615de852/DSCF5285.jpg" data-mid="226560376" border="0"  src="https://freight.cargo.site/w/1000/i/e1fad2c92ec1a51905942b30a2cd296f2df851c164219043579e7ebb615de852/DSCF5285.jpg" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>green screen line</title>
				
		<link>https://tamarakalo.com/green-screen-line</link>

		<pubDate>Tue, 11 Feb 2025 14:06:10 +0000</pubDate>

		<dc:creator>teaacake</dc:creator>

		<guid isPermaLink="true">https://tamarakalo.com/green-screen-line</guid>

		<description>the green screen line&#38;nbsp;2024

one channel video 37:21 (WIP)

this was a result of the NEOM research residency 2024 that took place between NEOM and Madrid, organized by E&#38;amp;C Neom, Alserkal Advisory and TBA21.&#38;nbsp;Kalo’s work considers the embodied mapping of land as an archive in the context of NEOM’s natural landscape, both geographically and temporally. The artist explores how bodies have moved through the landscape over time, tracing historic routes, pathways and juxtaposing these with new lines being built for the future.

Through the act of unrolling a green fabric—Kalo questions what it means to draw a line in the landscape and how this manifests not just physically but also in the collective imagination. As an embodied gesture, Kalo examines the scale of the human body within the vast landscape and the scale of NEOM’s future construction. By applying a green screen effect to the fabric, it becomes an endless virtual possibility, symbolizing the multiple meanings of mark-making in the landscape.


&#60;img width="3340" height="1760" width_o="3340" height_o="1760" data-src="https://freight.cargo.site/t/original/i/7f53179f787626987ffca08501f40c2dbade798a30111477cc8f785c037a694c/Screen-Shot-2024-11-30-at-10.58.05-PM.png" data-mid="226393044" border="0"  src="https://freight.cargo.site/w/1000/i/7f53179f787626987ffca08501f40c2dbade798a30111477cc8f785c037a694c/Screen-Shot-2024-11-30-at-10.58.05-PM.png" /&#62;
&#60;img width="3344" height="1758" width_o="3344" height_o="1758" data-src="https://freight.cargo.site/t/original/i/16e7f4dff1012b64ec0206857a9be9d869202f6cd8ad7dbc5daf2c534a53f4b1/Screen-Shot-2024-11-30-at-10.58.47-PM.png" data-mid="226393041" border="0"  src="https://freight.cargo.site/w/1000/i/16e7f4dff1012b64ec0206857a9be9d869202f6cd8ad7dbc5daf2c534a53f4b1/Screen-Shot-2024-11-30-at-10.58.47-PM.png" /&#62;&#60;img width="1018" height="540" width_o="1018" height_o="540" data-src="https://freight.cargo.site/t/original/i/78a13c2c90d9764f343e93e5b33661869084bdc79beacb6aa660440024469521/Screen-Shot-2024-11-23-at-9.34.16-PM.png" data-mid="226393038" border="0"  src="https://freight.cargo.site/w/1000/i/78a13c2c90d9764f343e93e5b33661869084bdc79beacb6aa660440024469521/Screen-Shot-2024-11-23-at-9.34.16-PM.png" /&#62;
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	</item>
		
		
	<item>
		<title>millenary witness</title>
				
		<link>https://tamarakalo.com/millenary-witness</link>

		<pubDate>Tue, 11 Mar 2025 20:48:32 +0000</pubDate>

		<dc:creator>teaacake</dc:creator>

		<guid isPermaLink="true">https://tamarakalo.com/millenary-witness</guid>

		<description>millenary witness
2024
Olive leaf extract, cotton fabric, sticker, ink
Beirut
Commissioned by Temporary Art Platform
&#60;img width="8007" height="5341" width_o="8007" height_o="5341" data-src="https://freight.cargo.site/t/original/i/49f37a5950e26fdaefff87341381df6bea75750d11dfa1d861bb2837cda6d99e/TAP_AUG30-31.jpg" data-mid="228065749" border="0"  src="https://freight.cargo.site/w/1000/i/49f37a5950e26fdaefff87341381df6bea75750d11dfa1d861bb2837cda6d99e/TAP_AUG30-31.jpg" /&#62;
This project aims to conjure an ancestral futurity in the present. As Lebanon undergoes perpetual crises, it leaves one’s life within it fixated on quotidian struggles, unable to imagine a brighter tomorrow, and occasionally escaping in the nostalgia of its recent romanticized past. Working with a seven-thousand-year-old olive tree, the work muses on the notion of deep time within the framework of this living tree, imagining the deep past as well as the deep future. This allows for a reconsideration of our identity within our current nation-statehood, to a more timeless one of a people’s relationship with land. With the war waged on our lands and that of our kin, it is vital to remember and envision a land that transgresses our contemporary national and sectarian divisions, to bring into our imagination a place-based identity that isn’t truncated but rather regionally fluid and interwoven. The work also uses the site of the billboard to consume light during its exhibition - just as a tree photosynthesizes - rather than promote consumption. The exposure to sunlight in the present alchemizes the ancestral tree’s leaves to postulate a renewed future.
The work is a three by four meter billboard that was up for two weeks. It is a large-scale anthotype. The images were a result of a ten person circle held by millenary olive trees in Bchaaleh, Lebanon. The images are printed on a transparent sticker material that is overlaid on cotton fabric coated with olive leaf extract. The extract then acts as a photosensitive substance that is exposed throughout the duration of its exhibition. 

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#60;img width="4160" height="6240" width_o="4160" height_o="6240" data-src="https://freight.cargo.site/t/original/i/543dbb8ee5c63e8f2b967827876b40d2d57e98f827bcdf74e367c5b78dcbfc9f/DSCF5913.jpg" data-mid="228066029" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/543dbb8ee5c63e8f2b967827876b40d2d57e98f827bcdf74e367c5b78dcbfc9f/DSCF5913.jpg" /&#62;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#60;img width="3927" height="5996" width_o="3927" height_o="5996" data-src="https://freight.cargo.site/t/original/i/42de4f34ff04baeeb7db783994e2f5d97dd4c2d1c6828a0c7782eb80c65f32eb/DSCF4924.jpg" data-mid="228066031" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/42de4f34ff04baeeb7db783994e2f5d97dd4c2d1c6828a0c7782eb80c65f32eb/DSCF4924.jpg" /&#62;</description>
		
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	<item>
		<title>her in sight</title>
				
		<link>https://tamarakalo.com/her-in-sight</link>

		<pubDate>Sun, 12 May 2024 11:10:59 +0000</pubDate>

		<dc:creator>teaacake</dc:creator>

		<guid isPermaLink="true">https://tamarakalo.com/her-in-sight</guid>

		<description>Her In Sight&#38;nbsp;
2024
This work was done during the Bait Shouaib Residency by Athr Foundation, in Al Balad, Jeddah, KSA.&#38;nbsp;

	
These prints are all one of one large negatives hand printed within the roshan-turned-camera-obscura in the Bait Shouaib residence. The roshan has
historically been a space for women to see while remaining unseen, looking into
the public while remaining within the privacy of one’s interior space. By print-
ing images directly onto silver gelatin paper from the light bouncing in from the
exterior, which in this case is that of Bait Nassif and the courtyard, the process
reflects the function this architectural roshan element lends itself to.

					
The line between what is public and private are materially merged through the
medium of light entering the porous roshan space to suggest the more interwoven relationship of our sight to space.

				
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