"Arab artists shine at Art Dubai 2022" with Etel Adnan | Published in Arab News by Rawaa Talass, March 18, 2022
"Arab artists shine at Art Dubai 2022" with Etel Adnan | Published in Arab News by Rawaa Talass, March 18, 2022

Our booth at this year's Art Dubai 2022 was selected as a highlight by Rawaa Talass for Arab News.

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Interview | DIGITAL ARTIST TALK with Timo Nasseri and curator Sabine Schaschl on the show "Geomterische Opulenz" at Museum Haus Konstruktiv
Interview | DIGITAL ARTIST TALK with Timo Nasseri and curator Sabine Schaschl on the show "Geomterische Opulenz" at Museum Haus Konstruktiv

On the occasion of the group show "Geometrische Opulenz" at Museum Haus Konstruktiv, Timo Nasseri and Sabine Schaschl talk about the artist's use of the so-called razzle-dazzle patterns, a camouflage painting used for boats in World War I that was intended to make it impossible for the enemy to determine their position and course. 

Watch here

"Why Rabih Mroué Seeks to Complicate our Perception of Reality and Truth" | Carina Bukuts in FRIEZE on Rabih Mroués solo show at KW Institute of Contemporary Art, Berlin | March 21, 2022
"Why Rabih Mroué Seeks to Complicate our Perception of Reality and Truth" | Carina Bukuts in FRIEZE on Rabih Mroués solo show at KW Institute of Contemporary Art, Berlin | March 21, 2022

On the occasion of the artist’s first solo exhibition in Berlin at KW Institute for Contemporary Art, Carina Bukuts writes about his 20-year practice of deconstructing the image politics of war
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Interview with Walid Raad | Deutschlandfunk Kultur, "Fazit", Interview by Rudolf Schmitz, February 10th, 2022
Interview with Walid Raad | Deutschlandfunk Kultur, "Fazit", Interview by Rudolf Schmitz, February 10th, 2022

An interview with Walid Raad about his show "We lived so well together" at Kunsthalle Mainz by Rudolf Schmitz (in German)
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Walid Raad: "We lived so well together" at Kunsthalle Mainz | Deutschlandfunk, Michael Köhler, February 16th, 2022
Walid Raad: "We lived so well together" at Kunsthalle Mainz | Deutschlandfunk, Michael Köhler, February 16th, 2022

Listen to the audio review of Walid Raad's show "We lived so well together" at Kunsthalle Mainz by Michael Köhler.

Walid Raad
We Lived So Well Together
February 11 – May 15, 2022
Kunsthalle Mainz

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"Remembering the World of Bettina, Resident Artist of the Chelsea Hotel" | Interview with Yto Barrada about Bettina’s influence by Lucy Gallun, MoMA Magazine, February 23, 2022
"Remembering the World of Bettina, Resident Artist of the Chelsea Hotel" | Interview with Yto Barrada about Bettina’s influence by Lucy Gallun, MoMA Magazine, February 23, 2022

"I saw Bettina’s work for the first time in a film portrait called Girl with Black Balloons (2010) that had been made by my neighbor, Corinne van der Borch. Bettina was already well known by a group around the Chelsea Hotel, but she was mostly keeping to herself. Her enigma was intact and even after knowing her for many years, I still have a lot of questions." (– Yto Barrada)

An interview on the artistic relationship between Yto Barrada and Bettina Grossman, who went by her single first name, Bettina.
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"Ein Schatz wird gehoben", Article on Aref El Rayess in our Gallery space in Beirut by Lena Bopp via Frankfurter Allgemeine Zeitung, January 8, 2022
"Ein Schatz wird gehoben", Article on Aref El Rayess in our Gallery space in Beirut by Lena Bopp via Frankfurter Allgemeine Zeitung, January 8, 2022

"Aref El Rayess was one of the most important modern artists in Lebanon. His work almost fell into disrepair. Rescued, it is finally comprehensively catalogued and soon to be seen in Europe." (– Lena Bopp via Frankfurter Allgemeine Zeitung, January 8, 2022.)

AREF EL RAYESS (1928 – 2005)
Paintings, sculptures, collages, drawings
Curated by Catherine David
 
On view through January 15, 2022 at Sfeir-Semler Gallery Beirut
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"Lawrence Abu Hamdan on translation, Nuremberg, and the juridical unconscious" | Artforum, October 12, 2021
"Lawrence Abu Hamdan on translation, Nuremberg, and the juridical unconscious" | Artforum, October 12, 2021

"I found that one of the only traces of the translators in the process of translating was their control of two lights located on the witness stand and the judge’s podium: a yellow light to signal “slow down” and a red light that meant “stop altogether.” The rudimentary communication by way of these lights dictated a strange flow. I found the moments they went off to invariably be significant interruptions, revealing not only of what it means to try to arbitrate across these languages, but also of what it means to be a witness in these kinds of international trials." (Lawrence Abu Hamdan in Lawrence Abu Hamdan on translation, Nuremberg, and the juridical unconscious,  October 12, 2021 via Artforum)

