an unpredictable expression of human potential
curator: hicham khalidi
associate Curator: natasha hoare
part of sharjah biennial 13, tamawuj - act II
rather than asking for solutions and sketching utopias, an unpredictable expression of human potential seeks to respond to the present global moment, one in which a paradigmatic shift can be tasted in the air, where young people are frustrated and protesting against decisions imposed on them by older generations, to an inheritance they did not ask for and did not shape.
with: pedro barateiro & quinn latimer, sabrina belouaar, mohamed bourouissa, cj clarke & christopher ian smith, jesse darling, sara van der heide, laura henno, randa maroufi, rayane m'cirdi, dala nasser, younes rahmoun, mostafa saifi rahmouni, gaëlle choisne, wendelien van oldenborgh and eric van hove.
act II is the concluding program of the sharjah biennial 13: tamawuj, featuring exhibitions, performances, talks, films and publications taking place in beirut between 14 and 22 october 2017. act II is co-organized by sharjah art foundation and the lebanese association for plastic arts, ashkal alwan.
you can view the full program here.
image caption/credit: koropa, laura henno, 2016, spectre productions, courtesy of galerie les filles du calvaire.
sabrina belouaar, born in charenton le pont (paris), france, lives and works in paris, france. belouaar studies at the école supérieure des beaux-arts de marseille (dnap mention, dnsep félicitations). she received the showroom 2016 art o rama, friche belle de mai, marseille, france. her recent solo exhibitions include: alfortville (in collaboration with mohamed bourouissa) at ambacher contemporary gallery, munich (2016), and racine carré(e) , gourvennec ogor gallery, marseille (2015).
sara sejin chang (sara van der heide), (b.1977, busan, south korea) lives and works in amsterdam and brussels. her work consists of political and poetic interventions, drawing series, performances and films through which she proposes a more inclusive modernity. her work calls for a meditative state of mind where divisions imposed upon us by history – between distinct domains of culture, between cultures, between various –isms in art – are made to collapse. she has amongst others participated in various exhibitions and performed at the following venues: at the stedelijk museum amsterdam, amsterdam; the van abbemuseum, eindhoven; the 1st asia biennial/the 5th guangzhou triennial, guangzhou; the school of kyiv: leipzig class. seminar: politics of form, part of the kyiv biennial; the 19th biennale of sydney, sydney; the 11th incheon women artists’ biennale, incheon; kiosk, gent; m hka, antwerp; if i can’t dance, i don’t want to be part of your revolution, various locations; de pont, tilburg; fondazione giuliani, rome; de appel, amsterdam; marres, maastricht; walker art center, minneapolis; temporary gallery, cologn; de vleeshal, middelburg; 44th international film festival rotterdam; het concertgebouw, amsterdam; kunstverein amsterdam; espai d'art contemporani de castelló, spain, beursschouwburg, brussels, wiels, brussels.
christopher ian smith is a filmmaker and audiovisual artist with a background in television and music. for many years he was a dj/vj and performer with the audiovisual group addictive tv. he was involved with the production and live performance of a wide range of experimental films, audiovisual cut-ups and motion graphics. this included performances and screened work at festivals and venues across the globe, including: centre pompidou, ica and national film theatre. now he is primarily focused on working with moving image. his films span documentary and fiction, sometimes merging the two. he is primarily focused on the interplay of landscape, folklore, architecture and the uncanny. his films include the experimental narratives arterial, a long walk to sleep and recent projects include the the improvised folk-thriller sulphur. new town utopia launches in 2017 as a video installation, feature-length documentary film, and a publication of photography, prose and poetry. new town utopia will embark on an ambitious screening and installation tour across 2017 and 2018. chris’s films and moving image work has been screened at festivals globally, and he has been selected for a number of film development and talent schemes, including edinburgh international film festival talent lab and the filmlondon micro market. he also founded and programmed the future film symposium emerge which is part the east end and cork film festivals.
cj clarke is an award winning visual artist. he is the author of magic party place which was shortlisted for the aperture paris photo first book award 2016, arles authors book award 2017 and photo espana book of the year 2017. completed over the course of ten years, the book documents contemporary england, mapping the roots of brexit in the process. he is currently collaborating with the filmmaker christopher smith in multi-screen and projection installation, magic party place (dreaming of a new town utopia), a version of which was first shown at the format photography festival. his film mother & daughter won the inaugural bjp/canon open shutter award. he also also wrote and directed it shouldn't happen here an advert save the children's uk poverty campaign. in parallel to magic party place, cj has been working on the project loyalists about contemporary northern ireland. his work has been commended in the once in the ian parry award, twice in the observer hodge award, three times in the magenta flash forward award. he is co-founder of crowd sourced activist initiative, the rape in india project (www.therapeinindiaproject.org/). he is co-founder and director of just another photo festival (http://www.justanotherphotofestival.com/), a guerrilla festival that democratizes visual media by taking photography to the people and forging new audiences. carine dolek called the festival, “adventurous, daring and militant” and jm colberg said it “brings photography back to what the medium does best. it brings it back to the photographs themselves, and these photographs are shown to people who otherwise wouldn’t have access to them.”
