NB This is not a website but a notebook.
Most bodies of works presented here are only sketches, drawings or thoughts.
Their final form takes shape when exhibited in real space & time.

Georges Salameh

Greek-Lebanese lens based artist and filmmaker.
Born in Beirut, 1973.
Studied Film at Paris VIII St. Denis.
Lived in Beit Mery, Larnaca, Athens, Paris, Cairo and Palermo.
Since 1998, has created video & photographic installations, directed documentaries, experimental and essay films.

CAHIERS DE LA PAIX (1998-2006)




on narration

I’ve been working in the field of filmmaking and fine arts for more than 20 years now, but my utmost aspiration is still poetry. So in a way I always put my visual craftsmanship at the service of this unattainable goal, since I don't really write eloquently, in any of the five languages I speak! 
Since my first steps, my work is shaped into an idiosyncratic experience of the notion of sedimentation, both in the physical and metaphysical sense. 
By sedimentation I refer to the layers of time in which live materials and ideas sink to the bottom of the Mediterranean sea. Most of my work is produced over long periods, waiting for this minimum sedimentation to occur. Those materials are archives, recordings, reconstructions, gestures, peripatetic experiences and a sense of listening/hearing. These sediments invite the viewer to a meandering through a creative comparison of reality, of languages, and of narratives. What I call creative comparison of reality is a long process of dialectic creativity that accompanies and informs my work through different stages. 
From the first moment of shooting until the final edit proposal, it’s a continuous flow of layering and shaping. However, what is visible to the viewer and emerges, is only what is visible on the surface, the last layer. A final form is just the end of that process. What is initially subjective, all along the way, becomes distant and timeless.
All my projects are intuitive responses to emotionally resonant ideas. They look more like a letter to a friend, words said or left unsaid, all floating down the stream of oblivion. 
Oblivion leaves sediments too, on the surface of cities, mounts, valleys or in the depths of the sea. It may in time become memory.

on peripatetics

I walked, walked and still walk on Mediterranean soil.
Walking is the mother of all migrations.
Man before even beginning to combine action to word, starts on his feet.
Walking reminds us of what gave us our civilizations and enlightment.
Simple and complex simultaneously, walking certifies that life begins somehow as a human adventure, around the age of one.
The quest for an unattainable return home and an impossible harmony motivates the walker - pilgrim.
Walking is a process and a pretext for introspection. 
Between first steps and travels around the world, there is a major one step that allows you to cross the boundaries of life. 
It's also a form of placing History in the space of an experiential education.
Lonely form of resilience, not without nostalgia, walking is always a step towards the other, and the foreigner in us. It’s an encounter that requires an effort. It’s a therapy, both physical and psychological.
In the effort of walking one escapes the very idea of identity, the temptation to be someone, to have a name and a history.
This new form of freedom lies in not being anyone; for the walking body has no history, it is just an eddy in the stream of immemorial life. Forgetting oneself would begin with deliberately cultivating solitude and oblivion. It would acknowledge that all labor spent on the self is potentially displacement activity, wasted energy. And with that effort conserved, some sort of great work could be done. The reveries of Rousseau, the writings of Rimbaud and then of Stevenson, Thoreau, Benjamin, Walser, Sebald and so many others encourage us, when reading them, to put on our shoes and walk.
To our joy and our health, walking is a form of defiance of speed and noise, increases curiosity, and encourages humility, causing sometimes meditation. It invites us to contemplate, be silent and listen better. I would call this form of life practice Peripatetics.
“Peripatetic" is a word relating to the broader sense of walking about – wandering, roaming. The adjective derives from the Greek verb “peripatein” and refers to Aristotle’s school – Peripatos – founded after 335 BC at a public gymnasium outside the city walls.
It revolves around experiential, direct, non-conceptual filmmaking & photography. It’s somehow the quiet side of urban landscape or scenery contemplation during which attention is given primarily to the state of mind and not to the hunting of exceptional phenomena. This internalisation of attention brings a more sober & poetic reading of reality. It’s a detached way of making more intimate images open to interpretations. You create or inhabit a non-familiar space that, through the act of walking, metamorphoses it into a home, and opens it also towards a political gesture and towards the sublime.
I started off at the beginning of my approach over two decades ago, to embrace Athens, my city, neither for what I wanted it to be but for what it is and eluded me. This endeavour in time turned into a prelude to learning about justice, and established itself as one first step in an act of resistance.

collaborations (selected)

DEPRESSION ERA collective's co-founder & contributing artist (Athens, Greece 2011-...)