Interview with Camila McHugh
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"New to MoMA: Marwan Rechmaoui’s Beirut by the Sea" | Interview with Marwan Rechmaoui by Paulina Pobocha, November 18, 2021
"New to MoMA: Marwan Rechmaoui’s Beirut by the Sea" | Interview with Marwan Rechmaoui by Paulina Pobocha, November 18, 2021

"Marwan Rechmaoui’s Beirut by the Sea (2017–19) depicts the coastline of Beirut in 13 panels made of beeswax, brass, and cement. For the Lebanon-based artist, the work not only references geography but functions as an atlas of the city’s rich and troubled history. “Each curve, each corner has a story in it,” he has said. Recently, Paulina Pobocha—the associate curator in the department of Painting and Sculpture who helped bring the work to MoMA—spoke to Rechmoaui about mapmaking, Beirut in the 1990s, and the power of stories." (Paulina Pobocha in "New to MoMA", Marwan Rechmaoui’s Beirut by the Sea, November 18, 2021)

Interview with Paulina Pobocha, Associate Curator, Department of Painting and Sculpture with the artist Marwan Rechmaoui about their new acquisition
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The 10 Best Booths at Frieze London 2021 by ARTnews | Mounira Al Solh, Walid Raad, and Marwan Rechmaoui at Galerie Sfeir-Semler
The 10 Best Booths at Frieze London 2021 by ARTnews | Mounira Al Solh, Walid Raad, and Marwan Rechmaoui at Galerie Sfeir-Semler

"From an all-round terrific presentation by the Beirut- and Hamburg-based Galerie Sfeir-Semler, three works deserve special mention. A yellow embroidered tent by Mounira Al Solh immediately captures one’s attention but unlike Tracey Emin’s famous tent detailing everyone she ever slept with, Al Solh’s tent bears sewn testimonies of abuse from Arab women interviewed by the artist. Along with these quotes of suffering, al Solh has embroidered uteruses in a celebration of womanhood and female resilience."

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Sung Tieu On Havana Syndrome | By Chloe Stead in FRIEZE London, October 14th, 2021
Sung Tieu On Havana Syndrome | By Chloe Stead in FRIEZE London, October 14th, 2021

"‘Havana Syndrome’, the mysterious condition which purportedly resulted from attacks such as this one, is the topic of Tieu’s upcoming film, Moving Target Shadow Detection (2021), commissioned for this year’s Frieze Artist Award, having fascinated the artist since she first heard about it in 2017."

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Dineo Seshee Bopape at ICA VCU, Richmond | by BURNAWAY Staff, October 02, 2021
Dineo Seshee Bopape at ICA VCU, Richmond | by BURNAWAY Staff, October 02, 2021

"Dineo Seshee Bopape (b. 1981, Polokwane, South Africa) presents a suite of new, ICA-commissioned work spanning video, sculpture, installation, and animation, curated by Amber Esseiva. Celebrated for her research-intensive explorations of place, history and spirituality, Bopape often roots her work in the material and metaphysical qualities of earthly elements like soil, clay and dust. She continues this practice in “Ile aye, moya, là, ndokh … harmonic conversions … mm,” gathering clay and soil samples from four sites and incorporating them into each of her new works."

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»Research is never neutral«, Article via Berlin Art Week 2021 | Sung Tieu speaks about the role of research in her work and how it can be integrated
»Research is never neutral«, Article via Berlin Art Week 2021 | Sung Tieu speaks about the role of research in her work and how it can be integrated

"My project for the Preis der Nationalgalerie builds on my exhibition ›Multiboy‹ at GfZK in Leipzig. That exhibition was based on a flight list that showed which Vietnamese contract workers went to which factories in East Germany. I then collected the original products—from tampons and condoms to shoe polish and detergent—that were produced by these workers. My aim was to lay open the various forms of invisible labour that went into these goods."

Read here [German]

"Was wir opfern" in Süddeutsche Zeitung, August 23, 2021 | Kito Nedo writes about Sung Tieu's exhibition "Multiboy" at gfzk Leipzig
"Was wir opfern" in Süddeutsche Zeitung, August 23, 2021 | Kito Nedo writes about Sung Tieu's exhibition "Multiboy" at gfzk Leipzig

«"The exhibition says much more about the GDR than about the Vietnamese contract workers," says Tieu, whose father was one of them. When the Wall fell in 1989, there were about 60,000 Vietnamese contract workers in the GDR. For them, the collapse of the East German economy meant not only the loss of training and jobs, but often also the loss of their housing in the company-owned dormitories where they were usually isolated from the rest of the population.» [Translation]

Read here [German]

Hans Ulrich Obrist interviews the artists and long-time partners Etel Adnan and Simone Fattal | via Art Basel
Hans Ulrich Obrist interviews the artists and long-time partners Etel Adnan and Simone Fattal | via Art Basel

„The sun is a perfect form of the round, because we see the sun in reflections. In Lebanon, after the rain there is the sun, and when you look while walking, there are puddles and, in the water, you see the image of the sun. It is very interesting for a child to see the sun when he walks in the water.“ (Etel Adnan)

Ahead of their presentations at Art Basel, Hans Ulrich Obrist interviews the artists and long-time partners Etel Adnan and Simone Fattal. 

Read the interview here