Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian work collectively to create installations, paintings, and stop-motion animations that transform found materials in order to critically examine contemporary history-in-the-making. The Dubai-based artists’
Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian work collectively to create installations, paintings, and stop-motion animations that transform found materials in order to critically examine contemporary history-in-the-making. The Dubai-based artists’ animations are composed from thousands of individual works on paper, in which they collage and paint over printed stills from internet videos and television newscasts. By detaching news imagery from its original context, this body of work estranges and opens up its encoded meanings while interrogating the entertainment value of reportage and the voyeuristic role of the spectator as a passive consumer of mass-media spectacle. The artists’ ultimate aim is to break down the “othering” effect of virtual bystanding and promote recognition of our social interdependency and the value of solidarity.
The Rain Doesn’t Know Friends from Foes surveys the animations the artists have made to date and features a selection of related works on paper. The presentation marks the US debut of From Sea to Dawn (2016–17) and Macht Schon (2016), which reflect on the global immigration crisis. Also included are Big Rock Candy Mountain (2015), in which artifacts toppled by ISIS militants thwart their censors by mutating into fanciful mythic beasts; Letter! (2014), which amplifies the performative, media-induced hysteria of a protest by the radical activist group Femen; Reign of Winter (2012–13), a grotesque adaptation of the coverage of Prince William and Kate Middleton’s wedding that underscores the arcane, densely coded nature of ceremonial spectacles; and Just What Is It that Makes Today’s Homes So Different, So Appealing? (2010–11), in which media imagery from the 2009 Iranian demonstrations is transformed into a sordid pageant of monstrous animalistic humanoids. By turns joyously irreverent and intensely biting, the works presented here cast a satirical eye on representations of the present, foregrounding the irrationality and violence that underlie our hypermediated reality.
Courtesy of Gallery Isabelle van den Eynde
January 26 (Saturday) - April 28 (Sunday)
Frye Art Museum
704 Terry Avenue Seattle, Washington 98104 206 622 9250
Frye Art Museum 704 Terry Avenue Seattle, Washington 98104 206 622 9250