Sursock Museum Program December 2016 – February 2017
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SURSOCK MUSEUM PROGRAM DECEMBER 2016 – FEBRUARY 2017 The Nicolas Ibrahim Sursock Museum is a mod- ern and contemporary art museum in the center of Beirut first opened in 1961, with a mission to collect, preserve, and exhibit local and in - ternational art. Through our collection, archives, exhibitions, and public programs, we aim to produce knowl- edge on art practices in the region and explore work that reflects on our contemporary moment. Our goal is to support local art production, to provide a platform for encounter and exper - imentation with art and ideas, and to inform and challenge different audiences in new and unexpected ways. www.sursock.museum EXHIBITIONS AND DISPLAYS 2 PUBLIC PROGRAM TOURS 7 TALKS 7 FILM PROGRAM 10 FAMILY PROGRAM 13 CALENDAR 15 Mind the gap Detail of The 32nd Salon d’Automne poster, 2016 1 EXHIBITIONS AND DISPLAYS 32nd Salon d’Automne 25 November 2016 – 27 February 2017 Special Exhibitions Hall, Level -2 One of the primary activities of the Sursock Every year, the Museum awards several prizes. Museum since its opening in 1961, the Salon These are the Sursock Museum Prize for the d’Automne has consistently brought together most innovative work, and the Emerging Artist emerging and established artists in the lon - Prize – generously gifted by Mrs. Hind Sinno – gest running open call exhibition in Lebanon. for the most promising early career artist. This Following in the traditions of the historic Paris year, and for the first time, we have added the Salon, the Salon d’Automne was a place where Audience Choice Award. You will be able to se- artists could show new work to a broad public, lect your favorite artwork to be awarded, so signaling trends and shifts in the art scene of don’t forget to cast your vote inside the exhi- the time. The most notable Salon d’Automne bition space! took place in 1964, where the move towards The Jury members of the 32nd Salon d’Au - abstraction in art was clearly noticeable. Since tomne were Reem Fadda, Walid Sadek, Rasha then, the Salon d’Automne has brought together Salti, Hind Al Soufi, and Kaelen Wilson-Goldie. artists, art critics, and the public in a lively de- They selected works by 52 artists to be included bate on the state of art in Lebanon. in the exhibition. The Salon d’Automne now takes place every For the full list of exhibiting artists, please check two years as part of the expanded Museum’s our website. varied exhibitions program, which sees three major exhibitions per year. The open call format #salondautomne #sursockmuseum is an opportunity for the Museum to encoun- ter a wide variety of practices by artists living and working in Lebanon, and for early career artists to show their work in a major exhibition at the Museum. This year’s Salon d’Automne brings together 52 artists working across all media, from painting and installation to video. Selecting works from over 300 applications was not an easy task for the Jury. Detail of the 32nd Salon d’Automne poster, 2016 2 Adelita Husni-Bey A Wave in the Well 21 October 2016 – 30 January 2017 Twin Galleries, GF Stemming from research and in-depth inter- Adelita Husni-Bey stages workshops, seminars, actions with people, Adelita Husni-Bey’s pro- publications, radio broadcasts, archives, and cess-based work questions and makes visible the exhibitions focused on using collectivist and legislative, pedagogical, and economic structures non-competitive pedagogical models within the that frame daily life. framework of urban studies. In her ten years A Wave in the Well presents existing work as well practicing as both an artist and a pedagogue, as new work produced in collaboration with the Husni-Bey has worked with activists, jurists, youth-led organization NAHNOO and members schoolchildren, spoken word poets, students, of the public. and teachers on unpacking the complexity of collectivity. To make good what can never be Produced during a year-long residency in San made good: what we owe each other. Fransisco, the video After the Finish Line ex- plores the psychological and physical aspects Recent exhibitions include Movement Break, of competitive culture. Kadist Foundation, San Francisco, 2016; Undiscovered Worlds, the New York High Line, The video installation Ard looks at the often New York, 2015; Really Useful Knowledge, Reina tense and uneven encounter between redevel- Sofia Museum, Madrid, 2014; Utopia for Sale? opment plans and local residents, in this case MAXXI Museum, Rome, 2014; and Playing in in the informal neighborhoods of Gezirat Truant, Gasworks, London, 2012. al-Qursaya and Ramlet Boulaq in Cairo. #adelitahusnibey #awaveinthewell #sursockmuseum Adelita Husni-Bey After the Finish Line (film still), 2015 Video, color, sound, 12’39’’, English with Arabic subtitles Courtesy of the artist and Laveronica arte contemporanea 3 The Human Scale Archeological Photographs from The Fouad Debbas Collection 