ART DUBAI 201821 - 24 Mar 2018 Madinat Jumeirah Booth E6, Hall 2 http://www.artdubai.ae/gallery/gallery-isabelle-van-den-eynde-2018/
Taking Jan Verwoert's essay Why are conceptual artists painting again? Because they think it's a good idea (2005) as a theme for reflection, the booth presents paintings, or better yet, celebrates 'painting'. The essay discusses the current status of painting: does it qualify as 'contemporary art' or should it be rejected as 'irrelevant'? Painting was pronounced a 'royal road' of artistic practice in High Modernism theory. This doctrine was later refuted by conceptual art at the end of the 1960s when every medium represented only one possibility among many, and the only thing that eventually mattered was the idea.
Verwoert asks how painting, understood in terms of immanent conceptual practice, refers to the market and art institutions. He proposes a cynical position: 'as long as there are enough canvasses to sell, and as long as the buyer perceives the conceptualisation of a painting as just another refinement added to the commodity (one that does not trouble their bucolic conception of art), the market cares not a bit about the way painting has been subtly complicated by way of conceptual self-criticism.' On the other hand, the author argues that conceptual and ephemeral forms of practice, where interdisciplinary and project-based approaches boom at international biennales (and in the absence of material resistance) become trapped in institutional dependency.
In this context, we are pleased to present works - predominantly or assimilated within the practice of painting, since acrylic or oil is used or imitated - by Abdelkader Benchamma, Ramin Haerizadeh, Rokni Haerizadeh, Nargess Hashemi, Mohammed Kazem, Hesam Rahmanian, Haleh Redjaian and Hassan Sharif, who investigate the significance of 'painting' and adopt a multitude of positions by engaging with a practice specific to that medium, and/or to be understood with reference to the conceptual themes it proposes.
'It is not enough, in order for there to be painting, that the painter take up his brushes again' Damish tells us: it is still necessary that it be worth the effort, 'it is still necessary that [the painter] succeed in demonstrating to us that painting is something that we positively cannot do without, that is it indispensable to us, and that it would be madness - worse still, a historical error - to let it lie fallow today.'
Read Jan Verwoert's essay
ART GENÉVE 2018Hassan Sharif and Haleh Redjaian 1 - 4 Feb 2018 Palexpo, Geneva Booth C39 http://www.artgeneve.ch
Gallery Isabelle van den Eynde is pleased to participate in Art Genéve 2018 with works by late Emirati artist Hassan Sharif (1951-2016) and German-Iranian artist Haleh Redjaian (born 1971, Frankfurt). The booth will highlight their critical approach of using the grid as a measurement tool and foundation for their compositions, allowing for chance and repetition.
Redjaian's drawings on ready-made or hand-drawn grids as well as her spatial installations that require pulling threads across the surface of the wall sprouts a practice of attentive yet intuitive geometric elaborations. The artist allows irregularities and deviations within order. In doing so, she acknowledges the ever-present and unforeseen surprises that make up our incomprehensible lives, where the grid serves as a metaphor for a transitional life that has irregular narratives and makes you understand this asymmetrical logic. Redjaian's minimal but playful use of pen, ink, gold leaf and thread can take the shape of lithographs, carpets, works on paper, murals and three-dimensional installations.
On the other hand, Sharif's Semi-Systems are determined by numerical equations whose outcomes are not predetermined. Conceived with arbitrary self-imposed mathematical rules or instructions that are often outlined in accompanying draft papers, the artist embraces rebellions within these frameworks, breaking rules and inverting formulas. "Art is not made to be understood; it is not a train that carries you to a specific destination. We, the audience, have to get out and walk into new spaces," the artist said.
Having studied art in London in the early 1980s, Sharif was particularly drawn to British Constructivism, and theorist Kenneth Martin's analysis of the movement's 'systemised constructive process governed by chance and order' served more as a catalyst than a path. These ideas have accompanied him throughout his extensive career including the Semi-Systems and also towards the creation of his Objects, Performances and Experiments. Art historian Paulina Kolczynska writes, Sharif "wanted to remain at the fringes of the system in order to retain space for the creation of his own constructivist process… it was through his coined description of "semi-systems" that he made an important statement, signaling that he was taking some distance from the original systematic agenda."
ABU DHABI ART 2017Hassan Sharif 8 - 11 Nov 2017 Manarat Al Saadiyat, Abu Dhabi Booth X1-12, Focus: Beyond Territor https://www.abudhabiart.ae
We are pleased to participate in Abu Dhabi Art in the solo booth section curated by Omar Kholeif with paintings, works on paper and Objects by Hassan Sharif.
Additionally, works by Vikram Divecha, Mohammed Kazem, Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian will be exhibited in the main atrium of Manarat Al Saadiyat. Kazem presents Kisses (2010-17) in the Gateway section, curated by Maya Allison.