PHASES MAGAZINE - contributing editor (France/Greece 2015 - 2017)

URBANAUTICA INSTITUTE - contributing editor (Treviso, Italy June 2015-...)

curator (selected)

VENTO DEL NORD - film festival program curator (Lampedusa, Italy July 2011)

MAPPING MEMORIES - review for WIP magazine (Thessaloniki, Greece 2014)

DEPRESSION ERA - co-curator of the collective's installation within the 5th Biennale of Contemporary Art (Thessaloniki Greece July-Sept 2015)

ORMOS - curator Exhibition (Palermo, Italy January 2016)

DEPRESSION ERA - co-curator of the collective's exhibition at SLOUGHT (Philadelphia, USA Jan-Feb. 2019)

PLATEAU 034 - co-curator of the exhibition at Zoetrope (Athens, Greece, June 2019)

DEPRESSION ERA - co-curator of the collective's TOURISTS installation within 13,700,000 km^3 exhibition at Pythagorion Art Space (Samos, Greece, August 4–September 30, 2019 )

Τhe Id – RECONSTRUCTING FAMILY - curator of the collective exhibition at MedPhoto Festival & EFEK (Iraklio, Crete, Greece Nov 2019 – Dec 2019) &  (Rethymno, Crete, Greece Sept. 2020-oct-2020)


ORIGINI (Palermo, Italy March 2015)

PERIPATETICS (Athens, Greece Feb-March 2016)

OPEN ARCHIVE (Philadelphia, USA Jan 2019)

DAEDALA (Chania, Greece Nov 2021)

talks (selected)


MINIMUM - PHASES MAGAZINE (Palermo, Italy 2016)

ORAMA - BEYOND PHOTOGRAPHY (Athens, Greece 2017)

Mobilities in/of Crises: Critical InvestigationsCAESURA (Athens, Greece 2018)

Rethymno's Photographic Lessons - BEYOND PHOTOGRAPHY (Rethymno, Greece 2019)

Sync Cu­ra­to­r­ial Fel­low­shipSwedish Institute at Athens (Athens, Greece 2019)

Mediterranean Flux (Naxos, Greece, Sept. 2020)

Art Athina - The origins of others (Athens, Greece, 2021)

interviews (selected)

URBANAUTICA (Italy 2015)





Loupe Magazine (UK 2021)

photography exhibitions (selected)

URBAN OF - Athens Photo Festival (Athens, Greece, Oct 2000)

HEAR YOU, ATHENS - Photographic Aspects and Views - Benaki Museum (Athens, Greece Sept 2001)

SPLEEN - No Country For Young Men - Bozar (Bruxelles, Belgium March 2014)

SPLEEN - Depression Era - Benaki Museum (Athens, Greece, Nov 2014 - Jan 2015)

REFUGE DREAMGROVE - Alien Territory - Medphoto (Rethymno, Greece June-Sept 2016)

ISOLITUDUNE - Whitelight - Shed (London, UK, March 2017)

SPLEEN - CRITICAL ARCHIVES III: IDENTITIES - Museum of Contemporary Art of Crete (Rethymno, Greece, Jan-March 2018)

PHOTO-GRAPHE - Benaki Museum (Athens, Greece, Nov. 2018-Jan.2019)

SPLEEN - Depression Era - SLOUGHT (Philadelphia, USA Jan-Feb. 2019)

HEAR YOU, ATHENS Anatomy of Political Melancholy (Athens, Greece, Feb.-April 2019)

HOTEL HELLASTOURISTS13,700,000 km^3 - Pythagorion Art Space (Samos, Greece, August 4–September 30, 2019 )

ISOLITUDINE - EIGHT (Athens, Greece, March 2020)

WHITE MIDDLE SEA - Mediterranean Flux (Naxos, Greece, Sept. 2020)

audio-visual installations (selected)

COLOR - Artists Collectiva Space (Athens, Greece, Jan-Feb 1999)

OLIVESCAPES - Cultural center KETHEA-Diavasi (Athens, Greece, June 2001)

SARANDIS - Athens. Metropolis by default - Bios (Athens, Greece, Nov. 2002)

SCRUSCIU - International Kansk Video festival (Kansk, Russia, August 2008)

MAESMAK - Blown Up A la recherche des élèves de Deleuze - Exhibition curated by Silvia Maglioni & Graeme Thomson (Paris, France December 2009)

HAFEZ FROM ANFEH - Third Nature - Antonopoulou Art Gallery (Athens, Greece June 2010)

STILL BURNT - Mirfestival 2010 (Athens, Greece September 2010)

RED POKER - Détours S8mm Film Festival (Santorini, Greece August 2010)

CASA AUT - ex casa Badalamenti (Sicily, Cinizi, 11-27 November 2011)

