Sharjah Art Foundation Announces the Late Okwui Enwezor As Curator of Sharjah Biennial 15
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Grief and Grievance: Art and Mourning in America,” an Intergenerational Exhibition of Works from Thirty-Seven Artists, Conceived by Curator Okwui Enwezor
NEW MUSEUM PRESENTS “GRIEF AND GRIEVANCE: ART AND MOURNING IN AMERICA,” AN INTERGENERATIONAL EXHIBITION OF WORKS FROM THIRTY-SEVEN ARTISTS, CONCEIVED BY CURATOR OKWUI ENWEZOR Exhibition Brings Together Works that Address Black Grief as a National Emergency in the Face of a Politically Orchestrated White Grievance New York, NY...The New Museum is proud to present “Grief and Grievance: Art and Mourning in America,” an exhibition originally conceived by Okwui Enwezor (1963-2019) for the New Museum, and presented with curatorial support from advisors Naomi Beckwith, Massimiliano Gioni, Glenn Ligon, and Mark Nash. On view from February 17 to June 6, 2021, “Grief and Grievance” is an intergenerational exhibition bringing together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. The exhibition further considers the intertwined phenomena of Black grief and a politically orchestrated white grievance, as each structures and defines contemporary American social and political life. Included in “Grief and Grievance” are works encompassing video, painting, sculpture, installation, photography, sound, and performance made in the last decade, along with several key historical works and a series of new commissions created in response to the concept of the exhibition. The artists on view will include: Terry Adkins, Jean-Michel Basquiat, Kevin Beasley, Dawoud Bey, Mark -
Al-Mureijah Art Spaces Sharjah, United Arab Emirates
2019 On Site Review Report by Raza Ali Dada 5050.UAE Al-Mureijah Art Spaces Sharjah, United Arab Emirates Architect Mona El Mousfy, Sharmeen Azam Inayat Client Sharjah Art Foundation Design 2010-2011 Completed 2013 Al-Mureijah Art Spaces Sharjah, United Arab Emirates I. Introduction The Al-Mureijah Art Spaces are a series of exhibition spaces set up by the Sharjah Art Foundation (SAF). Following the global success of the Sharjah Biennial the need for flexible spaces to house contemporary art was inevitable. A part of the historic district was acquired by the foundation, and re-appropriated to house spaces for contemporary art, installations and performances. New buildings were designed and inserted into the historical fabric, adding a new typology of buildings to the current mix. The five new gallery spaces are surrounded by courtyards and older structures that also function as spaces for art, installations and performances. The placement and scale of these spaces is mindful of the historical fabric where one navigates through narrow and shaded passageways punctuated by the courtyards. A significant urban response eliminates any boundary or formal element to mark the limit of the project, thus enabling pedestrians to walk through or approach the project from a number of sides. This creates an informal relationship and a natural access for the public in this unique urban setting. II. Contextual information A. Brief historical background The Emirate of Sharjah covers approximately 2,600 square kilometres. In addition to Sharjah city, which lies on the shores of the Arabian Gulf, the emirate has three regions on the scenic east coast at the Gulf of Oman: Dibba Al Hisn, Khor Fakkan and Kalba. -
Okwui Enwezor
Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00375/1754372/octo_a_00375.pdf by guest on 25 September 2021 Okwui Enwezor. Okwui Enwezor (1963 –2019) Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00375/1754372/octo_a_00375.pdf by guest on 25 September 2021 PAMELA M. LEE In 2019, mention of the “global art world” and its thematic cognates—glob - alism and “global contemporary” art among them—is likely to inspire more cyni - cism than excitement. Critics have their reasons. The phenomenon of global contemporary art seems a foregone conclusion at this late date, the ubiquity of its biennials and fairs inversely proportional to the size of the art world’s most privileged demographic. That such art may be du jour among the collecting class—the stuff of oligarchic portfolios, vanity museums, and private founda - tions—is wholly consistent with the lengthening itineraries of finance capital. If the “global art world” was ideally premised on the rejection of Euro-American parochialisms, an expansion of hemispheric perspectives, and the rewriting of art-historical canons, the hegemony of such markets effectively reproduces the most entrenched relations of power. The passing of Okwui Enwezor (1963–2019), the most influential curator of the past quarter-century, challenges us to revisit these conventions and nuance their historiography in turn, for Enwezor repeatedly identified the contradictory prospects of this emergent global art world. Over the course of a pathbreaking career, the rhetoric of antinomies structured his critical and curatorial engage - ments, whether addressing the afterlives of African independence movements, the transnational biennial as an exhibition model, or the rise of global networks and postcolonial constellations, necessarily uneven in their distribution among diverse populations and actors. -
