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WAEL SHAWKY
Contemporary Myths II

MOUNIRA AL SOLH
Exhibition No. 17


25. November 2010 - 19. March 2011

 

 

WAEL SHAWKY
Contemporary Myths II

CABARET CRUSADES: Figures
exhibition views Galerie Sfeir-Semler, Beirut

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CABARET CRUSADES: Flags
   

 

 

   
CABARET CRUSADES: The Horror Show File
exhibition views Galerie Sfeir-Semler, Beirut
 
Cabaret Crusades, The Horror Show File, 2010, Film stills

 

 

CABARET CRUSADES: Scenography
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Cabaret Crusades, Scenography, 2010, mixed media installation

 

 

CABARET CRUSADES: Drawings 44-67
exhibition views Galerie Sfeir-Semler, Beirut

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Cabaret Crusades, Drawings 44-67, 2010

 

 

WAEL SHAWKY: Contemporary Myths II

BEIRUT - Sfeir-Semler Gallery is pleased to present Contemporary Myths II, Wael Shawky’s first one-person exhibition with the gallery. An opening reception with the artist will be held on November 25, 2010 from 7-9PM.

The exhibition Contemporary Myths II centers around Wael Shawky’s epic marionette animation film “Cabaret Crusades: The Horror Show File”. In a retelling of the first crusades from the years 1096-1099, Shawky has made highly intricate film starring 200 year-old marionettes from the Italian Lupi Collection. This horror film of sorts follows the course of events after a Papal mandate sent half-a-million Franks on a military campaign to ‘reclaim’ Jersusalem from the Muslim armies. Mining this transformative historical moment for its profound resonance today, Shawky’s film examines the causes and effects of religious war and its impact on European and Arab relations while laying bare the question of who pulls the strings of history.

Installed across from the film is a scenography of the site of Aleppo, a complex diorama that includes the castle of Aleppo astride a river of oil set within an architecture of arches receding into a mountainous landscape in an off-kilter Renaissance perspective. Like the sets from his film, this scenography reveals the atmosphere and framework of Shawky’s tale of the crusades, where perception becomes distorted in a dream-like interplay between the natural and the man-made, the historical and the present. Alongside his film and installation, Shawky will present a series of superfine-grain photographic portraits of the cast of puppets from “Cabaret Crusades” printed on cotton paper. In addition, he will show geometric crusader flags made of tarmac, sandpaper and galvanized wire that hover between painting and sculpture. Also on view will be a suite of fantastical drawings in ink, pencil and metallic pigments that illustrate fairytale-like interactions between imaginary beasts, landscapes, architecture, and the natural elements. With this dynamic interplay of film, installation, drawing, sculpture and photography, Shawky opens up the texture of history and confronts this faraway time in vivid focus and tactile intensity.

Wael Shawky (born Alexandria, 1971) studied fine art at the University of Alexandria before receiving his M.F.A. from the University of Pennsilvania in 2000. His work has been included the 50th Venice Biennial (2003); SITE Santa Fe Biennial (2008); The 9th International Istanbul Biennial (2005); Scenes du Sud II, at the Carré d'Art – Musée d'Art Contemporain, Nimes, France (2008); Mediterraneans at MACRO: Museum of Modern Art Rome, Italy (2004); Stile der stadt, Grosse Bergstrasse, Altona, Hamburg, Germany (2006); Urban Realities: Focus Istanbul, Martin-Gropius-Bau, Berlin, Germany (2005); among others. He has had one-person exhibitions at the Cittadellarte-Fondazione Pistoletto, Biella, Italy (2010); Townhouse, Cairo (2003, 2005), Ludwigsburg Kunstverein, Germany (2005). Shawky has received many awards for his work, including The International Commissioning Grant, The Lower Manhattan Cultural Council, New York (2005); The International Award of The Islamic World Arts Initiative, Arts International, New York (2004); The American Center Foundation Grant, Philadelphia (2004). Shawky lives and works in Alexandria, Egypt, and is the founder of MASS Alexandria, a studio program for young artists.

The marionette animation film "Cabaret Crusades: The Horror Show File" was produced by Cittadellarte-Fondazione Pistoletto in Biella Italy together with the Festival Theater der Welt of Essen, Germany. The project was made possible by Daniele Lupi and the Lupi Family Collection of precious 200-year-old marionettes, Turin, Piedmont, Italy. Special thanks to scenographer Paola Sommaruga.

 

 

MOUNIRA AL SOLH
Exhibition No. 17

 

Bassam Ramlawi - From waiting blue to lingering yellow (or vice versa), 2010

I made the layers transparent, as if you were holding a candy wrapper before your eyes” -René Daniels

This series is a selection of 44 sketches that the painter Bassam Ramlawi supposedly made during a period of three months each time
he had to wait for something or someone during his day. On each sketch he noted why he had waited and for how long.