dala nasser (b.1990) is a beirut based artist. her work centers around questions of material and process, producing works that respond to their physical, and contextual components, evolving autonomously over time. the defiance in dala’s work of conventional conceptions of painting, is clear; the specificity in the nature of the work is perhaps not so. by predominantly focusing on the intersection of material production in recent developments of pictorial practice, dala has developed her own process using liquid latex as the binding core that merges to create a composite skin with the specific matter central to each piece. the work explores an observational view on and response to circumstance and context, particularly towards the current state in the artistic landscape. this participation in material context brings an objective, albeit personal agency to the making process. having received her bfa in fine arts with focus in painting from ucl’s slade school of arts in london, she was awarded the 2016 boise travel scholarship and most recently the sursock museum in beirut’s 32nd salon d’automne emerging artist prize. her works have been exhibited in beirut, london, brussels, and dubai.
gaelle choisne (b.1985, fr) lives and works in amsterdam and paris. she is currently in residency at the rijkakademie van beeldende kunsten, amsterdam (nl), until 2019. she has engaged with several private and public institutions, alternative projects, collective projects and extra cultural projects in haiti. exhibitions include gallery la centrale powerhouse, montréal; villa vassilieff, paris; iac, «rendez-vous15», internationale biennale of lyon; internationale biennal of havana, «lejos del teclado»; villa croce, curators ilaria gianni and anna daneri, genova; cafa museum, rendez-vous 15, beijing; mamo, cité radieuse, «cool as a state of mind», marseille, amongst others.
laura henno (b.1976, paris) is a director, writer and photographer. her films include koropa (2016), missing stories (2014) and chamonix (2003). koropa was nominated for prizes at thessaloniki documentary film festival and vila do conde international short film festival. winner of the pize découverte of the rencontres internationales de photographie of arles in 2007, her photographic work is represented by gallery les filles du calvaire. her films have been shown at jeu de paume, paris; festival international du film d’afrique et des îles, la réunion, france; free form festival, varsow, poland amongst others. she has exhibited at bbb centre d’art, toulouse, france; centre régional de la photographie nord pas-de-calais, douchy-lesmines, france; musée des beaux-arts, dunkerque, france; fondation miro, barcelona, spain; pavillon vendôme, clichy, france; musée d’art moderne andré malraux, le havre, france, amongst others.
mohamed bourouissa (b.1978, blida, algeria) lives and works in paris. after graduating in visual arts from the sorbonne, paris i (2004) and the photography department of the ecole nationale supérieure des arts décoratifs de paris, he trained at the studio national des arts – le fresnoy in 2008-2010. bourouissa’s work has been shown in solo and group exhibitions internationally; the barnes foundation, philadelphia (usa); stedelijk museum, amsterdam (netherlands); haus der kunst, munich (germany); mamvp/palais de tokyo, paris (france); the studio museum, new york (usa); new york new museum of contemporary art (united states), the finish museum of photography of helsinki (finland); moderna museet malmö (sweden) amongst many others. he has taken part in international biennials such as the 6th berlin biennial (germany), the architecture and photography biennial of la cambre in brussels (belgium), the algiers biennial of contemporary art (algeria) or the rencontres de bamako (mali). he has been nominated for the prix pictet, london (uk), and was awarded first prize at rencontres internationales de la photographie, le off, arles, france. his work is held in numerous collections including stedelijk museum, amsterdam, (2015), philadelphia museum of art, philadelphia (2011), centre pompidou, paris (2011), fonds national d’art contemporain, france (2009).
younes rahmoun younes rahmoun’s work draws inspiration from interdisciplinary and complementary sources : from cosmological systems to nomad traditions, supported by careful reading of su texts. he is equally at ease with installations, drawing and video and uses them to interrogate the boundaries between popular knowledge, scienti c knowledge and esoteric knowledge. rahmoun has close links with the rif region and its history (he is also involved in artist residency programmes with the trankat organi- sation) and his work can as easily involve collaborative constructions, like, for example, his ghorfas (“small bedrooms”), built in the countryside, as son et lumière environments based on numerology and unrecognisable legends. younes rahmoun maintains that the place of the spectator has to be determined from a certain number of cultural and phenomenological factors. his installations, which are sometimes in phase with the qibla, can also turn out to be visual traps that play on fluctuations of light, volume and geometry.
