25 January - 22 April 2018 Press view: Wednesday 24 January 2018, 10.00-13.00 London’s Hayward Gallery will stage the first major retrospective in a UK institution of the work of acclaimed German
25 January – 22 April 2018
Press view: Wednesday 24 January 2018, 10.00-13.00
London’s Hayward Gallery will stage the first major retrospective in a UK institution of the work of acclaimed German photographer Andreas Gursky (Germany, 1955) from 25 January 2018.
Gursky, known for his large-scale, often spectacular pictures that portray emblematic sites and scenes of the global economy and contemporary life, is widely regarded as one of the most significant photographers of our time.
The exhibition includes some of the artist’s most well known works including Paris, Montparnasse (1993), an immense and iconic photograph showing a seemingly endless block of flats; and Rhine II (1999/2015) a sleek digitally-tweaked vision of the river as a contemporary minimalist symbol. Kamiokande (2007) featuring the vast underground water tank within the Kamioka Nucleon Decay Experiment, Japan; and May Day IV (2000/2014) depicting hundreds of revellers at Germany’s long-running Mayday techno music festival. Often employing a bird’s-eye perspective, these large-format pictures – which rival the scale of monumental paintings – boast an abundance of precisely captured details, all of which are uncannily in focus.
January 25 (Thursday) 7:26 pm - May 20 (Sunday) 7:26 pm
RÉTROSPECTIVE de 1966 à 2018 23 February | 7 April 2018 Galerie Elmarsa, Tunis Elmarsa Tunis is pleased to present Awj, a retrospective of Tunisian artist Nja Mahdaoui, an important figure in contemporary
RÉTROSPECTIVE de 1966 à 2018
23 February | 7 April 2018
Galerie Elmarsa, Tunis
Elmarsa Tunis is pleased to present Awj, a retrospective of Tunisian artist Nja Mahdaoui, an important figure in contemporary Arab art and calligraphy.
By offering a rare dialogue between works from different periods since 1966 to the present, the retrospective invites viewers to explore how encounters and events during Mahdaoui’s life have played a part in the evolution of his visual language.Over the course of the exhibition, temporalities are juxtaposed and the Arab letter’s extraordinary plasticity emerges, in terms of both meaning as well as potentiality. In Mahdaoui’s work, calligraphy does not signify as much as it invites to the viewer to explore the blanks spaces between the letters to extrapolate meaning through the aid of his or her imagination.
Nja Mahdaoui’s work not only emancipates calligraphy from its sacred function but also performs a choreography of gestures and colors that question our identity with abstract poetry.
February 23 (Friday) 6:45 pm - April 7 (Saturday) 6:45 pm
Sustaining the soil meditates and focuses on your roots. The strength of spirituality involves our capacity to dig deep and find the greater meanings in life, to align ourselves with
Sustaining the soil meditates and focuses on your roots. The strength of spirituality involves our capacity to dig deep and find the greater meanings in life, to align ourselves with a purpose that extends beyond us to find unity within the universe.
Born in 1987, Hira Zubair is a miniature artist. She is graduated from National college of arts Rawalpindi campus. With Bachelor of Fine Arts (won the Haji Sharif Miniature Award) in 2010 and MA in Interior Design in 2015 from the National College of Arts, Lahore.
Hira has been exhibited her work on national or international level. she has selected as a miniature artist from Pakistan in two international miniature festivals that was in Istanbul Turkey (2012-2016) and international miniature festival in Algeria(2012). Hira participate in artist talks in various internationally artists like (Irani, Turkish, Indian and with Egyptian artists) she also give a miniature workshops in istanbul and Algeria to demonstrate a miniature techniques with other international artists. Hira also show case her work in Egypt, india and dubai.
February 27 (Tuesday) - March 13 (Tuesday)
ArtChowk The gallery
Suite # 102, 1st floor Clifton Centre., Schon Circle, Clifton, Karachi, Pakistan
ArtChowk The firstname.lastname@example.org +92 21 35300481
Zawyeh Gallery presents an exhibition of rare and special works by the late Palestinian artist, Sager Al Qatil (1959 - 2004). This unique exhibition will showcase 30 pieces, not previously
Zawyeh Gallery presents an exhibition of rare and special works by the late Palestinian artist, Sager Al Qatil (1959 – 2004). This unique exhibition will showcase 30 pieces, not previously exhibited. It will also feature a short film on the artist by Noor Abu Arafeh, which was shortlisted for the A.M. Qattan Foundation’s Young Artist of the Year Award in 2014.
Sager Al Qatil was born in Al Amari Refugee Camp, Ramallah in 1959, and raised in Jabalia Refugee Camp in Gaza. A self-taught artist and an early member of The League of Palestinian Artists, he held his first exhibition at Birzeit University in 1985 and this was followed by another solo show at Al Hakwati Theater, Jerusalem in 1986. He participated in a number of exhibitions in Italy, Switzerland, France, Holland, United States, Belgium and Egypt.