Bassam thought that the act of waiting for others, or waiting for something, is in fact a good exercise against individualism, and the exaggerated
rush of modernity. Although after he did these sketches, he might have changed his mind.

 

1 1 1
exhibition views Galerie Sfeir-Semler, Beirut

 

 

A Double Burger and Two Metamorphoses: a proposal for a potential Cat, a potential Dog, a potential Donkey, a potential Goat, and finally a
potential Camel, 2010-ongoing

In this video, I try to discuss some books that I couldn’t read with each animal respectively. It seems that Lyotard and Rousseau get ironically confused, and Taussig and Multatulli are quoted and even plagiarised in some parts.

This recorded conversation or play between myself and each of the animal is about intensive emotional expectations one sometimes has towards others, and about some specific political matters which will never be mentioned directly.

I use make-up, hand-made sets and changes in my clothes, physiognomy and posture to look like these animals. But as soon as I start talking, I simply
use a sheet of paper and two toothbrushes as a mask to hide half of my face and my lips while I talk.

The work resembles a staged play of the absurd.

 

exhibition views Galerie Sfeir-Semler, Beirut
Double Burger and Two Metamorphoses, 2010-ongoing, video stills

 

 

Untitled, Bassam Ramlawi Paintings
Here are some works by Bassam Ramalwi.

I am not sure yet whether I should say that Bassam Ramlawi is a persona whom I created in order not to be myself, or whether I should keep
this not so clear. Not so clear to whom? To you, the person who is reading this? Or to myself? Or perhaps to Bassam Ramlawi?

 

 
exhibition views Galerie Sfeir-Semler, Beirut
 
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Bassam Ramlawi Paintings, Untitled 1-5, 2010, acrylic on canvas
 
Ramlawi Paintings, 2010, acrylic and collage on canvas
 
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Bassam Ramlawi Paintings, Untitled A-F, 2010, acrylic on board

 

 

The Mute Tongue: 19 Short Video Scenes of 19 Arabic Proverbs and Sayings on 19 monitors, 2010

In this work, I staged the way I imagine 19 Arabic proverbs and sayings I use in my daily life, even if I might disapprove of the meaning of some of them. I invited the Croatian performer and artist Sinisa Labrovic, who does not speak Arabic, be the protagonist in each of them.

But I also think that the proverbs’ protagonists might not have a face. They can be anyone and no one at the same time: as if they do not have to be recognised and consequently not to be alive when “being in the proverb”, or when “being in language”.

In these short video scenes, speech is neither existent nor audible. A thin black line suddenly appears traced on the neck or eyes of the protagonist and the other actors for few seconds. These added lines recall the aesthetics of certain Islamic miniatures, where thin lines were drawn at a later stage across the throat, or over the eyes to contest that the represented figures are inanimate, that is, devoid of a soul (ruh). These examples are found in a number of surviving manuscripts and miniature paintings, most famously the thirteenth-century secular “Maqamat of Al- Hariri”.

The presence of this black line recalls a text by Judith Butler: “Autonomy in speech, to the extent that it exists, is conditioned by a radical and originary dependency on a language whose historicity exceeds in all directions the history of the speaking subject. And this excessive historicity and structure makes possible that subject’s linguistic survival as well as, potentially, that subject’s linguistic death.” (Judith Butler, Excitable Speech)


19 Arabic Proverbs and Sayings

1. He drowned in a few centimeters of water.

2. Throw him in the sea and he’ll come up with a fish in his mouth.

3. He talks and talks, and it’s only hair that grows on his tongue.

4. He dances out of pain.

5. Such a crowded funeral, and it’s only a dead dog.

6. He is cold but he farts blankets.

7. He comes from behind the cows.

8. One man cultivates his beards while the next is tired of it.

9. Strike while the iron is hot.

10. A step to the front, and a step to the back.

11. He’s even confused by his own balls!

12. He is afraid of his own shadow.

13. Let the baker bake your bread, even if he’ll eat half of it.

14. He’s holding two watermelons in one hand.

15. He dances even without the tambourine.

16. He saw the stars of the day.

17. He’s like a deaf man at the wedding dance.

18. He holds the ladder sideways.

19. He’s twofaced: a mirror in the front and an old shoe in the back.

 

   
exhibition views Galerie Sfeir-Semler, Beirut
 
The Mute Tongue: 19 Short Video Scenes of 19 Arabic Proverbs and Sayings on 19 monitors, 2010

 

 

MOUNIRA AL SOLH: Exhibition No. 17

BEIRUT - Sfeir-Semler Gallery is delighted to present the first one-person exhibition of Mounira Al Solh with the gallery. The exhibition will open on November 25, 2010 with a reception for the artist.