Ffdoespieszak Pieszak CRITICAL REALISM in CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of E
CRITICAL REALISM IN CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of Essex, 2007 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 FfdoesPieszak Pieszak UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Alexandra Oliver It was defended on April 1, 2014 and approved by Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, History of Art & Architecture Barbara McCloskey, Associate Professor, History of Art & Architecture Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Josh Ellenbogen, Associate Professor, History of Art & Architecture ii Copyright © by Alexandra Oliver 2014 iii CRITICAL REALISM IN CONTEMPORARY ART Alexandra Oliver, Ph.D. University of Pittsburgh, 2014 This study responds to the recent reappearance of realism as a viable, even urgent, critical term in contemporary art. Whereas during the height of postmodern semiotic critique, realism was taboo and documentary could only be deconstructed, today both are surprisingly vital. Nevertheless, recent attempts to recover realism after poststructuralism remain fraught, bound up with older epistemological and metaphysical concepts. This study argues instead for a “critical realism” that is oriented towards problems of ethics, intersubjectivity, and human rights. Rather than conceiving of realism as “fit” or identity between representation and reality, it is treated here as an articulation of difference, otherness and non-identity. This new concept draws on the writings of curator Okwui Enwezor, as well as German critical theory, to analyze the work of three artists: Ian Wallace (b. -
P3 2.E$S Layout 1
WEDNESDAY, MAY 20, 2015 LOCAL Fugitives, one sentenced to life, arrested in Jahra KUWAIT: Jahra detectives arrested three persons wanted on multiple charges. They include Bader K, Syrian and sen- tenced to five years in jail, Mutlaq A, Kuwaiti and sentenced to five years, and Hussein K, Bedoon (stateless) and sen- tenced to 90 years in jail, or life in prison. The third suspect was arrested inside his house during a police raid. The three were sent to concerned authorities. Gas station burglar caught Meanwhile, Mubarak Al-Kabeer detectives arrested a Kuwaiti man accused of committing a robbery at a gas sta- tion in Adan earlier. The suspect reportedly drove a car that did not carry any license plates. The suspect works for the same company that owns the station he robbed, the Interior Ministry said in a statement. He was sent to con- cerned authorities. Traffic campaign Separately, Hawally police carried out a traffic campaign that resulted in issuing 580 tickets, impounding 55 cars and arresting three persons on different charges. The Adan gas station robbery suspect. The suspects Bader K, Mutlaq A and Hussein K pictured in these handout photos. Crime Report KDF demands releasing detained activists By A Saleh being investigated by the interior ministry. In a statement KMA issued after a doctor KUWAIT: Kuwait Democratic Forum’s (KDF) was accused of causing the death of a Secretary General Bandar Al-Khairan called female citizen he operated on, KMA for issuing a pardon to all those who had Secretary General Dr Mohammed Al-Qenae been prosecuted during a period when stressed that reports about the woman’s “political situations were not favorable”. -
Gulf Affairs
Autumn 2016 A Publication based at St Antony’s College Identity & Culture in the 21st Century Gulf Featuring H.E. Salah bin Ghanem Al Ali Minister of Culture and Sports State of Qatar H.E. Shaikha Mai Al-Khalifa President Bahrain Authority for Culture & Antiquities Ali Al-Youha Secretary General Kuwait National Council for Culture, Arts and Letters Nada Al Hassan Chief of Arab States Unit UNESCO Foreword by Abdulaziz Saud Al-Babtain OxGAPS | Oxford Gulf & Arabian Peninsula Studies Forum OxGAPS is a University of Oxford platform based at St Antony’s College promoting interdisciplinary research and dialogue on the pressing issues facing the region. Senior Member: Dr. Eugene Rogan Committee: Chairman & Managing Editor: Suliman Al-Atiqi Vice Chairman & Partnerships: Adel Hamaizia Editor: Jamie Etheridge Chief Copy Editor: Jack Hoover Arabic Content Lead: Lolwah Al-Khater Head of Outreach: Mohammed Al-Dubayan Communications Manager: Aisha Fakhroo Broadcasting & Archiving Officer: Oliver Ramsay Gray Research Assistant: Matthew Greene Copyright © 2016 OxGAPS Forum All rights reserved Autumn 2016 Gulf Affairs is an independent, non-partisan journal organized by OxGAPS, with the aim of bridging the voices of scholars, practitioners, and policy-makers to further knowledge and dialogue on pressing issues, challenges and opportunities facing the six member states of the Gulf Cooperation Council. The views expressed in this publication are those of the author(s) and do not necessar- ily represent those of OxGAPS, St Antony’s College, or the University of Oxford. Contact Details: OxGAPS Forum 62 Woodstock Road Oxford, OX2 6JF, UK Fax: +44 (0)1865 595770 Email: [email protected] Web: www.oxgaps.org Design and Layout by B’s Graphic Communication. -
