Archive For The “Exhibition” Category

Catalogue Resistance and Persistence

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Catalogue Resistance and Persistence


From October 5 to October 24, 2016 René Mouawad Garden (Sanayeh). ART IN MOTION inaugurates its first intervention, « Resistance and Persistence », in the heart of the city of Beirut.

Artists from the MENA region as well as international artists exhibit their works linked to the historical importance of Rene Mouawad Garden (Sanayeh) and inspired by the theme “Resistance and Persistence”. The selected international artists produce their works “in situ”, interacting with local artistic practices as well as locally sourced materials from the region.

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Mustafa Ali (Syria) | Ziad Antar (Lebanon) | Bokja Design (Lebanon) | Chaouki Choukini (Lebanon) |  Karine Debouzie (France) | Nancy Debs Hadad (Lebanon) | Yazan Halwani (Lebanon) | Zeina Hamady (Lebanon) | Ghaleb Amin Hawila (Lebanon) | Nabil Helou (Lebanon) | Thomas Houseago (United Kingdom) | Abdel Rahman Katanani (Palestine) | Vika Kova (The Netherlands) | Hanaa Malallah (Irak) | Randa Nehme (Lebanon) | Marwan Rechmaoui (Lebanon) | Lufti Romhein (Syria) | Houmam Al Sayed (Syria) | Xander Spronken (The Netherlands) | Xavier Veilhan (France) | Atelier Yok Yok (France) | Ada Yu (Kazakhstan) | Cathy Weiders (Belgium) | Ghassan Zard (Lebanon)


Rania Halawi, Rania Tabbara, Valerie Reinhold



By bringing together 24 Lebanese and international artists and making their works engage in a dialogue in a public space, full of history, ART IN MOTION, organizes here a leading event that is representative of its values and ambitions that is investing in public areas, inviting the general public to look at art and engage with it.

Sculptures, installations, video, conceptual art, design, performance, are choreographed within the theme: “Resistance and Persistence”, that is at the heart of our polemic today. Reconciliation between a painful past and a chaotic present is possible … Art enables us to identify our points of reference. Public debates are organized throughout the duration of the event; validating that art is not merely cultural; it is integrated within the workings of society. These open talks envision that art is a sustainable heritage for one and for all. In addition to that, several meetings with artists and experts in contemporary art highlight local achievements and their impact on the regional and international art scene. Also, introductory workshops on different forms of expression have been organized: workshops on the integration of Arabic calligraphy  in contemporary art, workshop on architecture…

L’Orient Le Jour – Resistance and Persistence

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L’Orient Le Jour – Resistance and Persistence

Thank you Colette Khalaf and L’Orient le Jour for spreading the word and helping us make this exhibition a success!

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Resistance and Persistence

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Resistance and Persistence


Press release in French: here

Press release in English: here

Article from Le Figaro here

Article from L’Orient Le Jour here

Different forms of artistic practice, such as sculpture, installation, video, design and performance, engage in a dialogue within the theme “Resistance and Persistence”.

Artworks – Photos courtesy @ Elias Visuals

Opening – Photos courtesy @ Elias Visuals



Featured: Christian Marclay

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Four years after displaying “The clock” at White Cube, Christian Marclay’s art returns to London and brings the newest representation of its heritage along. The gallery is now filled with Marclay’s most recent works which reflect his on-going interest in the possible conjunctions of art and sound.


The exhibition includes a series of works on paper and canvas which revolve around onomatopoeia that are typical for comic books: “WHIZZ, SPLASH!”… The pictured sounds seem to make one with the action of painting itself; they address and somehow weaken the intriguing inconsistency between Pop Art and Abstract Expressionism.


The created onomatopoeia are partially devoted to another project of Christian Marclay. The author’s first large-scale video installation, projected across four walls of White Cube, constitutes a dynamic choreography of the pictured sounds: Marclay’s depiction of hundreds of  exploding “Boom!”, wall-invading “Zoooom-s!” or swift “Whooosh-es!” gives the viewer a feeling of a visual-aural consistency: they can see what they should hear. Yet the reflective silence of the gallery remains undisturbed.


In cooperation with London Sinfonietta and The Vinyl Factory, Marclay will transform a vast part of the gallery into a performance stage. Throughout the duration of the exhibition, viewers will be given a chance to immense themselves in various activities, from new compositions of the world’s most renowned contemporary composers and improvisers, through live improvisation sessions to the Vinyl Factory. The latter one will provide an extensive insight to the process of producing vinyl records, which will be available for sale after the end of performance.