Exhibition No. 17 will present a constellation of three separate but interrelated chapters in Mounira Al Solh’s playfully conceptual art practice. In her singular sensibility, the artist will show a collection of paintings and drawings by her fictional character Bassam Ramlawi (with an attendant documentary film on him); a film titled A Double Burger and Two Metamorphoses: a proposal for a potential Cat, a potential Dog, a potential Donkey, a potential Goat, and finally a potential Camel; and a video installation of 19 Arabic Proverbs. Morphing between characters, speaking as herself and as others, Al Solh uses these three very different works to probe at the kind of language (both visual and verbal) that we inherit, invent, appropriate and impersonate, with a wild range of meanings and effects. Reaching into her own points of reference, the artist confront art history, personal history, and a kind of mythical or proverbial history, scratching at the subtle traces of political residue within these histories.

I am not sure yet whether I should say that Bassam Ramlawi is a persona whom I created in order not to be myself, or whether I should keep this not so clear. Not so clear to whom? To you, the person who is reading this? Or to myself? Or perhaps to Bassam Ramlawi?

As the son of a juice vendor living in the Basta neighborhood of Beirut, Bassam Ramlawi spent his life making artworks that investigate artist from 20th Century art history (namely the Dutch artist René Daniëls, the German Otto Dix, and the American Cindy Sherman) as well as characters from his local neighborhood (the barber, the butcher, the candy shop-keeper, among others). Al Solh reveals the observations of this Bassam Ramlawi in a suite of 44 sketches on paper and colored vellum that he made every time he had to wait for something or for someone during his day. Portraits of neighborhood characters on canvas and a selection of paintings he made inspired by his encounters with contemporary art will be on view alongside a documentary on Ramlawi (expertly played by Al Solh).

In her film “A Double Burger and Two Metamorphoses: a proposal for a potential Cat, a potential Dog, a potential Donkey, a potential Goat, and finally a potential Camel” (2010-ongoing), she present staged conversations between herself and 5 animals, asking each of them to discuss various authors (the French philosopher Rousseau, the French cultural theorist Lyotard, the American anthropologist Taussig and Dutch writer Multatulli) and pleading with them for various intimate requests which all get denied. Al Solh writes:

In this video, I try to discuss some books that I couldn’t read with each animal respectively… This recorded conversation or play between myself and each of the animal is about intensive emotional expectations one sometimes has towards others, and about some specific political matters which will never be mentioned directly. I use make-up, hand-made sets and changes in my clothes, physiognomy and posture to look like these animals. But as soon as I start talking, I simply use a sheet of paper and two toothbrushes as a mask to hide half of my face and my lips while I talk. The work resembles a staged play of the absurd.

Installed in the back corridor gallery is the 19-channel video installation titled “The Mute Tongue, 19 Short Video Scenes of 19 Arabic Proverbs and Sayings on 19 monitors” (2010). Staging these proverbs in short, often hilarious, film clips without any spoken language, and using the Croatian performer Sinisa Labrovic as a silent protagonist, Al Solh opens up proverbial language to images, investigating the linguistic history that proverbs imply and the sense of subjectivity-in-language that emerges when one invokes or embodies a proverb.

Mounira Al Solh (born Beirut, 1978) studied fine art at the Lebanese University, Beirut before continuing her studies at the Gerrit Rietveld Academie, Amsterdam (2003-2006). She was an artist-in-residence at the Rijksakademie van Beeldende Kunsten, Amsterdam from 2007-2008, and in Munich at the Sudhausbau and PIN in 2010. Exhibitions include ‘Future of Tradition – Tradition of Future’, Haus der Kunst, Munich (2010); ‘Be(com)ing Dutch’, Van Abbe Museum, Eindhoven (2008); ‘Let’s Not Swim Then!’ Montevideo, Temporary Museum, Amsterdam; HomeWorks IV, A Forum on Cultural Practices, Beirut, Lebanon (2008); ‘As If I Don’t Fit There’ Lebanese Pavilion, 52nd Venice Biennial (2007); ‘2732 KM from Beirut’, Hebbel Theater, Berlin (2007); among others.

19 Arabic Proverbs and Sayings

1. He drowned in a few centimeters of water.

2. Throw him in the sea and he’ll come up with a fish in his mouth.

3. He talks and talks, and it’s only hair that grows on his tongue.

4. He dances out of pain.

5. Such a crowded funeral, and it’s only a dead dog.

6. He is cold but he farts blankets.

7. He comes from behind the cows.

8. One man cultivates his beards while the next is tired of it.

9. Strike while the iron is hot.

10. A step to the front, and a step to the back.

11. He’s even confused by his own balls!

12. He is afraid of his own shadow.

13. Let the baker bake your bread, even if he’ll eat half of it.

14. He’s holding two watermelons in one hand.

15. He dances even without the tambourine.

16. He saw the stars of the day.

17. He’s like a deaf man at the wedding dance.

18. He holds the ladder sideways.

19. He’s twofaced: a mirror in the front and an old shoe in the back.