His surrealist work is often described as uncanny, depicting trauma and adverse early experiences, which art enabled him to escape.
Al Qatil died at the young age of 45 in Holland in 2004.
February 28 (Wednesday) 11:00 am - April 4 (Wednesday) 7:00 pm
7A Al-Zahra street, Al-Baloo’, Ramallah, Palestine
Zawyeh Galleryanani.email@example.com +970 597994997
Opening reception: Thursday 8 March from 18:00 to 21:00 The Story of the Rubber Tree is an ongoing project that examines the histories of Beirut’s abandoned houses, frequently re-inhabited and invaded
Opening reception: Thursday 8 March from 18:00 to 21:00
The Story of the Rubber Tree is an ongoing project that examines the histories of Beirut’s abandoned houses, frequently re-inhabited and invaded by rubber trees. Once planted to provide shade in urban gardens, rubber trees now grow wild in the absence of people to manage them, undermining the foundations of the houses they occupy. Abed Al Kadiri’s new painting, sculpture, and video works trace the complex familial narratives and memories embedded in such spaces, taking the tree as witness to their histories.
Consciously unfolding as chapters in a narrative, Al Kadiri reflects on the social, economic, and physical transformations that Beirut has undergone in the last century, through the prism of a single family’s home.
The Blacksmith and the Rubber Tree (2017-18), is a triptych of large-scale paintings that interweave moments of utopia, labor, and isolation. The structure of the storybook is the architecture for intermittent interaction between the blacksmith, his house, and the rubber tree in his garden. Though Al Kadiri works predominantly in painting, his use of pencil and graphite reflects the provisional nature of such stories, and the suspension of time.
The installation, In Dreams: Branch is the Brother (2017-18), comprises of a sculpture cast in bronze, directly from the fragments of five rubber trees gathered from five different houses across Beirut. The rubber chair is a replica of the original metal chair found in the blacksmith’s house. The work reflects on the branch and the tree as symbols for the familial, connection, and the personal; their material mirrors the work of the blacksmith himself.
Al Kadiri’s broader practice examines thematics of violence, cultural heritage, migration, and belonging; The Story of the Rubber Tree explores the changes wrought on Beirut’s urban and personal fabrics, and the tree’s ability to address intimate shared histories.
March 1 (Thursday) - June 4 (Monday)
Sursock Museum, Greek Orthodox Archbishopric Street, Ashrafieh 2071 5509, Beirut, Lebanon
Sursock Museuminfo@sursock.museum +961 1 202 001
Tabari Artspace is delighted to present a series of nine new sculptures by artist Khaled Zaki, a major pioneer of modernist sculpture in Egypt. These marble works explore the relationship
Tabari Artspace is delighted to present a series of nine new sculptures by artist Khaled Zaki, a major pioneer of modernist sculpture in Egypt. These marble works explore the relationship between form and material in the context of geopolitical unrest in the Middle Eastern region and reflect Khaled’s aspirations for a brighter, more hopeful future.
In the exhibition, the artist seeks to capture the essence of his subjects with minimal formal elements, while retaining the integrity of pure white marble. This ethereal colouring suggests a blank canvas from which we may rebuild and start afresh. Each of the sculptures consists of six separate marble components arranged in varying compositions to represent figures in states of fear, defensiveness or repose. The resulting works seem simultaneously modern and ancient, seeking to illicit a diverse emotional response born from the artist’s investigation of the infinite possibilities of the natural form.
Inspired by the fragments of buildings and shrapnel littering the streets in the aftermath of the Egyptian Revolution of 2011 and the Egyptian protests of 2013 as well as the ongoing unsettlement across Egypt, Afghanistan, Iraq and Syria, the artist attempts to symbolically rebuild crumbled societies;to restore order and shape a better future. This is encompassed by the titular concept of rebirth.
March 3 (Saturday) 9:00 am - April 25 (Wednesday) 9:00 pm
Tabari Artspace, The Gate Village Building, Level 2, DIFC Dubai, UAE 506759
Tabari Artspaceinfo@tabariartspace.com +971 4 323 0820
Mark Hachem Gallery - Beirut is delighted to present “Writings”, a solo exhibition by Lebanese artist George Merheb, featuring a new body of works. Haunted by letters, and their dimension in
Mark Hachem Gallery – Beirut is delighted to present “Writings”, a solo exhibition by Lebanese artist George Merheb, featuring a new body of works.
Haunted by letters, and their dimension in time and space, their energy beyond their shape, George Merheb offers a systematic demolition of traditional writings in his works for the benefit of a new global language.
Born in Lebanon in 1960, Merheb has obtained a master’s degree in drawing and painting from the Lebanese University of Beirut, Lebanon. He then studied in Venice, Italy from 1992 to 1996.
Merheb’s work has been featured in numerous solo and group exhibitions throughout Europe and the Arab world. George has also participated in several international fairs in France, Switzerland, Egypt and Lebanon.