Check out this short montage of scenes from “The Clock”.

For more details on the exhibition, please check the official site of White Cube.

Source: click here.

All pictures © White Cube

Best of RijksakademieOPEN 2014

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Last weekend the international artists of the Rijksakademie van beeldende kunsten opened the doors of their studios: every year for a weekend all resident artists welcome the public and present their works. During RijksakademieOPEN 2014, new developments in the arts are revealed, and on display are works that might later be encountered throughout the world in prominent collections, exhibitions and biennials. We were exited to discover this year’s cuvée, and here is our best of…


The Rijksakademie in Amsterdam focuses on developing talent in the fine arts. A selection of talented and ambitious artists from all continents come to Amsterdam to pursue a two-year residency at the Rijksakademie. Here they have the opportunity to engage in debate, concentrate on research and experiment and devote themselves to producing new work. Presentation of the work and connections to an international network form a part of the two-year residency program. For many alumni the residency has led to their international breakthrough.

Redprint:dna’s best of:

Jisan Ahn’s hyper-realistic paintings:


Paul Beumer‘s painting made of plants, water, dirt, watercolor and ink:


Felix Burger and his mad scientist’s studio:



Feng Chen‘s film for his one-eyed friend:


Justin Gosker:

Justin Gosker

Carlos Irijalba and the 3D scanning of prehistoric caves:


Adrian Melis‘ soap bubble machines:


Masha Ru‘s edible (or not!) clay cups:


Aykan Safoğlu‘s video of portraits made in a darkroom:


Wouter Venema‘s walls as canvases:




Visiting RijksakademieOPEN is always an enriching experience, and you can spend hours visiting the artists studios, while getting lost in the maze of the Rijksakademie’s corridors. One visit is not enough to see all the artworks: but we were happy to have assisted to a visit of the artists’ studios that was focused on the hidden art.


This year’s 49 artists are:

Jisan Ahn (KR/NL)

Johann Arens (DE/NL)


Tania Mouraud unwinds “ad nauseam” at MAC/VAL, a metaphor for the destruction of thought

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Tania Mouraud settles for 4 month in Vitry-sur-Seine at MAC/VAL. The exhibition “Ad Nauseam” is a fantastic occasion to experience the work of a major figure in french contemporary art, before a big retrospective next year in Metz, at the Centre Pompidou.

Tania Mouraud, CQNPSRLPSCALR, 2014, MAC/VAL, Vitry-sur-Seine © Marc Domage, mise en situation Amandine Mineo. Adagp, Paris 2014.

Tania Mouraud, CQNPSRLPSCALR, 2014, MAC/VAL, Vitry-sur-Seine © Marc Domage, mise en situation Amandine Mineo. Adagp, Paris 2014.

For her solo exhibition at the Museum of contemporary art of the Val-de-Marne (until January 25th, 2015), Tania Mouraud unveils a monumental audiovisual installation and confronts the visitors with one of her recurring themes, Man’s destruction of his own history. “Ad Nauseam”  spreads out both inside and outside of MAC/VAL, on the facade of the museum, on the billboards of the town of Vitry-sur-Seine, as well as on the museum’s entry tickets.

Tania Mouraud, Ad Nauseam, 2012-2014 © Adagp, Paris 2014.

Tania Mouraud, Ad Nauseam, 2012-2014 © Adagp, Paris 2014.

The giant installation occupies the entire surface of the temporary exhibition space: on 1350 m2 a video shows the mass destruction of books in a recycling plant: bulldozers grinding through books at a frantic pace.

Here, the treatment of books as a testimony of History can also be understood as a metaphor for the destruction of thoughts. This project emphasizes the aggressive nature of machines related to the destructive nature of mankind. It’s irreversible actions that are still repeated despite the lessons which were taught.

Tania Mouraud, Ad nauseam, 2012-2014

Tania Mouraud, Ad nauseam, 2012-2014

This video, exhibited here for the first time, is accompanied by a sound system directed by Tania Mouraud during her residence at Ircam from 2013 to 2014.

With this video triptych nearly 35 meters long and 7 meters high and a sound system spatialized on thirty speakers, the exhibition hall becomes a space in which the visitor lives, reflects upon, and has a sensory experience of a mechanized, industrial universe.

