Saloua Raouda Choucair at the Tate

As the future will show, Saloua Raouda Choucair’s extensive exhibition at the Tate Modern will mark a highly significant point in Middle Eastern art history. Now well into her nineties, Choucair has been one of Lebanon’s hidden gems for far too long. The beauty and power in this show, is it finally gives Choucair the global attention she deserves! It is a significant show, not just for its fantastic content, but also because this exhibition is the first by a Middle Eastern artist at the Tate!

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(c) J Fernandes, Tate Photography

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(c) J Fernandes, Tate Photograph

I have by now been to the Choucair exhibition three times in just over a week. It is a show that keeps me coming back, keeps me wanting to dive further and further into the artist’s works. I was lucky enough to take part in a group tour led by the Tate’s  International art curator, Jessica Morgan. Ms. Morgan explained how she first came across Choucair’s work at Agial Art Gallery in Beirut, and from there enquired further about the artist. After visiting her home in Beirut, Morgan found many of Choucair’s works all across her apartment. Morgan found it essential to provide an international platform for Choucair to be appreciated. Morgan wants to highlight Choucair’s position as a significant global artist.

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Choucair, a pioneering abstract artist, was born in 1916. While Choucair is perhaps best known for her wonderful sculptures, she has worked with many mediums. Her inspirations are derived from Islamic art, geometry, and science. 

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As mentioned on the Tate’s website:

“A rare female voice in the Beirut art scene from the 1940s onwards, Choucair’s work combines elements of western abstraction with Islamic aesthetics. It is characterised by an experimental approach to materials alongside an elegant use of modular forms, lines and curves drawn from the traditions of Islamic design.

The exhibition focuses on Choucair’s sculptures from the 1950s to the 1980s, created in wood, metal, stone and fibreglass, as well as extensive examples of her early abstract paintings and some key figurative works such as Self-Portrait 1943 and Paris-Beirut 1948. “

To put the significance of Choucair’s show into perspective, the other major exhibition taking place at the Tate at the same was the Lichtenstein show! One could buy a double ticket granting access to both! 

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photo credit: Abdullah Al Turki

This is a must see show for all those in London, and will be on until Oct. 20, 2013. 

Check out this Video about the organization of the exhibition:



Check out this link for more information on the show:


http://www.tate.org.uk/whats-on/tate-modern/exhibition/saloua-raouda-choucair

 

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Frieze NY 2013

Frieze NY 2013 was overall a great fair. It was held again in a large tent on Randall’s Island, a boat ride away from Eastern Manhattan. With over 180 exhibitors taking part this year, the fair is definitely one of the larger ones out there. Some of the best galleries from across the world lined up to join Frieze this year, which took place from May. 10-13. 

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The presence of Middle Eastern art at the fair was strengthened by the participation of Dubai’s Third Line and Beirut’s Sfeir Semler Gallery. Sfeir Semler Gallery had a great booth location close to the fair’s entrance. The booth included works by some of the gallery’s star artists including Akram Zaatari, Yto Barrada, and Khalil Rabah. 

Sfeir Semler Booth

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Khalil Rabah, ‘The Palestinian Museum of Natural History and Humankind,’ 2012, Oil on canvas, 200 x 100 cm:

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Walid Raad:

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Akram Zaatari, ‘Before they went to their military training. Studio Shehrazade, Saida 1970, 2006,’ Modern Silver Print:

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Wael Shawky, ‘Cabaret Crusades: The Path to Cairo, Soldier,’ 2010:
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Etel Adnan:

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The Third Line Gallery brought a beautiful selection of works, including a brilliant work by Pouran Jinchi, a great Moshiri, and a beautiful Monir Faramanfarmaian.

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Monir Faramanfarmaian:

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Slavs and Tatars:

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Farhad Moshiri:

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Pouran Jinchi:

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L & M Arts’ Ahmed Al Soudani piece:

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New York City’s Jack Shainman Gallery had 2 beautiful works by Hayv Kahraman:

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Artnet: Middle Eastern Pavilions in Venice

Artnet article on Middle Eastern participation at the Venice Biennale this year!

http://artnet.tumblr.com/post/50574477032/spotlight-venice-heres-another-reason-to-visit

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Follow Taymour Grahne Gallery on Facebook and Twitter!

Follow Taymour Grahne Gallery on Facebook here:


https://www.facebook.com/TaymourGrahneGallery

and twitter here: 


https://twitter.com/TaymourGrahne

 

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Launching the Taymour Grahne Gallery in New York City!

Dear Readers,

It has been a fantastic 2+ years since I started Art of the Mid East. It has been an honor and a privilege to promote the exciting talent being created by artists from across the Middle East and its diaspora. I have learned a lot about the Middle Eastern art world while blogging, having travelled to major art fairs, conducted artist studio visits, interviews, and research.

I have decided to take my love, passion, and appreciation for Middle Eastern art to the next level, by opening a gallery in the heart of New York City. Taymour Grahne Gallery, which will be opening in Fall 2013, will foster an internationally diverse program of contemporary art aiming to serve as a platform for significant and groundbreaking work from across the world. Working closely with curators and critics, the gallery is committed to cultivating emerging talent and supporting established artists. I am launching this gallery with a deep appreciation for and understanding of Middle Eastern art, and am keen on breaking down boundaries, and presenting Middle Eastern art alongside fantastic artists from outside the Middle East.

Some of the Middle Eastern artists that I am starting my roster with include: Hassan Hajjaj, Tarek Al Ghoussein, Nermine Hammam, Walid Siti, Camille Zakharia, Nicky Nodjoumi, Farah Ossouli and Mohammed Kazem. 

