It’s an emotional exploration of the art world: which are the most frequently asked questions when it comes to art? Artists, curators, gallerists, museum directors, art collectors and more give thoughtful and deeply personal answers to our queries, while shedding light on the contemporary art scene – and offering a glimpse into its future.
Adel Abidin: It’s simply my chase after “balance.” I first of all do what I do in order to achieve (obtain) my own balance as an artist and a human being. Producing visual arguments gives me the chance to see the world around me in a better way, love more and give more. When I question a certain topic in my head, I like to share it with the world to get as many diverse answers as possible. We live in a collective world so my judgments should not be purely personal. They will help me see through their eyes what I might not be seeing.
Mahmoud Obaidi: Not at all.
Nadim Karam: I like to ask the person what he/she thinks it is.
Samia Halaby: I do! Depending on what I see in the eyes of the questioner, I might stop.
(from left to right)
Adel Abidin was born in Baghdad in 1973. He moved to Helsinki, Finland, in 2001 and has lived there since. Abidin joined the Finnish Art Academy in 2003 to pursue a Master’s degree in art. During that time, he switched his practice from full-time painter to multimedia artist, and since 2004 he has pursued a career as a video and installation artist. Abidin’s art uses various media, such as videos, video installations, multimedia sculptures, sound-based installations, photography and paintings, to explore contemporary issues. His main point of departure is always linked to the intention to explore the complex relationship between visual art and politics and identity. Using a sharp palette of irony and humour, he creates works that explore different social situations while dealing with elusive experiences and cultural alienation.
The artist uses his cross-cultural background, as an Iraqi artist living in Helsinki, to create a distinct visual language often laced with sarcasm and paradox, while maintaining an ultimately humanistic approach. This sarcasm used is nothing but a medium of provocation to serve the purpose of extending the mental borders of the artwork beyond the limits of the exhibition space. Abidin is particularly interested in creating opportunities to prolong the discussions beyond artwork by enabling the audience to convey mental elements from the work into their daily life. He always finds the words “politics” and “identity” to be more than a terminology or a path that we travel in, as they unfold to other concepts like discrimination and mass media manipulation.
Abidin has received e Finland Prize for Visual Arts in (2015) and Five Years Grant from e Art Council of Finland in (2013). He was also an Ars Fennica Prize nominee in 2011. Abidin has been invited as a visiting lecturer at various art schools, including the College of Liberal Arts, Oregon State University, Portland, Oregon (2010), the Art Academy of Helsinki, Kuva, (2015), LASALLE College of Arts, Singapore (2016) and the California Institute of the Arts (CalArts), Santa Clarita, California (2016).
Additionally, Abidin has exhibited his work at various biennales including the Moscow Biennale (2017), the 5th Guangzhou Triennial (2015), the 56th Venice Biennale-Iran Pavilion (2015), the 56th International Art Exhibition-Venice Biennale (2015), the Biennale of Contemporary Art of Bosnia (2013), the 54th Venice Biennale-Iraq Pavilion (2011), the 10th Sharjah Biennial (2011), the 17th Biennale of Sydney (2010), the 11th Cairo Biennale (2008), the 4th Gothenburg Biennale (2007), the 52nd Venice Biennale-Nordic Pavilion (2007), and the 5th Istanbul Biennale (2005).
Mahmoud Obaidi (b. 1966, Baghdad) is an Iraqi-Canadian artist whose work has been exhibited in museums and galleries around the world. After leaving Iraq in 1991, he obtained his Master’s of Fine Arts at the University of Guelph in Canada, and completed diplomas in new media and film from Toronto and Los Angeles, respectively. His work has been exhibited extensively, including the British Museum, London-Qatar Museums, Doha; Mathaf: Arab Museum of Modern Art, Doha; Saatchi Gallery, London; the National Museum of Bahrain; the Institut du Monde Arabe, Paris; the National Gallery of Fine Arts, Amman; Station Museum of Contemporary Art, Texas; the Musèe d’Art Contemporain de Baie-Saint-Paul, Quebec; the Nabu Museum, Lebanon and others. His work is part of the permanent collection of a number of significant museums, foundations and private collections.
Nadim Karam is an artist and architect working from Beirut-initially trained in architecture at the American University of Beirut then earned a doctorate in architecture from the University of Tokyo, Japan. He has recently finished building his own workshop, A.MUSE.UM in the Lebanese mountains, which will be also used as a platform for art, research and exhibitions. With Atelier Hapsitus, the pluri-disciplinary group he founded in 1996, he has realised temporary and permanent urban interventions in cities worldwide such as Prague, Beirut, Melbourne, Tokyo, London, Kuwait and Yerevan, using public art as an instrument for urban stimulation. Based on a crossfertilisation of disciplines and nationalities, the 20-year-old practice has a multidisciplinary composition, which feeds into the experimental nature of its work. He has held academic positions in Tokyo and Beirut, gives lectures internationally and has published several books.
Samia A. Halaby was born in Jerusalem, Palestine in 1936. She is a visual artist, writer, scholar and activist. Now, rounding out her sixth decade as an active painter, she continues to explore abstraction and its relationship to reality. She has exhibited in galleries, museums and art fairs throughout the US, Europe, Asia and South America. Her work is housed in private and public collections around the world, including the Guggenheim Museum (New York and Abu Dhabi) and the Institut du Monde Arabe. Halaby has authored and contributed to a number of books, notably: Liberation Art of Palestine (2001), Drawing the Kafr Qasem Massacre (2016) and Growing Shapes: Aesthetic Insights of an Abstract Painter (2018). She is the subject of two monographs and numerous reviews.
A version of this article appeared in print in Selections, Frequently Asked Questions in Art #48, page 123
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