Art Dubai20 - 23 Mar 2019
Madinat Jumeirah, Dubai
20 - 23 March 2019
Preview: Tuesday, 19 March
We are pleased to participate at Art Dubai, featuring works by :mentalKLINIK, Vikram Divecha, Mohammed Kazem, Hassan Sharif, Hoda Tawakol, and collective works by Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian.
Art Genève31 Jan - 3 Feb 2019
31 January - 3 February 2019 | Preview: 30 January
We are pleased to participate at this year’s edition of art genève 2019, with a dedicated feature to the pioneering conceptual artist Hassan Sharif (1951 – 2016) and Dubai-based artists Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian. Our presentation will include an array of paintings, works on paper, objects, sculpture and installation manifesting as a dialogue between the artists whilst providing further scope of their practices, both individually and collectively.
Additionally, Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian have been invited to include their collaborative 'moving painting' animation, Macht Schön, 2016, at a special video section of the fair curated by Samuel Gross entitled Turbulent Horizon.
Photo © Charles Roussel & Ocula
FRIEZE NEW YORK 20182 - 6 May 2018 Randall's Island Park Focus | Booth D10
We are pleased to participate in Frieze New York with works by Vikram Divecha, Sreshta Rit Premnath, Haleh Redjaian and Hassan Sharif.
ART BRUSSELS 201819 - 22 Apr 2018 Tour & Taxis, Brussels Booth C35
We are pleased to participate in the 50th edition of Art Brussels with works by Hassan Sharif, Mohammed Kazem and collaborative and individual works by artists Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian.
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.
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
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.
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 DUBAI 201616 - 19 Mar 2016 Madinat Jumeirah Booth E8
We are pleased to participate in the 10th edition of Art Dubai with works by Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian, Hassan Sharif, Haleh Redjaian, Mohammed Kazem and Xu Qu.
Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian's Her Majesty? is a limited edition facsimile where the trio have completely overhauled the XL coffee table publication, which was published by Taschen Verlag in 2012 about the life of Queen Elizabeth II. Her Majesty? is now available at the gallery and each book comes with a unique, handmade cover of only 600 copies.
Published by Edition Patrick Frey
ABU DHABI ART 201518 - 21 Nov 2015 Manarat Al Saadiyat, Abu Dhabi Booth A16
We are pleased to parcitipate in Abu Dhabi Art with works by Mohammed Kazen, Hassan Sharif, Rokni Hearizadeh, Hesam Rahmanian and Haleh Redjaian.
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.
ART BASEL HONG KONG 2015Hassan Sharif, Mohammed Kazem 15 - 17 Mar 2015 Hong Kong Convention and Exhibition Centre, Hong Kong Booth 3D21
Gallery Isabelle van den Eynde is pleased to return to Art Basel Hong Kong in 2015 to build on the success of its participation last year. The gallery will again exhibit new and archival works by Hassan Sharif, at the vanguard of conceptual practice in the Middle East for 40 years, as well as works by his protégé Mohammed Kazem, who represented the United Arab Emirates at the 55th Venice Biennale.
ABU DHABI ART 20144 - 8 Nov 2014 Manarat Al Saadiyat, Abu Dhabi Booth A26
We are pleased to participate in Abu Dhabi Art with works by Rokni Haerizadeh, Ramin Haerizadeh, Hesam Rahmanian, Hassan Sharif, Mohammed Kazem, Nargess Hashemi, Aisha Khalid, Ahmad Amin Nazar and beyond sector Mohammed Kazem, Bita Fayyazi.
ART BASEL HONG KONG 2014Hassan Sharif 15 - 18 May 2014 Hong Kong Convention and Exhibition Centre, Hong Kong Insights, Booth 3D 30
"Art is not made for understanding, it is made for feeling and emotion. I want the audience to add [to the work], to interpret in their own way...when someone comes to me and says 'I like your work' it means he has understood it." Hassan Sharif, 2013
Hassan Sharif came of age during a formative period in the history of the United Arab Emirates. As he matured as an artist in the 1980s and 1990s he developed an oeuvre comprising myriad individual works that range from meticulously rendered works on paper to assemblages of cheap and widely available materials. Having studied art in London in the early 1980s Sharif was particularly drawn to British Constructivism.
ART BRUSSELS 2014:mentalKLINIK, Mohammed Kazem, Hassan Sharif 25 - 27 Apr 2014 Tour & Taxis, Brussels Prime, Booth 1B-34
We are pleased to participate in Art Brussels with works by :mentalKLINIK, Mohammed Kazem and Hassan Sharif.
ABU DHABI ART 201320 - 23 Nov 2013 Manarat Al Saadiyat, Abu Dhabi Booth H2-7
Gallery Isabelle van den Eynde presents works by Nargess Hashemi, Rokni Haerizadeh, Ramin Haerizadeh, Fred Eerdekens, Farshid Maleki, Ahmad Amin Nazar, :mentalKLINIK, Mohammed Kazem and Hassan Sharif.