21 October 2016 – 30 January 2017 The Fouad Debbas Collection Gallery, Level 1 What the eye sees, photography attempts to Often, the monumental quality of a site can only reproduce. It responds to our common desire be grasped through the inclusion of a human to tour the world “from the comfort of one’s figure. Man is there simply to indicate scale. Yet, armchair.” In the second half of the 19th century, he inhabits these otherwise lifeless images that photographic expeditions to Egypt multiplied, seem frozen in an ancient time, just like the with a view to making an inventory of the Orient. ruins they depict. If sketches made in situ previously sufficed, Photographers frequently turn to the same as- photography came to be appreciated for its sistants or travel companions to “populate” their capacities to document, illustrate, and depict expertly-composed stagings. The positioning monuments and their decors with great precision. of the human figures is rarely left to chance; Photography thus became a precious tool for they are either clearly visible, standing with archeologists and scientists. their backs against columns, seated with their head in their hands, or nearly hidden, squatting next to a rock or springing out from the shad- ows. Sometimes, the photographer is himself the figure. Would you be able to recognize him? Attributed to Felix Bonfils #archeologicalsites #tfdc #sursockmuseum First courtyard and second pylon of the Great Temple, Karnak, Egypt, Circa 1875-85 Albumen print The Fouad Debbas Collection / Sursock Museum 4 Maha Maamoun The Law of Existence 24 February – 5 June 2017 Twin Galleries, GF Working primarily with video and photography, Maha Maamoun lives and works in Cairo, Egypt. Maha Maamoun’s work deals with the circula- Her work is generally interested in examining tion and function of images from mainstream the form, function, and currency of common culture, reframing these as tools for critical in- cultural visual and literary images as an entry sights and analysis. The Law of Existence brings point to investigating the cultural fabric that together works that deal with the many faces we weave and are weaved into. She also works and forms of state power in contemporary Egypt, collaboratively on independent publishing and from its manifestation in the intimate lives of curatorial projects. She co-founded the inde- citizens to power solidified in the shape of gov- pendent publishing platform called Kayfa-ta ernment headquarters. Exhibited works include in 2013. She is also a founding board member Dear Animal. of the Contemporary Image Collective (CiC), an Shot between Cairo and different locations in independent non-profit space for art and culture India, the film Dear Animal weaves together a founded in Cairo in 2004. short story by writer Haitham El-Wardany – Recent exhibitions include The Time is Out of titled “The Law of Existence” – about a drug Joint, Sharjah Art Foundation, 2016; Century of dealer who turns into a strange animal, and a Centuries, SALT, 2015; Like Milking a Stone, Rosa selection of letters written by Azza Shaaban, a Santos Gallery, 2015; The Night of Counting the director-producer involved with the Egyptian Years, Fridricianum, 2014; Here and Elsewhere, revolution and now living in India, from where New Museum, 2014; and Ten Thousand Wiles and she sends notes about her travels and healing a Hundred Thousand Tricks, Meeting Points 7, 2014. process after the revolution. #mahamaamoun #lawofexistence #sursockmuseum Maha Maamoun Dear Animal (film still), 2016 Single channel video, 25’ 5 Collection Display A Selection of Works from the Sursock Museum Collection Collection Galleries, Levels 1 and 2 Distributed along the Museum’s upper two From Daoud Corm’s painted portraits to Saloua floors, the collection display traces a history of Raouda Choucair’s geometric abstraction, the Lebanese modern art from the late 1800s to display’s scope and depth offers significant in- the early 2000s. sights into Lebanese modern art. Acquired by or gifted to the Sursock Museum Works on display include Khalil Saleeby’s following exhibitions, the works in the collec- Portrait de Boutros Dagher (1907), Aref el tion also chronicle the history of the Museum’s Rayess’s Colloque (1966), Shafic Abboud’s exhibition program since its opening in 1961 – Les amours et les jeux (1979), and Etel Adnan’s including the annual Salon d’Automne – as well Le Mont Tamalpaïs (1985). as the evolution of artistic practices in Lebanon. #sursockmuseumcollection Juliana Seraphim Cheval de nacre [Mother-of-pearl Horse], 1974 Oil on canvas, 84.5 x 104.4 cm Sursock Museum collection 6 TOURS Collection Tour Saturday 10 December, 16:00 to 17:00 Led by one of the Sursock Museum’s docents, this Saturday 28 January, 16:00 to 17:00 tour guides you through the Sursock Museum’s Thursday 16 February, 19:00 to 20:00 permanent collection, giving insights into its Meet at the Information Desk, GF history and highlighting key works on display.