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YOUR O.A.T. ADVENTURE TRAVEL PLANNING GUIDE® New! Tunisia: From the Mediterranean to the Sahara 2022 Small Groups: 8-16 travelers—guaranteed! (average of 13) Overseas Adventure Travel ® The Leader in Personalized Small Group Adventures on the Road Less Traveled 1 Dear Traveler, At last, the world is opening up again for curious travel lovers like you and me. And the O.A.T. New! Tunisia: From the Mediterranean to the Sahara itinerary you’ve expressed interest in will be a wonderful way to resume the discoveries that bring us so much joy. You might soon be enjoying standout moments like these: Venture out to the Tataouine villages of Chenini and Ksar Hedada. In Chenini, your small group will interact with locals and explore the series of rock and mud-brick houses that are seemingly etched into the honey-hued hills. After sitting down for lunch in a local restaurant, you’ll experience Ksar Hedada, where you’ll continue your people-to-people discoveries as you visit a local market and meet local residents. You’ll also meet with a local activist at a coffee shop in Tunis’ main medina to discuss social issues facing their community. You’ll get a personal perspective on these issues that only a local can offer. The way we see it, you’ve come a long way to experience the true culture—not some fairytale version of it. So we keep our groups small, with only 8-16 travelers (average 13) to ensure that your encounters with local people are as intimate and authentic as possible. -
Second Lahore Biennale: Between the Sun and the Moon Curated by Hoor Al Qasimi Features 20+ New Commissions and Work by More Than 70 International Artists
For Immediate Release 6 January 2020 Second Lahore Biennale: between the sun and the moon Curated by Hoor Al Qasimi Features 20+ New Commissions and Work by More Than 70 International Artists Installed Across Cultural and Heritage Sites Throughout Lahore, Pakistan, from 26 January to 29 February 2020 Lahore, Pakistan—6 January 2020—The Lahore Biennale Foundation today revealed a list of over 70 participating artists for the second edition of the Lahore Biennale (LB02), running from 26 January through 29 February 2020. Curated by Hoor Al Qasimi, Director of the Sharjah Art Foundation in Sharjah, United Arab Emirates, LB02: between the sun and the moon brings a plethora of artistic projects to cultural and heritage sites throughout the city of Lahore including more than 20 new commissions by artists from across the region and around the world, including Alia Farid, Diana Al-Hadid, Hassan Hajjaj, Haroon Mirza, Hajra Waheed and Simone Fattal, among many others. Other participating artists include Anwar Saeed, Rasheed Araeen and the late Madiha Aijaz. With a focus on the Global South, where ongoing social disaffection is being aggravated by climate change, LB02 responds to the cultural and ecological history of Lahore and aims to awaken awareness of humanity’s daunting contemporary predicament. Works presented in LB02 will explore human entanglement with the environment while revisiting traditional understandings of the self and their cosmological underpinnings. Inspiration for this thematic focus is drawn from intellectual and cultural exchange between South and West Asia. “For centuries, inhabitants of these regions oriented themselves with reference to the sun, the moon, and the constellations. -
MOHAMMED KAZEM Mohammed Kazem (Born 1969, Dubai) Lives and Works in Dubai
MOHAMMED KAZEM Mohammed Kazem (born 1969, Dubai) lives and works in Dubai. He has developed an artistic practice that encompasses video, photography and performance to find new ways of apprehending his environment and experiences. The foundations of his work are informed by his training as a musician, and Kazem is deeply engaged with developing processes that can render transient phenomena, such as sound and light, in tangible terms. Often positioning himself within his work, Kazem responds to geographical location, materiality and the elements as a means to assert his subjectivity, particularly in relation to the rapid pace of modernisation in the Emirates since the country’s founding. Kazem was a member of the Emirates Fine Arts Society early in his career and is acknowledged as one of the ‘Five’, an informal group of Emirati artists – including Hassan Sharif and Abdullah Al Saadi – at the vanguard of conceptual and interdisciplinary art practice. In 2012, Kazem completed his Masters in Fine Art at the University of the Arts, Philadelphia. He has been participating in the Annual Exhibitions of the Emirates Fine Arts Society in Sharjah since 1986, as well as numerous editions of Sharjah Biennial, receiving first prize for installations in 1999 and 2003, and in 2007, co-curated the Sharjah Biennial. In recent years, Kazem has participated in several group shows at the Mori Art Museum (2012), Boghossian Foundation (2013), Gwangju Museum of Art (2014), the 2014 edition of the Fotofest Biennial in Houston and Here and Elsewhere at the New Museum (2014). He has exhibited at the Venice Biennale three times: in 2009 as part of a group exhibition curated by Catherine David, in 2013, he represented the UAE with an immersive video installation entitled Walking on Water, which was curated by Reem Fadda, and in 2015, he showcased works from the Tongue series at 1980 – Today: Exhibitions in the UAE, curated by Sheikha Hoor Al Qasimi. -
