We and are pleased to announce the representation of Zineb Sedira and have a great programme lined up for 2014. We will be starting the year by exhibiting Tarek Al-Ghoussein'swork K Files, a photographic series from the first ever Kuwait Pavilion at the Venice Biennale 2013 (29 January - March 7). This will be followed by Slavs and Tatars' first solo show in the region, Language Arts (17 March - 17 April), coinciding with Art Dubai, where they will also be curating the MARKER section. The fair will also unveil the Abraaj Group Art Prize, with Abbas Akhavan being one of the five winners this year. In April, we will be presenting Fouad Elkoury's third solo exhibition at the gallery, The Lost Empire (23 April - 29 May). We will then head to Art Brussels and Frieze New York.
Zineb Sedira, Sugar Routes 8, 2013, Digital C types, 144 x 180 cm
The Third Line is pleased to announce the representation of Zineb Sedira (b.1963). Zineb was born in Paris to Algerian parents. She studied at the Central St Martin’s School of Art and the Slade School of Art, followed by research studies at the Royal College of Art. She lives in London and works between Algiers, Paris and London.
The artist's photographs and video installation use the perspective of her own experience to frame questions about language, transmission, memory and mobility.
Zineb's work has been included in many solo exhibitions since 2002, including surveys at Palais de Tokyo, Paris (2010); Rivington Place, London (2009); Wapping Project, London (2008); Centre Culturel Francais, Algiers (2008); Photographers Gallery, London (2006); Cornerhouse, Manchester (2004); Rencontres de la Photographie d’Arles (2002). Her work has also been included in extensive group exhibitions, including Everywhere but now, Thessaloniki Biennale, Greece (2013); The Mediterranean Approach, Palazzo Zenobio, 54th Venice Biennale, Italy (2011); Told, Untold, Retold, Arab Museum of Modern Art, Doha (2010); Elles@centrepompidou, Centre Pompidou, Paris (2009); Still Life: Art, Ecology and the Politics of Change, Sharjah Biennial 8, UAE (2007); La Video; Un Art, Une Histoire 1965-2005, touring internationally (2006); Africa Remix, Museum Kunst Palast, Dusseldorf, Hayward Gallery, London, touring exhibition (2004); Self-Evident: Making the Self the subject of Art from 1970 to the present Day, Tate Britain, London (2002); Authentic/ex-centric Africa In and Out Africa, 49th Venice Biennale, Italy (2001); Where - to Here, Art from London, Konsthallen Göteborg Museum, Sweden (1999).
Zineb's work is in numerous public collections including the Pompidou Centre, Paris; Deutsche Bank Collection, Frankfurt; Gallery of Modern Art, Glasgow Museums, Glasgow; FRAC Provence-Alpes-Cote d’Azur, Marseille; Mathaf – Arab Museum of Modern Art, Doha; Musee d’Art Moderne de la Ville de Paris; Sharjah Art Museum Collection, Sharjah; Tate Collection, London; The MUMOK – Museum Moderner Kunst Stiftung Ludwig Wien Collection, Vienna; Victoria and Albert Museum, Contemporary Wall Paper Collections, London.
Amir H. Fallah returns to The Third Line with his third solo show in Dubai, The Collected, which investigates the complex relationship between patronage and art making, collector and artist, and the dynamics of the creative process in today’s art world. All the paintings in the show are pre-sold, commissioned portraits, where the artist exercised complete artistic authority to manipulate the image according to his own interpretation. The process involved initial collaboration with the commissioner, a performative component in the staging, and the element of surprise in the reveal of the works to the patrons for the first time during the show preview.
Amir approaches his current paintings as an investigative and analytical historian. Aside from unraveling a different perspective to art historical portraiture traditions and the dynamics of modern day art collection and art making, he also reflects upon concerns of identity and representation that are central to his practice.
CURRENT PROJECT SPACE
Abbas Akhavan and Arwa Abouon, The Salon - Installation view
For the last Project Space of 2013, The Third Line presented a salon-style group show of a selection of its own artists as well as others who have previously shown in that space. The works include paintings, works on papers, photographs, as well as small scale sculptures that reflect on the repertoire of younger and mid-career artists working in the region or in the middle eastern diaspora.
Tarek Al-Ghoussein, K Files_117, 2013, Digital print, 60 x 90 cm
The Third Line is pleased to exhibit Tarek Al-Ghoussein’s K Files, displayed as part of a two-person show at the first ever Kuwait Pavilion at the 55th Venice Biennale 2013, and showing for the first time outside the biennale. For the Project Space, Tarek puts together an installation of found objects, personal artifacts and newspaper clippings that consider the story of his family life via public forums such as Ebay.