ARTISSIMA 2017Rokni Haerizadeh 3 - 5 Nov 2017 Oval Lingotto Fiere, Turin Booth DS 05, Disegni http://www.artissima.it/
Gallery Isabelle van den Eynde participates in the newly-added Disegni section with a solo booth dedicated to Rokni Haerizadeh's long-term Fictionville series, which has taken many shapes and forms, from paintings, to drawings, to animations. The artist seems intent on unsettling the viewer; his intertwining of the familiar and the bizarre feels calculated to provoke amusement as much as outrage. The booth highlights 14 recent works on paper, where layers of paint and ink subvert and transform the printed image, turning human figures into human-animal hybrids. The background of each image is a news photograph or a still of a news footage, which is then prepared, painted with large washes of colour and drawn over with fine pen-and-ink lines that give the image its new contours. Vividly surreal, the works depict a tragi-comic bestiary of battling, escaping, marching characters and anthropomorphised scenery.
Works from Fictionville have been exhibited at several institutions such as the Carnegie Museum of Art, Pittsburg (2013); New Museum, New York (2014); the Institute of Contemporary Art (ICA), Boston (2016); Guggenheim, New York (2016); Kunsthalle, Zurich (2015) and most recently The Restless Earth (2017) at Milan Triennial in collaboration with Nicola Trussardi Foundation. A monograph of the same name was published by Koenig Books, London in 2014.
FRIEZE NEW YORK 2017Hassan Sharif and Haleh Redjaian 5 - 7 May 2017 Randall's Island Park, New York Booth D11, Focus https://frieze.com/fairs/frieze-new-york
We are pleased to return to the sixth edition of Frieze New York with works by Emirati artist Hassan Sharif and Berlin-based Iranian artist Haleh Redjaian. The booth highlights the artists' critical approach of using the grid as a measurement tool and foundation for their composition, allowing for chance and repetition. Both Sharif and Redjaian's works are presented within a more formally and visually similar framework to investigate how this philosophy translates into their three-dimensional objects, hand-woven carpets and works on paper.
ART DUBAI 201714 - 18 Mar 2017 Madinat Jumeirah Booth E6, Hall 2, Art Dubai Contemporary www.artdubai.ae
We are pleased to participate in the 11th edition of Art Dubai with works by Hassan Sharif, Mohammed Kazem, Abdelkader Benchamma, Vikram Divecha, Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian.
We are also delighted to host Yasmina Reggad and Lana Fahmi's performance IF - THEN GOTO and to announce Atfal Ahdath's visceral installation and banquet. For more information please see below.
IF - THEN GOTO
Tuesday, 14 March, 8:00 - 8:30 pm
Wednesday, 15 March, 8:30 - 9:00 pm
A homage to Hassan Sharif, IF - THEN GOTO is an algorithm that activates the sculpture Cotton Rope (2016) through dance movements.
Lana Fahmi and Yasmina Reggad initiated their collaboration at Art Dubai's Global Art Forum in 2016. Together they research and develop performances, dance pieces and scores based on unconventional archives or visual corpus.
13 - 17 March, 8:00 - 10:30 pm
Commissioned by Art Dubai Projects, Cooking Liberty is a visual and gastronomic experience presented by Beirut-based art collective Atfal Ahdath, whose founding members are Vartan Avakian, Hatem Imam and Raed Yassin. Taking cues from Salvador Dali's cookbook, Les Diners de Gala and through exaggeration and repetition, Atfal Ahdath invites guests to experience its live visceral installation by day. By night, the collective will present guests with edible dreams in an immersive setting reminiscent of a grandiose banquet; a truly sensorial experience that flirts with familiarity and expectation.
ARTISSIMA 2016Hassan Sharif 4 - 6 Nov 2016 Oval, Lingotto Fiere, Turin Booth Black 12, Main Section
As a continuation of Involved in Nonsense - a solo presentation dedicated to Hassan Sharif's early practice in Back to the Future at Artissima in 2015 - this year we are pleased to present the artist's recent Objects, which he started creating in the 1980s.
Always questioning the functional and the useless, the found and the created, Sharif transformed consumer products and waste into complex assemblages and weavings. In his Objects, he raised concerns about consumerism and social order, the human body and the physical evidence of our times. According to the artist, his Objects are the vernacular aesthetics of everything that is 'useless, meaningless and artificial' and illustrate an important truth about the world we live in. Weaving them together with rope, coil and twine, the heaps and bundles that he created became a visualisation of the surplus of mass-production - the commonly unseen by product of the UAE's globalised, consumerist society that developed since the country's formation.