mostafa saifi rahmouni (b.1991, rabat, morocco) trained at tétouan’s institut national des beaux-arts (fine arts institute) before moving to brussels to complete a master in sculpture at the ensav la cambre. since graduating in 2016, he is in residence at gent’s hisk, within the framework of a post doctorate. he uses photography, installation, video, sculpture and sound to create frank, direct pieces. he is gifted with an instinct for images and forms that suggest more than they reveal through their many layers of interpretations. far from being illustrative, his intent falls within the scope of a metaphorical relation and broaches universal preoccupations on the world and the obsessions liked to the strong ties binding life and death.
pedro barateiro (b. 1979, lisbon) is an artist who often uses writing, film, sculpture and performance in his works. he had solo exhibitions at kunsthalle basel, serralves museum, museu coleção berardo, kunsthalle lissabon, lumiar cité among other venues. “live from the west” was presented in collaboration with quinn latimer at the redcat, los angeles in 2016. his work has been included in exhibitions such as 29th bienal de são paulo; 16th syndey bienalle; 5th berlin bienalle; palais de tokyo, paris; fondazione guiliani, rome; ngbk, berlin; mhka, antwerp; sesc pompeia, são paulo; crac alsace, altkirch; museu de arte contemporânea de serralves, porto; fundação calouste gulbenkian, lisbon; ar/ge kunst, bolzano; le plateaux–frac île-de-france, paris. his performances where presented at zhdk, zurich; 98weeks, beirut; théâtre de la ville, ensba and fondation ricard, paris; m hka/ cinema zuid, antwerp; centro cultural são paulo and galeria vermelho, são paulo; teatro são luiz and teatro praga, lisbo; teatro rivoli, porto. together with a group of artists, barateiro was involved in parkour, a space for exhibitions, screenings and performances that ran from 2012 to 2014, as part of a movement informally named avenida 211, that occupied and managed a building for artist's studios for 30 artists and 4 art spaces in central lisbon from 2007 to 2014. among his collaborations he edited, with ricardo valentim, the books temporary collaborations (self-published, 2008) and activity (jrp-ringier, 2011). his self-published artist books include the sad savages, the negative reader and prova de resistência. his writings and works were published in teoria da fala/ theory of speech (serralves museum, 2009); theatre of hunters (kunsthalle basel, 2010); the artist as spectator (mousse, 2012) and palmeiras bravas/ the current situation (bom dia boa tarde boa noite, 2016).
quinn latimer (b. usa) is a poet and critic from california whose work often explores feminist economies of writing, reading, and image production. her books include like a woman: essays, readings, poems (sternberg press, 2017); stories, myths, ironies, and other songs: conceived, directed, edited, and produced by m. auder, coedited with adam szymczyk (sternberg press, 2014); sarah lucas: describe this distance (mousse publishing, 2013); film as a form of writing: quinn latimer talks to akram zaatari (wiels/motto books, 2013); and rumored animals (dream horse press, 2012). her writings, readings, and video collaborations have been included in exhibitions such as “live from the west” (with pedro barateiro), redcat, los angeles; “6-4-2” (with paolo thorsen-nagel), liveinyourhead, geneva; “der leone have sept cabeças” (with megan rooney), crac alsace, altkirch, france; “bungalow germania,” german pavilion, venice architecture biennale, italy; ”pleasure principles,” fondation d’enterprise galeries lafayette, paris; and “gestures in time,” qalandia international, ramallah/jerusalem. she has taught and lectured at geneva’s haute école d’art et de design (geneva university of art and design, head); the banff centre, canada; and institut kunst, basel. she is editor in chief of publications for documenta 14.
randa maroufi (b.1987, casablanca, morocco), is a fine arts graduate from tetouan (morocco), angers (france) and le fresnoy (france). maroufi belongs to this generation that grew up in an era dominated by images. she collects them with as much eagerness as suspicion, and ceaselessly questions their veracity. she prefers to put her ambiguous fictions in the service of reality, and the field of her experimentation encompasses the occupation of public space and gender issues, of which she highlights the founding mechanisms. working in photography, installation, performance, sound and video, her work has been presented at major contemporary art events including the marrakech biennale (2014), african photography meeting in bamako (2015), dubai photo exhibition (2016), the videonale bonn (2017) and film festivals such as the international film festival rotterdam, clermont-ferrand international short film festival, new directors / new films at the moma in new york, etc. her film le park received more than 20 awards and is part of the national french collection of le cnap (centre national des arts plastiques). she is currently living and working in paris, and will be in the artist residency la casa de velazquez in madrid from september 2017.