A three-channel video installation by Hassan Hajjaj includes nine separately filmed performances by an international array of musicians. The sitters/performers wear clothes that Hajjaj has designed himself, and pose in spaces covered by patterns he has selected. Clad in traditional fabrics, as well as luxury brand clothes and shoes, the musicians bridge the gap between now and then, us and them, high and low culture, reflecting a fusion of Moroccan craftsmanship and contemporary art.
Laleh Khorramian, Water Panics in the Sea, Midnigh Moment
Visual artist Laleh Khorramian will showcase her mystical film Water Panics in the Sea this January, launching the 2014 Midnight Moment program. The film follows the voyage of a ghost ship as it traverses the ocean waters, turning the “Crossroads of the World” into the “Crossroads of the Seas.” Water Panics in the Sea is the fourth in a series of short films based on the five elements of Earth, Air, Fire, Water and Ether. The film, constructed through a process of magnification and manipulation of mono-type prints and drawings, seeks to question our habitual modes of perception with an intricate use of scale, distance, time and space.
Midnight Moment, a presentation of the Times Square Advertising Coalition (TSAC) and Times Square Arts, is the largest coordinated effort in history by the sign operators in Times Square to display synchronized, cutting-edge creative content on electronic billboards and newspaper kiosks throughout Times Square every night.
Hayv Kahraman, Migrant 8, 2009, Oil on wooden panel, 177.8 x 114 cm
Within the scope of its 10th year anniversary celebrations, Istanbul Modern presentsNeighbours – Contemporary Narratives from Turkey and Beyond, an exhibition that investigates contemporary art practices in Turkey and the surrounding region. The exhibition brings together artists from neighboring geographies that have historical, political, and cultural ties with Turkey including the Balkans, the Caucasus, and the Middle East, etc.
Neighbours explores practices that relate to social life in the public space, such as spectacles and ceremonies, and the way these have seeped into today's visual arts. The exhibition focuses on two aspects that are ingrained in the region’s cultural weave: narratives and travel. These dovetail into a number of works tangent to themes such as mobility, nomadism, odysseys, language, and translation, and cultural transmission, etc.
Neighbours features visual artworks, as well as performance and spectacles, including extensions of disciplines that have developed outside the academic circles of art, such as political cartoons and folk art. Paradigms of this wide region's layered narrative traditions are shadow theater, the aşıks (travelling bards), and the meddahs (public storytellers) of old, whose voice, in a new form, still echoes in the work of artists today.
Delfina Foundation announces the first exhibition in its newly expanded gallery. Coinciding with its new seasonal theme on the politics of food, Delfina Foundation presents a group show featuring Abbas Akhavan, Gayle Chong Kwan, Candice Lin, Asuncion Molinos, Senam Okudzeto, Jae Yong Rhee, Zineb Sedira, Tadasu Takamine, and Raed Yassin.
Beyond the concept of cooking and eating as a performative act, the last decade has witnessed a proliferation of cultural practitioners interrogating the global politics and ethics of food production, distribution and consumption. Politics of Food will examine how artistic strategies have and can be used to address wide-ranging issues related to food and agriculture, migration and global economics. The exhibition will present works that untangle complex histories and question current issues, from globalisation to excess waste. This survey of art, food and politics will act as a springboard for the research that will be undertaken during the residencies.
Abbas Akhavan, Study for a Blue Shield, 2011, Gallery wall painted, cut and placed on the roof of the exhibition space
CounterIntelligence, a project by Berlin-based artist Charles Stankievech, contemplates the intersection of art and military intelligence communities, gleaning historic examples ranging from a 1930s anarchist double agent who designed Spanish torture cells based on Surrealist and Bauhaus aesthetics to a civilian bookwork circumventing the NSA’s control of encryption. Instead of focusing on the mechanics of propaganda or questioning the power of the image in today’s media saturated Military Industrial Complex, this exhibition explores the hidden gestures and strategic deceptions of a shadow world, covering a spectrum of work from historical military artifacts to contemporary artwork. At the core of the show lie the concepts of the double agent and the secret, specifically where a historical figure or artifact appears to serve one community but also functions in the realm of another. Strategically, the exhibition counterpoints maneuvers-of-circumvention alongside artwork-as-ciphers expanding the field of interpretation through poetic connections such as black sites vs. non-sites, interrogation vs. performance, field manuals vs. bookworks, decoy vs. readymade. Methodologically, CounterIntelligence questions the contemporary role of the exhibition as caught in the no man’s land between the didactic museum and the conceptual gesture. Much like camouflage, appearances can be deceiving and surface meanings often misleading when tactics such as double agents and ‘security through obscurity’ are executed with the explicit intention not ‘to make the invisible visible’ as Paul Klee would say, but rather to use the image to hide what matters most.