Shirin Aliabadi, City Girl 4, 2010, Lambda print mounted on aluminum, 100 x 66 cm
9 - 12 May, 2014 Booth D20
The Third Line is pleased to be returning to Frieze New York, exhibiting works by Amir H. Fallah, Hayv Kahraman, Hassan Hajjaj, Shirin Aliabadi, Slavs and Tatars, Tarek Al-Ghoussein and Youssef Nabil. The works are presented thematically around an alternative narrative of portraiture in contemporary art.
The booth displays a return to the notion of portraiture, though not entirely in the traditional sense either, which also prioritised the patron’s vision. The works selected look at representation and identification through the artists’ rendition – where the subject adds to the desired portrayal but does not dictate it; some take liberty with it to weave fictitious narrative around renowned personalities, while others illustrate social and cultural uniqueness.
Fouad Elkoury, Bunker, 2010, Chromogenic Print Diasec, 72 x 90 cm
The Third Line is pleased to present The Lost Empire, Fouad Elkoury’s third solo show in Dubai, which presents the artist’s photographic journey through abandoned soviet military bases.
In a practice spanning more than four decades, Fouad’s work has come to be associated with documentary photography through lands that have experienced strife – with the landscape and architecture pockmarked with human conflict. The current body of work explores a similar topography of war.
After having decided to document abandoned soviet military bases in 2009, Fouad visited dozens of military bases in Poland, Hungary, Estonia and East Germany between 2010 and 2011. Most were aviation fields; others served separate purposes. And despite having being told there was nothing to photograph there, Fouad found the abandoned desolation far more captivating.
Lamya Gargash, My Birthday, 2014, Chromogenic color print, 29.7 x 21 cm
The Third Line welcomes back Lamya Gargash, who will be showing her new body of work in the gallery Project Space. Lamya’s recent photographs expand upon her interventions in internal and external living spaces, seeking human presence in otherwise empty compositions.
The exhibition consists of a selection of photographs taken at various points in time, celebrating the visibly banal. These are spaces that still show signs of someone having left a mark of their presence – in effect also highlighting their absence: used plates after a family lunch, a motionless mickey mouse ride serenely staring off into nothingness, dirty drapes from Lamya’s now demolished house, and more.
THE THIRD LINE ARTISTS
Abbas Akhavan, Varition on Untitled Garden, 2014, installation view
The Quebec City Biennial will be on display for a month, exhibiting works of more than 120 artists all over Quebec City and its surroundings.
Abbas Akhavan is displaying a variation on 'Untitled Garden'. Fifty Emerald Green Cedar Trees have beem planted at random along a desire path in Quebec city. At different times over the course of the exhibition, groupings of trees will be dug up and replanted until the trees form a straight line against the desire path, forcing the pedestrians to take a longer route or take the trees down.
Youssef Nabil, Nefertiti, Berlin 2003, Hand coloured gelatin silver print, 50 x 75 cm
Tea with Nefertiti explores the visual and literary mechanisms by which artworks come to acquire a range of meanings and functions that can embody a number of diverse, and at times conflicting narratives. Through employing the Nefertiti bust as a metaphorical thread, and by interrogating the contested history of Egyptian Museum collections from the 19th century onwards, the exhibition is concerned with the critique of museology, the staging of the artwork and the writing of art-historical narrative as a means of forming and informing cultural otherness.
After a critically acclaimed run at Mathaf, Arab Museum of Modern Art in Doha, l’Institut du Monde Arabe in Paris, and the Institut Valencià d’Art Modern, Spain, the exhibition is now travelling to the Museum of Egyptian Art (Staatlichen Museum Ägyptischer Kunst – SMAK) in Munich, Germany.
Zineb Sedira, Shipwrecks Journey 5, 2008, C-Print, 120 x 100 cm
A project by ART for The World, ONG associated with the UNDPI - Curated by Adelina von Fürstenberg
HERE AFRICA assembles a unique collection of contemporary African art and performances - including approximately 60 works of more than 26 artists from the African continent - for the first time in Switzerland, in the premises of Château de Penthes, located in the area of United Nations and of the international organizations. Originally from the Maghreb and the sub-Saharan Africa, from different generations, some residing in Africa while others in the diasporas, the participating artists are interesting for not only their great contribution to the aesthetic and cultural history of their continent, but also for their involvement in key questions regarding African people such as the roots, the dark period of the slavery, the issues of immigration, climate change, water and food, health, as well as human rights, education and gender equality.
EcransMed is an annual Montreal-based festival, that aims to promote recently produced short films from the Mediterranean region. The festival works in unison with a group of artists, filmmakers, partners and volunteers, in an effort to present all screenings free of charge, with events spread across a variety of different public spaces and indoor venues, allowing them to be accessible to a wide and varied audience.
Lamya Gargash, The Pink Ninja, 2007, C print, 60 x 60 cm
PAST FORWARD, Contemporary Art from the Emirates | 1624 Crescent Place, NW Washington, DC, USA | May 21, 2014, 6.30-8.30PM
PAST FORWARD is a group show bringing together contemporary art from the Emirates. Organized by the UAE Embassy in Washington DC and Meridian International Center, this exhibition will open in Washington and travel to other locations.
You Are Here: Art After the Internet is the first major publication to critically explore both the effects and affects that the Internet has had on contemporary artistic practices. Responding to an era that has increasingly chosen to dub itself as 'post-internet', this collective text traces a potted narrative exploring the relationship of the Internet to art practices from the early millennium to the present day. The book positions itself as a provocation on the current state of cultural production, relying on first-person accounts from artists, writers and curators as the primary source material. The book raises urgent questions about how we negotiate the formal, aesthetic and conceptual relationship of art and its effects after the ubiquitous rise of the Internet.