Political satire, Middle Eastern culture merge in new exhibit
Originally published in the Columbia Spectator, April 23, 2015 | Click to Read
Satire and politics come together at the art exhibition "I won't wait for grey hairs and worldly cares to soften my views," with pieces that reflect the culture of the Middle East. The art consists of men dressing and posing in varied scenes and scenarios, illustrating Middle Eastern politics, culture, and identity.
This exhibition, featuring works by Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian, opened at Callicoon Fine Arts on April 12 and will remain until May 24. Described as "exhibition-cum-theater," the exhibition includes video, painting, sculpture, and collage elements.
Adapting Jean Genet's "The Maids," images show the artists performing their version of the play. According to the press release, "They enact a campy version of the sadomasochistic scenes and incorporate a tableau that references David's 'The Death of Socrates.'" Other components of the exhibition include "a sculptural assemblage with a water fountain at its base and a tumbling array of mannequin limbs, a pink-rimmed jug and artificial flowers."
In another portion, "a draped canvas depicts a partially obscured wedding procession, royals from a Madame Tussauds display, over which is placed a handmade bowl and tennis racket altered with a stocking and clay." The idea of communal and group art is clearly demonstrated in this exhibit with several artists working on one large project together.
The Dubai-based artists came together in the effort to convey a satirical performance of Middle Eastern culture and politics. The artists worked together on this group project but also have solo work on similar themes.
Ramin Haerizadeh, one of the featured artists, has exhibited internationally, notably in "Unveiled: New Art from the Middle East" at the Saatchi Gallery in London (2009), "Sharjah Biennial 10" in the United Arab Emirates (2011), and "The Trees Set Forth to Seek for a King" at the Museum on the Seam in Jerusalem (2014). On his own, he presented his work at Gallery Isabelle van den Eynde, Dubai, and at the Galerie Nathalie Obadia, Paris, in 2012. His works also appear in a number of prestigious collections such as Guggenheim Abu Dhabi, the British Museum, the Devi Art Foundation, and the Rubell Family Collection.
Rokni Haerizadehi, Ramin Haerizadehi's brother, is another of the featured artists. Like his brother, his work has been featured in many exhibitions, such as the Carnegie International (2013), "Here And Elsewhere" at the New Museum in New York (2014), and the Sharjah Biennial (2011). His art can also be found in collections at the Carnegie Museum of Art, the British Museum, Tate Modern, the Devi Art Foundation, the JPMorgan Chase Art Collection, and the Rubell Family Collection, among other places.
The third and final artist is Hesam Rahmanian from Dubai. Rahmanian's work has been featured at Gallery Isabelle van den Eynde in Dubai (2013), Paradise Row in London (2011), and Traffic in Dubai (2010). In 2011, Rahmanian was involved in a group showing at the Royal College of Art in London as one of eight finalists for the Magic of Persia Contemporary Art Prize.
Associate at Callicoon Fine Arts Elizabeth Lamb described the exhibit as both an example of art creating a dialogue about social issues and a group demonstration.
Because the exhibit makes such a statement about public affairs and commercialization, the meanings behind the pieces could be explained and understood without context. Influences include "art historical to contemporary politics to protests in the news and also referencing things from their families and magazines and popular culture," Lamb said.
By using different forms of media such as video, sculpture, painting, and collage, the artists are able to simultaneously convey their message and show their creative processes. The fusion shows the multiperspective aspect and gives the viewer more insight into the artists' thought processes in assembling the components of the exhibit and the exhibit as a whole. "The artists are referencing various sources of inspirations in their lives and these uses of media are just various extensions," Lamb said.
The art can have many interpretations depending on the viewer's perspective. Lamb noted: "How does the visitor experience this art for themselves? A lot of this is set up to be interpreted as what does this mean to you. I think a strong takeaway point is that the artists are installing the exhibitions in this way to show their communal and individual practices."
The satirical aspect of the exhibit comes through as many pieces may come across as comical though about a more serious subject. "There is an underlying sense of humor that is throughout all of the works," Lamb added.
The eccentricities and uncommon themes of the work make it especially fresh and relevant. Every part of the room is a kind of artistic expression, making the exhibit an immersive experience. As people walk through, the utilization of the gallery's entire space showcases the creativity and originality of the artists. Lamb has observed that exhibit goers often feel like they have stepped out of New York when they enter.
"People make comments that this exhibition is like walking into their world. The floor is covered in panel that reflects Islamic mosques and amaryllis flowers coming up from the ground. The whole floor was created in Dubai, and that process is shown on a structure playing in the exhibit," she said.
Other artists are featured in the exhibit as well; their works of art lend the exhibit a multidimensional aspect, complementing the original artists' meaning and vision. Communal collaboration is an important tenet of art for the artists, as exemplified by their working together and by the other art in the exhibit.
Lamb pointed out that there are five works by other artists now part of the collection. "They've taken these summer white lawn chairs and created anthropomorphic thrones," she said.
"We're really proud to bring this work to New York. We think it's an important, interesting experiment on what is collaboration and what an individual artistic practice looks like," Lamb said.