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Concordia University Concordia celebrates 50 years!
Concordia University Concordia celebrates 50 years!

Faculty of Fine Arts

Faculty of Fine Arts

Lynn Kodeih

2024-2025, UQAM

A dimly lit gallery space. In the left foreground, a table displays flat, fragmented leaves that resemble concrete. In the back corner, a small sculpture sits on a black pedestal, and a glowing, blurry screen stands nearby. A projector beam is visible on the far wall. Effacer voir ou le jour où j’ai arrêté de dessiner by Lynn Kodeih, 2023. View of exhibition at Galerie de l’UQAM. Photo: La Galerie de l’UQAM.

Lynn Kodeih is a Lebanese-Canadian artist-researcher, based in Tiohtià:ke/Mooniyang/Montréal since 2020. Focused on the interweaving of art and politics, her practice is at the crossroads of textuality and auto-theory, video and installation. She is interested in notions of territory and borders from a decolonial perspective. After literary and theatrical studies in Beirut (DES - Lebanese University, BA and MA - Université Saint-Joseph), Kodeih obtained a master's degree in visual and media arts from UQAM in 2023. Alongside her artistic practice, she collaborates as a programmer and lecturer with several universities and art institutions since 2009 (Leonard & Bina Ellen Gallery; ALBA; USJ among others). Kodeih is co-founder of polycephaly.net, a platform for research and conversation around art and politics.

Her work has been shown in Canada and internationally, including at La Galerie de l'UQAM (Montreal), SAW Gallery (Ottawa), Hamar Kunstbanken Performance Festival (Norway), Rotterdam Film Festival (Netherlands), Transart Triennial Berlin (Germany), Homeworks - Ashkal Alwan, Beirut Art Center and Beirut Art Fair (Lebanon).

See more of Lynn Kodeih's work

Against a dark gray wall in a dim gallery space, a long, low table displays numerous white, fragmented, sculptures that suggest leaves and tree bark. The fragments are arranged in a dense, compact pattern, creating a textured surface. Les jardins impossibles by Lynn Kodeih, 2023. View of exhibition: Effacer voir ou le jour où j’ai arrêté de dessiner, Galerie de l’UQAM. Photo : La Galerie de l’UQAM.
A dimply lit gallery space. In the foreground, a table displays numerous white, fragmented, sculptures that suggest leaves and tree bark. In the midground, a glowing screen projects an image of foliage. To the left, a small sculpture sits on a black pedestal. A doorway is visible on the right. Effacer voir ou le jour où j’ai arrêté de dessiner by Lynn Kodeih, 2023. View of exhibition at Galerie de l’UQAM. Photo: La Galerie de l’UQAM.
A still image from a video shows the artist's hands carefully placing a sheet of translucent paper over a stack of papers with printed images and text. The papers are spread out on a gray surface, possibly a floor or table. The image focuses on the layering and delicate handling of the papers. Récits de plantes #2 by Lynn Kodeih, 2022. Filmed performance, text, faience, inkjet print on textile. Image from the video.
A blurry, gray still image from a video shows indistinct shapes in the foreground, possibly trees or foliage, against a pale gray background. The image has a soft, muted quality. Prophétie / La traverse by Lynn Kodeih, 2023. Image from the video.
Two still images from a video are projected onto adjacent walls in a corner. The left image shows hands manipulating a plant and soil on white fabric. The right image shows hands moving white sand on white fabric, creating a textured pattern. The images are bright and focused on the hands and materials. Récits de plantes #1 by Lynn Kodeih, 2022. Two-channel video installation, 10 min 6 s.
Two still images from a video are shown side-by-side. The left image shows a hand brushing white paint or ceramic on the leaves of a Monstera plant. The right image shows hands manipulating white, textured material on white fabric. Both images are shot from above, focusing on the hands and materials. Récits de plantes #1 by Lynn Kodeih, 2022. Image from the video.
A square image shows a translucent paper overlay with an inverted photograph of plant roots against a cloudy sky. The roots are centered and appear brown and green, extending upwards. The sky is pale blue with white clouds. Detail of Récits de plantes #2 by Lynn Kodeih, 2022.
A glowing, rectangular projection of a blurry landscape painting hangs on a dark wall in a dimly lit space. The painting features abstract shapes and colors, with blues, reds, and whites predominating. The dark floor reflects the image, showing a faint light pattern. Portable Landscape by Lynn Kodeih, 2023. View of the exhibition Effacer voir ou le jour où j’ai arrêté de dessiner at Galerie de l’UQAM. Photo: La Galerie de l’UQAM.
A vibrant, abstract photograph features a glowing screen projecting an image of foliage and a metal grate. The colors are distorted and saturated. The screen is surrounded by dark shadows, and a glimpse of an outdoor scene is visible in the background. Prophétie / La traverse by Lynn Kodeih, 2023. View from the Beirut exhibition: Eternel Recurrence at SAW Center. Photo: Ava Margueritte.
A large screen projects a hazy landscape gradient in a dark room. The bottom edge has a dark, balcony-like railing. Light wood floor. A small screen in the corner shows a faint image. A minimalist and abstract image. Prophétie / La traverse by Lynn Kodeih, 2023. View from the Beirut exhibition: Eternel Recurrence at SAW Center. Photo: Ava Margueritte.
Against a dark gray wall in a dim gallery space, a long, low table displays numerous white, fragmented, sculptures that suggest leaves and tree bark. The fragments are arranged in a dense, compact pattern, creating a textured surface. Les jardins impossibles by Lynn Kodeih, 2023. View of exhibition: Effacer voir ou le jour où j’ai arrêté de dessiner, Galerie de l’UQAM. Photo : La Galerie de l’UQAM.
A darkened gallery space features various art installations. In the foreground, a white sculpture resembling large ceramic leaves sits on a black pedestal. To the left, a glowing screen emits an abstract pattern of blue light. In the background, a table displays numerous fragmented white objects. Espèces envahissantes by Lynn Kodeih, 2023. View of exhibition: Effacer voir ou le jour où j’ai arrêté de dessiner, Galerie de l’UQAM. Photo : La Galerie de l’UQAM.
A darkened gallery space features various art installations. In the foreground, a glowing screen emits an abstract pattern of blue light. In the background, a table displays numerous fragmented white objects. On the right another small screen's light reflects off the floor.
A dimly lit gallery space. In the back corner, a small sculpture sits on a black pedestal, and a glowing, blurry screen sits in the right side of the image frame nearby. A projector beam is visible on the opposite wall. Prophétie / La traverse by Lynn Kodeih, 2023. View of exhibition: Effacer voir ou le jour où j’ai arrêté de dessiner, Galerie de l’UQAM. Photo : La Galerie de l’UQAM.
A top-down shot shows the artist's hands placing a sheet of paper with French text onto a stack of papers with images and text. The papers are spread out on a gray surface. The image focuses on the layering and delicate handling of the papers. Récits de plantes #2 by Lynn Kodeih, 2022. Image from the video.
A series of four textured paper fragments of landscapes with blue skies and rocky outcrops. Each work features a pair of hands in a different pose, but the overall effect suggests the landscapes are projected over the hands. Portable Landscape by Lynn Kodeih, 2023.
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