Lawrence Abu Hamdan, Someone Chewing

Lawrence Abu Hamdan — Exhibition at Sfeir-Semler, Beirut

Sfeir-Semler Gallery proudly presents a new solo exhibition by Lawrence Abu Hamdan at its Karantina space in Beirut. This marks the artist’s second solo show with the gallery.

Sound as Political Evidence

Lawrence Abu Hamdan, who describes himself as a “Private Ear,” blends art and investigation. He uses sound not only as a creative medium but also as a tool for exposing injustice. His research has contributed to asylum hearings, advocacy campaigns, and global media. At the same time, he reworks these findings into immersive films, installations, and performances.

Noise, Power, and Perception

At the core of this exhibition is a question of authority: who gets to define what constitutes noise? Abu Hamdan explores this through two specific contexts. First, he examines the acoustic shifts in Cairo following the 2013 military coup. Then, he turns to the occupied Syrian Golan, where plans for wind turbines near residential areas have triggered political unrest.

To raise awareness of sonic disturbance, Abu Hamdan collaborated with Earshot* on a video game. Drawing from real recordings in Gaildorf, Germany and the Golan, the game mimics the experience of environmental noise. Moreover, it is presented in the familiar format of a livestream, with the artist offering commentary—just like a gaming streamer.

Revealing What’s Hidden

In another work, Abu Hamdan shifts focus to the electromagnetic fields that constantly surround us. By translating these invisible signals into a visual and sonic experience, he reveals how our devices shape the sensory space we inhabit.

Meanwhile, he also addresses the targeting of journalists during the invasion of Lebanon and the ongoing war in Gaza. Rather than showing the destruction directly, he presents the final, often damaged footage captured by broadcast cameras. Through this approach, he highlights the determination of the press in the face of repression.

Crossing Lines: 45th Parallel

In the gallery’s cinema space, the 2022 film 45th Parallel examines the blurred realities of national borders. It was filmed inside the Haskell Free Library and Opera House, which straddles the US–Canada boundary. Although peaceful in appearance, the site exposes deep legal ambiguities tied to geography and control.

Listening as Resistance

Throughout the exhibition, Abu Hamdan demonstrates how sound can serve as a form of resistance. By turning everyday noise into evidence and using silence as testimony, he challenges systems of surveillance and control. His practice encourages us to listen differently—and more critically.

About the Artist

Lawrence Abu Hamdan (b. 1985) is a Lebanese-British artist and independent audio investigator. His work has supported legal trials, human rights cases, and investigations presented to the UN Security Council.

He has taught and held fellowships at Cornell Tech, the University of Chicago, The New School, and Johannes Gutenberg University in Mainz.

Over the years, he has exhibited internationally at institutions such as:

• MoMA (New York)

• Tate Modern (London)

• MUAC (Mexico City)

• Hammer Museum (Los Angeles)

• Hamburger Bahnhof (Berlin)

Additionally, he has participated in major biennials including Venice, São Paulo, Gwangju, Sharjah, and Sydney.

His works are held in the collections of:

• Guggenheim Museum

• Centre Pompidou

• Tate Modern

• Reina Sofía

• Van Abbemuseum

His recognitions include:

• Turner Prize (co-winner, 2019)

• Nam June Paik Award (2016)

• Edvard Munch Art Award (2019)

• Audience Award, Toronto Biennial (2020)

• Best Short Film, Rotterdam Film Festival (2017)

• Grand Prize, Winterthur Film Festival