rayane mcirdi (b.1993, paris) lives and works in paris. after studying for four years at l'école supérieure des beaux-arts d'angers (2011-2016) is currently studying a masters degree at l'école superieure des beaux arts de paris. mcirdi has lived, since he was 9 years old, in gennevilliers, a suburb of paris, which has inspired his work in video. his work is inspired by entertainment media (from football to american blockbusters). these media really interest mcirdi in their ability to penetrate a collective unconscious, as much as the possibilities of identification that they can generate in different social environments. all mcirdi’s films are written in collaboration with other people (in this case the protagonists of the films), placing them in scenes, united through common passions. through the personal stories of each, mcirdi demonstrates how their imaginations could structure their way of being. each subject has been able to master their object of devotion, to perfection, from the football fan with an almost scholarly knowledge of football to action movie fans who can reproduce any technique of their favourite heroes.
eric van hove studied at the école de recherche graphique in brussels and received a master’s degree in traditional japanese calligraphy at the tokyo gakugei university in tokyo. he obtained a phd degree from the tokyo university of the arts in 2008. acknowledging transcendentalist influences throughout his conceptual practice, van hove’s approach often tries to oppose a more spiritual and decentralized approach to the eurocentric perspective of the western contemporary art world. having made site specific works in over 100 countries by the age of 35, van hove counts among the most travelled artist of his generation. in 2016, his marrakesh atelier started working on what the artist called the mahjouba initiative, a long-term post-fordist project mixing african craft, 3d printing, and industrial production.
wendelien van oldenborgh (b. netherlands) develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation. she often uses the format of a public film shoot, collaborating with participants in different scenarios, to co-produce a script and orientate the work towards its final outcome. with these works, which look at the structures that form and hinder us, she participated in various large biennials, and in smaller dedicated shows. recent presentations include: a solo presentation titled cinema olanda at the dutch pavilion in the 57th venice biennial 2017; .as for the future. (2017) solo at daad gallery, berlin, prologue: squat/anti-squat (2016) at the jerusalem show, palestine biennial east jerusalem; form left to night (2015), solo at the showroom london. van oldenborgh has exhibited widely including in raw material company dakar (sn), tate liverpool (uk), muhka antwerp (b), van abbemuseum eindhoven, generali foundation vienna as well as 2nd biennial of kochi-muziris 2014, danish pavilion at the venice biennial 2011, 4rth moscow biennial 2011, the 29e bienal de sao paulo 2010 and at the 11th istanbul biennial 2009. van oldenborgh is a member of the (dutch) society for arts and a recipient of the dr. a.h. heineken prize for art (2014). a monographic publication, amateur, was published by sternberg press, berlin; if i can’t dance, amsterdam and the showroom, london in 2016
jesse darling (b. 1988, melbourne) is an artist working in sculpture, installation, video, drawing, text, sound and performance. their work is broadly concerned with what it means to be a body in the world, though what that means is both politically charged and culturally determined. their practice draws on their own experience as well as the narratives of history and counterhistory. to be a body is to be inherently vulnerable, which extends to the “mortal” quality of empires and ideas as a form of precarious optimism - nothing and no-one is too big to fail, and this for jd is the starting point for a practice in which fallibility and fungibility are acknowledged as fundamental qualities in living beings, societies and technologies. their recent project is in trying to ‘denaturalize’ the philosophical ecosystem of capitalist modernity as a moveable or precarious tabernacle in which theology is a technology, object relations a form of syncretic worship and scientific empiricism just another faith-based system. jd has received commissions from moma warsaw, the serpentine gallery and the volksbuhne of berlin among others; recent projects include solo exhibitions armes blanches: history is other people at sultana galerie in paris (2017) and the great near at arcadia_missa, london, as well as duo exhibition atrophilia with phoebe collings-james at company gallery, new york (both 2016). other projects include the curation of exhibition mene mene tekel parsin at wysing arts centre, performance exhibition 'let them eat cake/may one without hunger lift the first knife' (in collaboration with raju rage at block universe festival, uk (both 2016), and the sound performance ntgne for serpentine park nights in 2015. jd has published texts in print and online including the best british poetry 2015 (salt press); mass effect: art and the internet in the 21st century (mit press, 2015); art after the internet (cornerhouse books, 2014). jd lives and works between london and berlin.