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Pascal Hachem tackles the complex and ever-changing definition of self-identity and its construction in in which a piece of Lebanese bread is placed over a mirror revealing the inscription, ‘Made in China’ on its back.

The confrontation of a staple Lebanese food with its Chinese precedence leads one to question what one always thought was, but might not be anymore.

Pascal Hachem’s wherein a blinding light hangs from a chandelier, bringing together the past and the present in a subverted representation of the known.

Works from a new generation of Lebanese artists on view in Madrid After the Civil War, Lebanon became one of the most prolific places of artistic production in the Middle East, boasting names such as Lamia Joreige, Akram Zaatari, Khalil Joreige, Joanna Hadjithomas, Walid Raad, and Ziad Antar.

Today, a new generation of artists is developing an innovative, conceptual language focused on the present rather than a lost past, ambiguously dealing with a wide range of topics and leaving ample space for interpretation and engagement.

This is also the case with Aya Haidar’s an installation comprised of a series of stamped United Nations envelopes posted to the Middle East, pinned on a corkboard and manipulated by the artist.

By erasing and rewriting the messages on paper, she subverts the original meaning, satirically criticising the character of the UN while dealing with issues related to boundaries, displacement, and memory.