LET US STOP AND WEEP Origini - Dimora OZ (Palermo, Italy March 2015)

NABIL & CORNI - Depression Era - Biennale 5 (Thessaloniki, Greece July-Sept 2015)

NABIL & CORNI - TOURISTS - Culturescapes (Basel, Switzerland, Oct. 2017 - Jan. 2018)

MAESMAK - A Field Guide To Getting Lost Vol.2 (Aegina, Greece, Sept.2019)

LET US STOP AND WEEP - Eglise (Palermo, Sicily, Feb.2020)

 film festivals (selected)

FACES OF ELECTRA - Hellenic Society (Athens, Greece, March 2003)

ON THE OLIVE ROUTE - Thessaloniki Film Festival (Greece, April 2004)

ON THE OLIVE ROUTE - New York International & Independent Film Festival (USA, April 2004) 

HOLD MY ME - Cinema Texas 11th International Short Film Festival (USA, Sept. 2005)

KATERINA'S FACE - International Documentary Film Festival CRONOGRAF (Chisinau, Moldova, May 2006)

MOUNT FALAKRO - Ecocinema (Pireaus, Greece, Feb. 2008)

MOUNT FALAKRO - Trieste Documentary Film Festival (Trieste, Italy Jan. 2008)

MAESMAK - London International Documentary Festival (UK, April 2009)

MAESMAK - CON-CAN Movie Festival (Tokyo, Japan, Sept. 2009)

MAESMAK - Luksuz Film Festival (Ljubljana, Slovenia Sept. 2009) Best Experimental Film

MAESMAK - Strange Screen Experimental Film Festival (Thessaloniki, Greece Oct 2009) 2nd prize for Best Experimental Video

MAESMAK - Teheran Short Film Festival (Teheran, Iran, Nov 2009) Best Documentary International Competition

MAESMAK - Kassel Documentary Film and Video Festival (Kassel, Germany, Nov. 2009)

TI VITTI - FICTS (Milano, Italy, Dec 2012) Guirlande d’Honneur for Best Documentary

THE INVISIBLE HANDS - Documenta14 (Athens, Greece, April-June 2017)

THE INVISIBLE HANDS - Berlinale Forum Expanded (Berlin, Germany, February 2018) - Awarded the 10th Giuseppe Becce Prize for Music by independent critics Jury at Berlinale (International Premiere)

THE INVISIBLE HANDS - 20st Thessaloniki Documentary Festival (Greece, March 2018)

THE INVISIBLE HANDS- Yebisu International Festival for Art and Alternative Visions, (Tokyo Japan, April 2018) (Asian Premiere)

THE INVISIBLE HANDS - CPH:DOX – Copenhagen International Documentary Festival (Copenhagen, Denmark, March 2019)

TV broadcast

THE RECEPTION - ERT2/ERTFLIX - Greek national TV (Greece, 2020) 

features & publications (selected)

PHOTOGRAPHIC ASPECTS AND VIEWS - exhibition catalogue (Greece 2001)

SPLEEN/DEPRESSION ERA - exhibition catalogue (Greece 2011)


AINT BAD MAGAZINE - magazine edition (USA 2014)

ΝΟΜΙΚΗ ΒΙΒΛΙΟΘΙΚΗ - book cover (Greece 2015)

APERTURE MAGAZINE - magazine edition (USA 2016)

PHASES MAGAZINE - feature (France/Greece 2018)

LIFO - feature (Greece 2018)

L'OEIL DE LA PHOTOGRAPHIE - feature (France 2018)

REVUE CAMERA - magazine edition (France 2018)

KASTANIOTIS - book cover (Greece 2018)

KASTANIOTIS - book cover (Greece 2018)

POINT DE FUITE - book edition (France 2019)

HARPER'S MAGAZINE - magazine edition (USA 2019)

Mouvement - magazine edition (France 2020)

Kathimerini - Newspaper edition (Greece 2020)

SACRED - Urbanautica Institute (Italy 2020)

Aletheia - book cover (Russia 2020)


HEAR YOU ATHENS (Greece, 2021)

digital collections

FOUND & LOST (2010-2015)

OPEN ARMS (2013-...)

AANZOUA (2020-...)

photography prints

Edition 1/2, plus one artist print & one museum print.
Variable print size, depending on body of work.
Scanned on Hasselblad/Imacon scanner from Porta160 - Portra 400 Kodak negative or 35mm slides - Offset printed on Hahnemuhle Baryta 315gr
Mounted on Aluminium Dibond with antireflective museum glass and framed.

Five photograph prints from the body of work FOUND LOST available on Digital Fountain

Eight photograph prints from the book HEAR YOU ATHENS available here

contact & news