The photographed plaster heads set against the idyllic landscapes of the south of England, subvert the process of image production and memory. Based on photographic sources from journalism, they have preserved a ‘memento mori’ in the intimate form of a sculpture, yet derived from a source which is not only public but also voyeuristic. They have been entirely dislocated from their original context, and transferred to the realm of photography again, into fragile silver gelatin prints. In this process, Reza Aramesh has expanded our consciousness of death and the body from the public spectacle of torture, towards a place which is sublime and unreachable, where the meaning of violence has been not transformed, but rather temporarily suspended.
Working across a wide range of materials and processes, Aramesh examines simultaneously the history of Western art and contemporary commentary on the politics and history of the Middle East, concocting a unique visual language to address the contemporary conditions of violence and bio-politics. Earlier solo exhibitions include Ab-Abnar, Leila Heller Gallery (New York), Isabelle Van den Eynde (Dubai), among others. His work has been showcased in many international group shows, including ICA (London), Goodman Gallery (Cape Town), Goethe Institute Brussels, Frieze Sculpture Park, Tate Britain and most recently, “The Great Game”, Pavilion of Iran at the 56th International Art Exhibition – La Biennale de Venezia.
His large installation entitled The Museum of Proletarian Culture (2012) looked at the changes in artistic practice that have occurred in Russia throughout the last thirty years – from the amateur art of the late Soviet era to the commercialized post-Soviet cultural practices and the more recent self-expression via contemporary social networks...
Calling attention to campaigns for land rights, survival, and sovereignty, Prabhakar Pachpute’s recent works consider how farmers in India use their bodies in performative ways during acts of protest...
Mullican’s Stick Figure Drawings depict characters reduced to their most basic graphic representation...
- Asia Contemporary Art Week Asia Contemporary Art Week ABOUT Consortium Partners PRESENTED ARTISTS FIELD MEETING ABOUT FIELD MEETING TAKE 6: THINKING COLLECTIONS (2018) TAKE 5: THINKING PROJECTS (2017) TAKE 4: THINKING PRACTICE (2016) TAKE 3: THINKING PERFORMANCE (2015) TAKE 2: AN AFTERTHOUGHT (2015) TAKE 1: CRITICAL OF THE FUTURE (2014) FIELD REVIEW ABOUT FIELD REVIEW ISSUE 1: SOUTH ASIA ISSUE 2: MIDDLE EAST PAST EDITIONS ACAW 2002 – 2018 PRESENTED ARTISTS PRESS PRESS RELEASES PRESS COVERAGE Announcements Posted on Friday, November 1, 2019 · Leave a Comment We’ve updated our name to better represent nearly 20 years of nonprofit service to the field...
This still life falls apart, or rather floats apart as the composition is proved unstable and constantly morphing...
Recovered Van Gogh Masterpiece Takes the Spotlight Again - Artcentron Home » Recovered Van Gogh Masterpiece Takes the Spotlight Again ART Feb 10, 2024 Ξ Leave a comment Recovered Van Gogh Masterpiece Takes the Spotlight Again posted by ARTCENTRON Vincent van Gogh, The Parsonage Garden at Nuenen in Spring (1884)...
Weekly Picks: Malaysia (13 – 19 Aug 2018) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Weekly To Do August 13, 2018 Kenapa Tak Tukar Nama , at klpac, 18–19 Aug, 1:30pm This monologue follows Muslim convert Hoe Mei Ying as she navigates the complexity of identity and faith, and tackles a common question: Why have you not changed your name upon conversion? Yiky Chew plays five characters with various takes on the question, and is a performance devised from experiences of a convert getting her new Malaysian identity card...
Migrant Ecologies Project: A Grain of Wheat Inside a Salt Water Crocodile | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Grain of Wheat July 8, 2019 After what seemed like a long walk in silence and darkness into the mountain we came to an almost mythological-looking door with the words ‘Fröhall’ – seed room – written upon it...
Mary Jones: Layered histories – Two Coats of Paint Mary Jones, American Interior 2023, oil on digitally printed canvas, 52 x 38 inches Contributed by Katy Crowe / “Significant Properties,” the title of Mary Jones’s current exhibition at as-is.la and her first in Los Angeles in some years, aptly suggests real estate worth seeing...