David Maljkovic 19 03-09 05 15
david maljkovic 19_03-09_05_15 Press Release 11.03.2015 Blondeau & Cie is delighted to present, in collaboration with Annet Gelink Gallery, Amsterdam, an exhibition by David Maljkovic, New Collection. This first presentation of this artist’s work in Geneva follows on from a number of major solo shows, including the recent In Low Resolution at Palais de Tokyo, Paris. Maljkovic’s work is a highly controlled variant exploitation of formalist concerns. While narrative is the driving element at the origination of a project, the artist’s varied means of visual implementation profoundly modifies and compromises its supremacy. The process of construction within a set of formal directives encrypts the narrative and postulates what Maljkovic describes as a new semantic logic. His overall project is engaged in the variable relationship between form and content in art terms; it is within this relationship that Maljkovic negotiates his formal methods and disjunctive intentions. Virtually all of Maljkovic’s work is engaged with historical and technological markers that are characterized by situations both local and universal. In each, the erosion and corruption of memory are the subjects that are left for the viewer to re-organize. The subject of defective memory and the use of collage, in its more literal as well as more complex application, is a formal principle for dislocation, subtraction and juxtaposition for Maljkovic’s mythical “missing archive”. For the exhibition New Collection, Maljkovic deconstructs and revisits a set of his earlier works from Blondeau & Cie collection which are reinterpreted to become the source of new works. The artist undertakes to re-read and conjure memories in order to bring together works separated by time span and the evolution of his thoughts. -
Hans Haacke Biography
P A U L A C O O P E R G A L L E R Y Hans Haacke Biography 1936 Born Cologne, Germany 1956-60 Staatliche Werkakademie (State Art Academy), Kassel, Staatsexamen (equivalent of M.F.A.) 1960-61 Stanley William Hayter's Atelier 17, Paris 1961 Tyler School of Fine Arts, Temple University, Philadelphia 1962 Moves to New York 1963-65 Return to Cologne. Teaches at Pädagogische Hochschule, Kettwig, and other institutions 1966-67 Teaches at University of Washington, Seattle; Douglas College, Rutgers University, New Jersey; Philadelphia College of Art 1967 - 2002 Teaches at Cooper Union, New York (Professor of Art Emeritus) 1973 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1979 Guest Professorship, Gesamthochschule, Essen 1994 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1997 Regents Lecturer, University of California, Berkeley Lives in New York (since 1965) Awards 1960 Deutscher Akademischer Austauschdienst (DAAD) 1961 Fulbright Fellowship 1973 John Simon Guggenheim Foundation Fellowship 1978 National Endowment for the Arts 1991 College Art Association Distinguished Artist Award for Lifetime Achievement Deutscher Kritikerpreis for 1990 Honorary Doctorate in Fine Arts, Oberlin College 1993 Golden Lion (shared with Nam June Paik), Venice Biennale 1997 Kurt-Eisner-Foundation, Munich Honorary Doctorate Bauhaus-Universität Weimar 2001 Prize of Helmut-Kraft-Stiftung, Stuttgart 2002 College Art Association Distinguished Teaching of Art Award 2004 Peter-Weiss-Preis, Bochum 2008 Honorary Doctorate, San Francisco Art Institute -
Sharjah Art Foundation Announces Spring 2020 Exhibitions and March Meeting
For Immediate Release 19 December 2019 March Meeting 2019, Bait Obaid Al Shamsi, Sharjah, 2019. Photo: Sharjah Art Foundation Sharjah Art Foundation Announces Spring 2020 Exhibitions and March Meeting Including Major Surveys of Tarek Atoui and Zarina Bhimji And First Exhibition in the Region to Focus on Art in the Age of the Internet Sharjah Art Foundation (SAF) today announced its spring 2020 programme, which features major exhibitions exploring vital issues in contemporary art theory and history and examining the work and impact of significant artists from the MENASA region, as well as the annual March Meeting, a three-day convening of artists, curators and art practitioners to explore critical issues in contemporary art. The spring 2020 season includes a major survey of Tarek Atoui’s work, which features live performances by the artist and a series of guest creators, that celebrates the composer’s decade-long collaboration with the Foundation and the wider Sharjah community; a mid-career retrospective of Zarina Bhimji, which includes some of the artist’s seminal works in film, photography and installation; and Art in the Age of Anxiety, the most ambitious show of its kind to take place in the Middle East, which brings together a global group of artists to consider how our everyday devices and technologies have altered our collective consciousness; all opening 21 March 2020. In addition, the foundation’s annual March Meeting (MM) returns from 21 to 23 March 2020, gathering leading artists, curators, and art practitioners from across the region and around the world for a series of talks, workshops and performances.