It is overwhelming… and will hit you in the guts…

Tania Mouraud, Mpp, 2014 Impression numérique sur bâche tendue — 5 × 5 m Production MAC/VAL — Musée d’art contemporain du Val-de-Marne — Photo © Marc Domage, mise en situation Amandine Mineo — © Adagp, Paris 2014

Tania Mouraud, Mpp, 2014
 © Marc Domage, mise en situation Amandine Mineo — © Adagp, Paris 2014

Answering this audiovisual installation, two sentences are displayed on the exterior walls of the museum. This intervention extends a process of graphic writings in public spaces which the artist started in the 1980’s. “Ceux qui ne peuvent se rappeler le passé sont condamnées à le répéter” (the ones that can’t remember the past are condemned to repeat it), points towards calling into question history, echoing the installation presented inside the museum. “Même pas peur” (not even afraid), offers a form of resistance. Ellongated, the letters become difficult to read, and oblige the spectator to slow down.

Tania Mouraud, Dream, 2014 Impression numérique sur papier affiche — 1,75 × 2,40 m Production MAC/VAL — Musée d’art contemporain du Val-de-Marne — Photo © Thomas Louapre, mise en situation Amandine Mineo — © Adagp, Paris 2014

Tania Mouraud, Dream, 2014 © Thomas Louapre, mise en situation Amandine Mineo — © Adagp, Paris 2014

In addition, in the footsteps of her work in Quimper in 1996, Tania Mouraud occupies more than seventy billboards in Vitry-sur-Seine as part of the festival “Murs/Murs” (“walls/walls”). For this ephemeral act within the urban landscape, she inscribes Martin Luther King’s famous IHAVEDREAM at the heart of the city. By taking over spaces reserved for advertising, Mouraud blurs our codes of communication and, as always, places the spectator, the passer-by, in a state of questioning before the indecipherable, calling upon them to pause and take their time. It is as though she is reminding us that art can — to this day — be an act of collective resistance.



Featured: Winfried Bullinger – African Portraits

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While studying painting at the Berlin University of the Arts, Winfried Bullinger spent a year in South Africa between 1987 and 1988. What he experienced there during the last days of the apartheid regime had a deep impact on him. Since then, Winfried Bullinger’s photographs have put an emphasis on depicting the condition humaine.



The series Nomads shows women and men belonging to communities that still live to a large extent as autonomous societies, between the Blue Nile and Lake Turkana, in Africa. There, too, the global search for resources, the waiting in vain for the rain, as well as the political and armed conflicts are leading to far-reaching social changes.

Winfried Bullinger, PORTRAIT, BATWA, 2013

Winfried Bullinger, PORTRAIT, BATWA, 2013

Winfried Bullinger’s photographs, which are taken in black and white using a large-format analogue camera and in natural daylight, are somewhere between documentation and staging. For him these men and women, living as nomads, are an example for those on the often-imposed threshold to the so-called process of civilisation.

WINFRIED BULLINGER, Portrait, Nyangatom 2013

WINFRIED BULLINGER, Portrait, Nyangatom 2013



WINFRIED BULLINGER, Portrait, Dassanech 2013

WINFRIED BULLINGER, Portrait, Dassanech 2013

A couple of Winfried Bullinger‘s photographs are on view at Huis Marseille, for the exhibition The Marseillaise, 15 years of collecting (until December 7, 2014). He is represented by Sassa Trülzsch (Berlin).

The artist in conversation with Gero van Boehm:


Pictures and video © the artist / Huis Marseille

Barry Reigate at gallery Alex Daniels – Reflex: the hallucinogenics of art

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Barry Reigate‘s new exhibition ‘One Cannot Get Fingerprints From A Rock’ has just opened at Galerie Alex Daniels – Reflex Amsterdam and should not be missed!

The solo show of the London-born artist is on view until December 6, 2014, and presents wonderful new paintings, works on paper as well as sculptures.

Home Is A Polysterne Cup  2014  Mixed media on linen  180 x 226 cm

Home Is A Polysterne Cup 2014 Mixed media on linen 180 x 226 cm

Reigate’s work is a powerful, eclectic and visually mind-blowing mix of symbolic pop imagery, geometrical design and multi-dimensional painterliness. Often on a large scale, with several components layered in spray paint, oil, pencil and other media, these stunningly arresting works both amuse and disturb, repel and seduce.

Of the 15 new pieces completed for this exhibition, a cartoon wolf figure populates several of the works – a talismanic figure that recalls the Three Little Pig fairy-tale and other hazy childhood memories. It is a typical Reigate motif. At times trapped below a nailed, latticed wooden structure, the wolf is imprisoned, disempowered. Atop, are geometric roundels and other shapes, symbols recalled from maths lessons, transformed into free-wheeling elements. These are complex, composite images that insist on multiple interpretations.


