In ART
Following the last issue of Selections, Frequently Asked Questions in Art, we continue our quest to analyse what surrounds us in the art world. However, this time, for our 21 Artists and a Biennial issue, we take you backstage to expose you to the world of research in the 21st century. Because the most important part of our work is research, we analyse both the material we receive and what we find, basing ourselves on today’s most common search tools: online search engines, online encyclopaedia, social media, carefully written press releases, email exchanges with the artist’s gallery and the artist him/herself. After laying down the information we’ve gathered onto our pages, we invite you to make your own analysis.
Portrait of Nadim Karam. Courtesy of Nadim Karam & Atelier Hapsitus

Portrait of Nadim
Karam. Courtesy of
Nadim Karam & Atelier
Hapsitus

Nadim Karam (born 1957) is a multidisciplinary Lebanese artist, painter, sculptor and architect


Nadim Karam (b.1957) – an artist and architect working from Beirut – holds a degree in architecture from the American University of Beirut, then earned a doctorate in architecture from the University of Tokyo, Japan, where he lived for 10 years.

With Atelier Hapsitus, the pluri-disciplinary group he founded in 1996 in Beirut, he has realised temporary and permanent urban interventions in cities worldwide.

Nadim Karam, Single Sheet, from the War series, 2006, 59.8 x 42.2 cm. Courtesy of Nadim Karam & Atelier Hapsitus

“There are invisible governing networks that apply differently to different encounters and places on earth, creating fragmented negotiated freedoms.”

Nadim Karam, Sketchbook 132, 2016, Sketch, 21 x 16 cm. Courtesy of Nadim Karam & Atelier Hapsitus

Nadim Karam, Sketchbook 132, 2016, Sketch, 21 x 16 cm.

Education:
1982 Bachelor of
Architecture, Faculty
of Engineering and
Architecture, American
University of Beirut
1985 Master of Architecture,
Faculty of Architecture &
Engineering, University
of Tokyo
1989 Doctor of Architecture,
Faculty of Architecture &
Engineering, University
of Tokyo

 

Selections Magazine, Issue #46 Special Edition, Being Nadim Karam, 2018. Cover Photo by Natasha Karam

Selections Magazine, Issue #46 Special Edition, Being Nadim Karam, 2018. Cover Photo by Natasha Karam

Publications:
2013: Stretching Thoughts, Booth-
Clibborn Editions, London
2007: The Cloud, the Desert
and the Arabian Breeze, Booth-
Clibborn Editions, London
2006: Urban Toys, Booth-
Clibborn Editions, London, with
introduction by Paul Virilio
2000: VOYAGE,Booth-Clibborn
Editions, London

“Urban art projects are a negotiation with the city.
They can never be imposed. There is a need for a give-and-take
between the city and me until an understanding is reached.
The resulting project is the visual expression of our dialogue.”

With a background that fuses Oriental and Japanese theories of space, Nadim Karam has developed his own concepts, based on ideas like “micro pluralism,” “the architecture of performance” and “story-telling architecture.”

“The world is moving at a vertiginous speed, and it seems that the only way to go forward is to slow down, to bring things virtually to a halt. There is an abundance of everything, in all fields, by all means. Hectic, chaotic and fragmented are words that define our trajectory. Absorbing all of these, we have to learn to negotiate and navigate our way patiently.”

Nadim Karam, Sketchbook 155, 2016, work on paper, 36.4 x 27.4 cm. Courtesy of Nadim Karam & Atelier Hapsitus
Nadim Karam, Sketchbook 155, 2016, work on paper, 36.4 x 27.4 cm. Courtesy of Nadim Karam & Atelier Hapsitus

“The power of creativity is continuous and everything to a certain extent is creative and regenerates itself. Everything moves. So being able to find something that doesn’t move is impossible. What if this point existed somewhere? Could it be possible; a non-moving entity in this universe? I doubt! For it not to move, it will have to accumulate all the energy of the world, and that act by itself is movement!”

VENICE BIENNALE – Nadim Karam
LOCATION: Giardini Marinaressa


NADIM KARAM IS PARTICIPATING IN THE EXHIBITION TITLED PERSONAL STRUCTURES, ORGANIZED AND SUPPORTED BY THE EUROPEAN CULTURAL CENTRE IN ITALY. THIS EXHIBITION IS PART OF THE 58TH VENICE BIENNALE COLLATERAL EVENTS.

EXHIBITION TITLE:
PERSONAL STRUCTURES – Identities
HOSTING INSTITUTION:
European Cultural Centre – Italy
LOCATION: Palazzo Bembo, Palazzo Mora
and Giardini Marinaressa, Venice, Italy
PROMOTER: European Cultural Centre
ORGANISERS: Valeria Romagnini, European
Cultural Centre – Italy Lucia Pedrana, Sara
Danieli, Claudia Piovan, Bérénice Freytag,
Bianca Bonaldi, Rocco Schenkel, Elena
Volpato, Cristina Sakura, Debora Bae, Micaela
Skerl, Mila Sarkisyan, Svetlana Eroshina
OPENING PERIOD: May 11-November 24, 2019

SHORT ARTIST STATEMENT ON POLITICS OF DIALOGUE:
THE MERRY-GO-ROUND Politics of Dialogue: The Merry- Go-Round addresses the theme of PERSONAL STRUCTURES exhibition Time, Space and Existence by considering the challenge of creating effective communication in an era marked by hyperconnectivity.
Dialogue assumes the creation of a level playing field. However, it often happens in isolation from the area or population of concern. Detached from its purpose, it becomes ineffective. Politics of Dialogue: The Merry- Go-Round is about communication turning in circles; a trapped dialogue, rotating upon itself, and offered to the observer on a carousel-like platform.

 

Nadim Karam, Sketchbook 172, 2019, Sketch, 21 x 14.8cm. Courtesy of Nadim Karam & Atelier Hapsitus

Nadim Karam, Sketchbook 172, 2019, Sketch, 21 x 14.8cm. Courtesy of Nadim Karam & Atelier Hapsitus


Nadim Karam, Politics of Dialogue - exploded diagram, 2019. Courtesy of Nadim Karam & Atelier Hapsitus

Nadim Karam, Politics of Dialogue – exploded diagram, 2019. Courtesy of Nadim Karam & Atelier Hapsitus


Nadim Karam, Politics of Dialogue - The Merry-Go-Round, 2019. Courtesy of Nadim Karam & Atelier Hapsitus

Nadim Karam, Politics of Dialogue – The Merry-Go-Round, 2019. Courtesy of Nadim Karam & Atelier Hapsitus


A VERSION OF THIS ARTICLE APPEARED IN PRINT IN SELECTIONS, 21 ARTISTS AND A BIENNIAL #49, PAGES 104-108.

X