Applications are now open for the Abraaj Group Art Prize, the most significant art prize in the Middle East, North Africa and South Asia.Artists from the region are invited to apply with a proposal for a new $100,000 commission that will be revealed at Art Dubai 2017. Artists Mid-career artists from the Middle East, North Africa or […]
Chronic is the second chapter of If Not For That Wall, our long term project on different forms of imprisonment. Articulated in fragments, the exhibition, film program, talks and book readings that form part of the six week program question the power of differentiation between the “sane” and the “pathological”.
This is the first major survey of Hatoum’s work in the UK, covering 35 years from her early radical performances and video pieces, to sculptures and large-scale installations. Born in Beirut to a Palestinian family, she settled in England in 1975. Through the juxtaposition of opposites such as beauty and horror, Hatoum engages us in conflicting emotions of desire and revulsion, fear and fascination.
From April 22 to June 12, 2016, the Badischer Kunstverein will be mounting an extensive exhibition and events programme on the subject of migration and flight. Hannah Arendt’s essay We Refugees provides the exhibition and events with their title and conceptual approach.
But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa, the third exhibition of the Guggenheim UBS MAP Global Art Initiative, illuminates contemporary artistic practices in the Middle East and North Africa and the region’s diaspora.
Three digital media works from Tammam Azzam’s Syrian Museum series will be included in Contemporary Ruins: Resistance to the Spectacular Image; a group show curated by Leah Hartman. Taking place at Columbia University’s Miriam and Ira D. Wallach Art Gallery in New York, the exhibition will focus on the aestheticization of cultural heritage destruction and its reception by the global media in which mediated images of violence and destruction often fall within the intersection of art, propaganda, and documentary.
Gypsum is thrilled to present Berlin-based Setareh Shahbazi’s second solo show at Gypsum Gallery. Her new works deconstruct photographs by cutting, peeling, bending and un-layering them in Photoshop until she hits the core of the medium, the background layer, thus setting free an invisible pattern. Through a formal reflection on the medium, the photographic subject breaks off from presentation towards more abstracted twins and duplicates, dot.tiff dot.jpg dot.pdf., without losing the ghostly trace of its origin.
This exhibition presents, in its entirety, Bouchra Khalili’s The Mapping Journey Project (2008–11), a series of videos that details the stories of eight individuals who have been forced by political and economic circumstances to travel illegally and whose covert journeys have taken them throughout the Mediterranean basin.
"It was quite a challenge to bring together a study of these places that are so complex so I wanted to be driven by ideas as my organizing principle," she said, “I didn't go country by country…. With the exception of Iran and Turkey, all of the countries featured here have gone through some form of colonial treatment in recent centuries so that is an important theme." The exhibition explores narratives of origin, ideologies of architecture and—most timely—the politics of migration."
“I don’t really understand what ambition means. I take things one piece at a time. I’m excited about working on something, that’s all. I didn’t know what was going to happen next, and I still don’t. I don’t know if I think in terms of a career. I don’t have a strategy. It’s just the next show. I used to say to my father: ‘I’m lucky: I got this, or that.’ And he would say: ‘No, no, you deserve it. You’ve been working hard.’ But I was determined: ‘No, it’s all luck.’ I feel things happen accidentally.”