Check out Taymour Grahne Gallery’s website here:


http://www.taymourgrahne.com

Like Taymour Grahne Gallery’s Facebook page here:


https://www.facebook.com/TaymourGrahneGallery

I will continue to blog, and Art of the Mid East will continue promoting Middle Eastern art to the world.

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Hauser & Wirth Presents ‘Trade Routes’

Hauser & Wirth London,

Piccadilly 3 May – 27 July 2013
Opening: Thursday 2 May 6 – 8 pm 

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Maha Malluh — Food for Thought

 

Trade routes have connected the major centres of civilisation in Europe and Asia since antiquity. These routes not only made the exchange of goods possible, but also fostered cultural exchanges between distant regions. The group exhibition, ‘Trade Routes’, on view at Hauser & Wirth’s Piccadilly gallery from 3 May, presents a diverse picture of where these trade routes stand in today’s globalised society through the lens of 15 artists.

The exhibition features video installations, sculptures and two-dimensional works by artists based in Africa, China, Europe, India, and the Middle East including Adel Abidin, Fatima Al Qadiri & Khalid al Gharaballi, Alighiero Boetti, Monir Farmanfarmaian, Subodh Gupta, Gülsün Karamustafa, Bharti Kher, Rachid Koraïchi, Lee Xe, Maha Malluh, Bettina Pousttchi, Hassan Sharif, Wael Shawky and David Zink Yi.

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Monir Farmanfarmaian, 2004
Mirror mosaic and reverse glass painting
200 x 700 cm

German artist Bettina Pousttchi broadens the previously conceived notions of her medium by bringing together architecture and sculpture in her photography. For ‘Trade Routes’, Pousttchi has created a new photo installation entitled ‘Piccadilly Windows’. Pousttchi uses a selection of photographs of structural elements from renovated timber- frame houses taken near her hometown and then re-works these into a pattern that recalls traditional architectural elements of the Middle East. The resulting motifs are applied directly to the nine windows of the main gallery. With this subtle intervention combining an archetypal example of Western European architecture with traditionally Middle Eastern architectural ornamentation, Pousttchi makes a transnational gesture that investigates the cultural dimensions of architecture. 

Rachid Koraïchi — From the series \"Les Maîtres Invisibles\" (The Invisible Masters): Ennafari, 2008 Cotton appliqué 348 x 200 cm

Rachid Koraïchi — From the series \”Les Maîtres Invisibles\” (The Invisible Masters): Ennafari, 2008
Cotton appliqué
348 x 200 cm

Rachid Koraïchi and Monir Farmanfarmaian, based in Algeria and Iran respectively, have adapted traditional techniques from their native countries and integrated these into their practice. Koraïchi’s tapestries are suspended from the main gallery’s ceiling, hanging just above the heads of visitors. The tapestries chronicle the lives of 14 great mystics of Islam, such as the poet Rumi, whose writings the artist believes are just as relevant in today’s society as they were in the 13th century. The tapestries are covered in ornate Arabic calligraphy and ciphers from a range of other cultures, as well as symbols imagined by the artist.

Monir Farmanfarmaian’s large-scale mirror installations combine two elements from traditional Islamic design: mirror mosaic and reverse glass painting. Her techniques, which are traditionally passed down from father to son, create kaleidoscopic and intricate avant-garde patterns that catch and refract the light in the room.

The video works of Adel Abidin and Fatima Al Qadiri & Khalid al Gharaballi address the contradictions implicit in the social and cultural constructs of contemporary society. Adel Abidin’s three channel video installation ‘Three Love Songs’ will fill the American Room with films of sultry and seductive blonde women serenading the viewer with what initially seems to be poetic ballads sung in an Iraqi dialect of Arabic. However, these songs are actually odes dedicated to the former leader of Iraq, Saddam Hussein. With ‘Three Love Songs’, Abidin brings to the forefront the underlying cultural friction and political tension by creating an uncomfortable juxtaposition between the sexualised performance, replete with Western clichés, and the meaning of the lyrics.

Fatima Al Qadiri & Khalid al Gharaballi’s film ‘Mendeel Um A7mad (NxIxSxM)’ recreates the Kuwaiti ritual of Chai Dhaha, a meeting of women for pre-noon tea. However, in Al Qadiri & al Gharaballi’s version of the long-standing tradition, the middle-aged women are all played by a cast of young men and, instead of an intimate, residential setting, the film is set in a vast, opulent hotel ballroom, with each character sitting far away from the others. A small, bright pink tissue box – commonplace in every Kuwaiti household – sits on its own in the middle of the ballroom, far away from the women who might need them. The film is a satirical depiction of upper- class Kuwaiti social interactions, highlighting the absurdity of ritualized communications and shattering the sense of familiarity one would expect at a gathering of close friends and family.

Hassan Sharif — Slipper, 2012 Mixed media 210 x 60 cm

Hassan Sharif — Slipper, 2012
Mixed media
210 x 60 cm

‘Trade Routes’ will also feature sculpture and two-dimensional works by Subodh Gupta, Maha Malluh, and Hassan Sharif. These artists explore notions of cultural displacement through the use of found and kitsch objects, such as flipflops, as in Sharif’s seemingly imbalanced tower, cassette tapes of religious lectures, as in Maha Malluh’s installation or Subodh Gupta’s suitcases, sleeping bags and cardboard boxes, cast in aluminium. 

Wael Shawky — Al Araba Al Madfuna (video still), 2012 Video, b/w, sound, 21:21 min

Wael Shawky — Al Araba Al Madfuna (video still), 2012
Video, b/w, sound, 21:21 min

(Hauser & Wirth Press Release)

 

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Sotheby’s Doha Auction Results


http://www.sothebys.com/en/auctions/ecatalogue/2013/contemporary-art-doha-do1301/lots.list.1.30.lotnum.asc.html

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