His most noted accomplishments include limited edition lithography’s at the “National Museum” of Beirut, – Lebanon, a 450m2 painting of murals for “Chantier Fence” in Beirut Central District and 250m2 paintings of murals at “St Antoine Church” Baabdat, – Lebanon.
Exhibition will be on display until March 31, 2018
Featured image: George Merheb, Untitled, China Ink and Silk Paper on canvas, 80x200cm.
(Friday) 10:06 am - 10:06 am
MARK HACHEM LEB
Capital Gardens, Salloum St. Mine el Hosn, Beirut, Lebanon
MARK HACHEM LEBbeirut@markhachem.com +961 1 999 313
Elmarsa Dubai is pleased to present Unknown program, a solo exhibition of multimedia works by Tunisian conceptual artist Ali Tnani who offers an examination of social issues in post-revolutionary Tunisia
Elmarsa Dubai is pleased to present Unknown program, a solo exhibition of multimedia works by Tunisian conceptual artist Ali Tnani who offers an examination of social issues in post-revolutionary Tunisia through his multi-disciplinary practice that draws equally from installation as drawing, and photography, curated by Marie Cantos & Aziza Harmel.
It is a well-known truth that the world is connected as never before. It therefore comes as no surprise that we are obsessively trying to keep up with a relentless flow of incoming data. Our efforts to do so are in vain, however information is somehow almost immediately neutralized or displays only a short term impact, due to the fluctuating nature of the internet. There are informational tombs, lost in the cyberspace. Ghosts that materialize in traces.
It is precisely this spectral trace around which Ali Tnani’s exhibition Unknown program gravitates. Documents are artifacts or traces of human making, action, or thought surviving into the present. Monuments are documents that have a certain notion of urgency in our present and demand a recognition. Monuments are also related to an urgency in the past that we wish to evoke in order to remember or to neutralize the trauma that was caused.
The drawings, photographs and installations in this exhibition conjure up the document and the monument. Moreover they evoke the crossings and the traffic of what moves in the spaces between. These spaces are the artist’s materialized reflections on Other Spaces or what we could name Heterotopia. Heterotopia is a concept developed by Michel Foucault describing places that are simultaneously real and imaginary. These are spaces of an ambiguous utopia, with the ability to physically manifest.
Featured image: Ali Tnani, Impersonal Memory, 2018, Drawings and mixed media installation, 120×80 cm.
March 19 (Monday) - April 26 (Thursday)
Elmarsa - Dubai
Unit 23, Alserkal Avenue, Al Quoz 1, Dubai, UAE
Elmarsa - Dubaiinfo@galerielmarsa.com +971 4 3415806
Gallery Isabelle van den Eynde is pleased to present German-Iranian artist Haleh Redjaian's second solo exhibition at the gallery, entitled Inhabiting the Grid. In "Grids," Rosalind Krauss' authoritative essay on
Gallery Isabelle van den Eynde is pleased to present German-Iranian artist Haleh Redjaian’s second solo exhibition at the gallery, entitled Inhabiting the Grid. In “Grids,” Rosalind Krauss’ authoritative essay on the subject, she dogmatically positions the grid as the modernist tool par excellence, a formal structure that firmly and finally expels from the realm of the visual, all traces and possibilities of literature and narrative, reality and illusion. Though grids recur throughout Haleh Redjaian’s oeuvre, she has consistently experimented with novel ways of challenging this dogma, creating art that remains minimal and non-objective but creates space for the expression of individual subjective experiences like memory, emotion and affect.
Redjaian’s most recent work has been influenced by her reading of Gaston Bachelard’s Poetics of Space. In it, Bachelard develops a unique approach to understanding and analysing built space by combining phenomenology’s embodied subjectivity with the poetics of everyday life and individual experience. He begins his analysis with the house, arguing that it is always more than a purely functional configuration of orthogonal planes. Embodied and affective experiences, make the structural rigidity of such spaces undeniably flexible, allowing room for poetry. Retained as memories and reactivated through feats of imagination, such subjective experiences of space are retrieved through a unique cognitive faculty that is a powerful combination of the two, what Bachelard calls “daydreams.” Redjaian approaches the grid the way Bachelard reads the house. In her drawings on paper, textile works, wall drawings, and installations using thread, the grid is never entirely dominant or only functional. Its authoritative logic is subtly and repeatedly challenged. It does not appear as inert, rational and objective but as dynamic, partial, and contingent.
Featured image: In Parallel, 2018, Acrylic, colour pencil, graphite and gold leaf on grid paper, 43 x 60 cm.
March 19 (Monday) - May 3 (Thursday)
Gallery Isabelle van den Eynde
Unit 17, Alserkal Avenue Street 8, Al Quoz 1 PO Box 18217 Dubai, UAE
Gallery Isabelle van den Eyndeinfo@ivde.net T: +971 4 323 5052