Hassan Sharif (1951-2016) made a vital contribution to conceptual art and experimental practice in the Middle East through 40 years of performance, installation, drawing, painting, and assemblage. Prior to leaving the UAE to study in London in 1979, Sharif gained attention for his cartoons published in the UAE press - ironic, outspoken critiques of the rapid industrialisation of the Emirates and political deadlock of 1970s Arab Nationalism. As an artist, he rejected calligraphic abstraction, which was becoming the dominant discourse in the Middle East at that time, and pursued instead a pointedly contemporary vocabulary, drawing on the non-elitism and intermedia of Fluxus and the potential in British Constructionism's systemic processes of making. Sharif graduated from The Byam Shaw School of Art (now part of the Central Saint Martins) in 1984 and returned to the UAE shortly after. He set about staging interventions and the first exhibitions of contemporary art in Sharjah, as well as translating art historical texts and manifestos into Arabic so as to provoke a local audience to engage with - or at least reject - contemporary art discourse. Sharif's Objects, which handed cheap, mass-produced or discarded materials back to society as artworks, were a vital instrument in provoking and engaging UAE audiences with contemporary art.
FRIEZE NEW YORK 2016Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian 5 - 8 May 2016 Randall's Island Park, New York Booth A16, Focus
This is the story of a book that is not a book. The conquering folds of a new work imagined by the Iranian artist trio have transformed the New York Times-published Obama: The Historic Journey (2009) into a tale of our times. An onslaught of tropes sprung from globalized corporate visual culture, collaged onto the individually traced pages of the original book, cast a silhouetted Obama as the ultimate business manager. Strategies of concealing and revealing unfold across these pages, as the original images peer out from behind the masking of collaged imagery. The 27 drawings are excerpted moments from the wider sequence, freeze-framed and contemplated-a glimpse of the curtain being lifted on a largely unfathomable collaborative creation that ultimately seems to be the product of a sole hand.
ART BRUSSELS 2016Hassan Sharif, Haleh Redjaian and Rokni Haerizadeh 22 - 24 Apr 2016 Tour & Taxis, Brussels Booth B50, Prime and Booth B50-S, Solo
The prime booth will feature works by Emirati artist Hassan Sharif and German-Iranian artist Haleh Redjaian, where a formal comparison will be drawn between the 3D weaving techniques and works on paper by both artists. It will be an investigation of Sharif and Redjaian's critical approach of using the grid as a measurement tool and foundation for their composition, allowing for chance and repetition.
For the solo booth, Iranian artist Rokni Haerizadeh presents a video animation Letter! (2014), which uses footage from the Femen protest and shows how the protest is turned into its own hysterical, violent and performative spectacle once the gaze of the media is present. Haerizadeh refers to his videos as 'moving paintings' to emphasise the pulse of the video. He purposely doesn't refer to them as animations as he's not tracing a movement between frames, instead, each movement is enacted in these individual hand-painted frames to create an erratic pulse, and also merges thousand of individual paintings into one durational piece.
ART BASEL HONG KONG 2016Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian 24 - 26 Mar 2016 Hong Kong Convention and Exhibition Centre, Hong Kong Booth 3C27
We are pleased to announce our participation in Art Basel Hong Kong with a collaborative booth by Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian, where the trio will continue a theatrical approach to exhibition making by presenting an accumulation of collages, watercolours, paintings and assemblages produced collectively and individually. The booth conveys as much insight into their practice - the ritual of living and working together - as it is a playful affront to the romantic notion of the solitary, singular artist, and his work.
ARCOMADRID 2016Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian 24 - 28 Feb 2016 IFEMA - Feria de Madrid Booth 7D12
We are pleased to participate in the 35th edition of ARCOmadrid where Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian will present works from the Big Rock Candy Mountain series.
Much of the artists' work involves the appropriation of images and objects from magazines, markets, the Internet and mass media. In preparation for Big Rock Candy Mountain, they printed 1000 stills from news footage, painted on each of the printed images, photographed the results, and stitched them together to form the video. The source imagery depicts the destruction of cultural artefacts in war-torn countries like Syria and Iraq by individuals affiliated with the Islamic State (ISIS). By slowing down the imagery, the artists discover obscure details, relationships, and editing techniques that they intensify through their own manipulations, including doubling, collage, and figurative drawing.
ARTISSIMA 2015Hassan Sharif | Involved in Nonsense 6 - 8 Nov 2015 Oval, Lingotto Fiere, Turin Booth 11, Back To The Future
Back To The Future is the section Artissima has devoted to solo exhibitions of the great pioneers of contemporary art. This edition focuses on the period between 1975-85 by presenting works by artists who played a key role in the history of art but whose work is not always known to the general public.
We are pleased to present the very early practice of Hassan Sharif, the first recipient of a fine art scholarship from the United Arab Emirates to study at the Byam Shaw School of Art, London. Involved in Nonsense will focus on works made between the years 1982-85, a period in which Sharif travelled frequently between the Emirates and the UK, mailing or carrying works between the two countries. This nomadic back and forth movement of the artist, knowledge and works underscores a dynamism that charged this initial encounter between the Emirates and the Western avant-garde.