Nada Sehnaoui's labour-intensive artistic practice hinges predominantly on repetition, underlining the importance of time and process inherent to the act of remembering or forgetting. In doing so, she recalls and reiterates personal and collective acts of resilience that is symbolic of war, political instability and crisis. This exhibition includes pieces of Sehnaoui's iconic series Peindre L'Orient Le Jour (1999) that are exhibited for the first time outside Lebanon.
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.
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.
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.
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.
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 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.