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.
b.1980 Lebanon, Lives
in Paris France
He has presented work internationally including at NTU Centre for Contemporary Art Singapore, Singapore (2018); Kunstenfestivaldesarts, Brussels, Begium (2017); Bergen Assembly, Bergen, Norway (2016); Tate Modern, London, United Kingdom (2016); Berkeley Art Museum and Pacific Film Archive, Berkeley, USA (2015); Fondation Louis Vuitton, Paris, France (2014 and 2015); Fondazione Prada, Ca’ Corner della Regina, Venice, Italy (2014); Parcours Hors-les-Murs, FIAC 2013, Paris, France (2013); New Museum of Contemporary Art, New York (2010); the Ninth Sharjah Biennial, United Arab Emirates (2009); La Maison Rouge, Paris (2010); the Mediacity Biennial, Seoul (2010), the Haus Der Kunst, Munich (2010), Performa 11, NYC (2011) and dOCUMENTA 13 (2012).
Tarek Atoui’s work with sound and composition is strongly infuenced and informed by performance, improvisation and human encounters.
HE ENGINEERS COMPLEX AND INVENTIVE INSTRUMENTS
VENICE BIENNALE – TAREK ATOUI
LOCATION: May You Live In Interesting Times, Giardini/Arsenale
“For the Venice Biennale 58th edition, Atoui will take past installation and performance works as a starting point for new compositions, in which sound becomes light, vibration and electricity to activate experimental instruments, which then perform themselves. These compositions will create particular listening spaces and situations that highlight the importance of the listening act, as the first performative gesture when improvising or playing contemporary new music.”
A VERSION OF THIS ARTICLE APPEARED IN PRINT IN SELECTIONS, 21 ARTISTS AND A BIENNIAL #49, PAGES 146-151.