“The wolf was sourced from an advert; the wood structure is from the Smurfs, a machine that makes ‘things’,” says Reigate.

I wanna be adored

Untitled (Run Little Pig Run)  2014 Mixed media on stretched paper 40 x 30 cm

Untitled (Run Little Pig Run) 2014, Mixed media on stretched paper, 40 x 30 cm

His work treads an electric line between figurative and abstract; the introduction of the wolf figure here a deliberate invitation to the viewer to attach meaning, in what he calls “the hallucinogenics” of art.

Consistent to Reigate’s art is an emphasis on drawing. The exhibition showcases some of his extraordinary free-form graphic work in which familiar images and motifs are worked and reworked often incorporating elements of graffiti mark making. “My drawings are like a train of subconscious thought, images put down from exterior thoughts/ideas from outside the studio. They come out from a state of boredom. The closest association is the idea of drawing on the covers of academic books, when you are bored at school. Like a form of escape.”

I wanna be adored


The art of Barry Reigate is riotously rich, glossy and textured, graphic and painterly: this is the work of an artist who is self-admittedly excited by the idea of excess. “I’m interested in the idea of when to stop… Culture as excess of survival, airbrushing comic wolves and pigs, to pay the rent”.

The exhibition is on view at Reflex Amsterdam until December 6th, 2014. Barry Reigate has exhibited worldwide from Moscow to Verona, and was part of the “British Art Now” show at London’ Saatchi Gallery. This is his first solo show in the Netherlands and monograph published by Reflex.


Galerie Alex Daniels – Reflex Amsterdam

Weteringschans 79 A, 1017 RX Amsterdam, The Netherlands

© Barry Reigate / Galerie Alex Daniels – Reflex

Featured: Jacqueline Hassink

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Jacqueline Hassink (1966, Enschede) is a Dutch visual artist who is based in New York City. She is most known for her global photo art projects that deal with the world of economic power. We met the friendly artist at Huis Marseille, where she shed some more light on her latest series, View, Kyoto.

The meeting table of the Board of Directors of Banco Santander, Santander Spain, February 23, 2010

The meeting table of the Board of Directors of Banco Santander, Santander Spain, February 23, 2010

We already knew Jacqueline Hassink’s project  The Table of Power (1993-1995), where she documented the boardrooms of some of Europe’s forty largest multinational corporations, making for a somewhat odd portrait of capitalism and people in power. Subsequently, Hassink worked on other global art projects Female Power Stations: Queen Bees (1996-2000), Mindscapes (1998-2003), Car Girls (2001-2007) and Arab Domains (2005-2006) where she pursued her investigation about cultural identity and corporate values.

The meeting table of the Board of Directors of BNP Paribas Paris

The meeting table of the Board of Directors of BNP Paribas Paris

The series on show at Huis Marseille seems very different. View, Kyoto, the impressive series on Japanese temples and gardens on which she has worked since 2004, shows the degree­ to which Hassink, has blossomed­ into a powerfully­ analytical and lyrical image-maker­. The strong composition of her photographs reveal her deep knowledge and understanding of Japanese culture and of the inherent conflicts that must be resolved, again and again, to achieve a harmony between the natural world and modern, industrial­ civilization.

Shiratani Unsuikyo 7 Yakushima, Japan 11 March 2013 courtesy Jacqueline Hassink

Shiratani Unsuikyo 7, Yakushima, Japan, 11 March 2013, © Jacqueline Hassink.

'Hosen-in 1, Winter, North Kyoto, 14 February 2011' © Jacqueline Hassink.

‘Hosen-in 1, Winter, North Kyoto, 14 February 2011’ © Jacqueline Hassink.

'Kaisan-do 1, Tofuku-ji South East Kyoto, 14 August 2004' © Jacqueline Hassink.

‘Kaisan-do 1, Tofuku-ji South East Kyoto, 14 August 2004’ © Jacqueline Hassink.

'Shoden-ji, summer, North West Kyoto, 22 July 2004' © Jacqueline Hassink.

‘Shoden-ji, summer, North West Kyoto, 22 July 2004’ © Jacqueline Hassink.

View, Kyoto will be published for the first time in its entirety (Hatje Cantz, design: Irma Boom), and is on view at Huis Marseille for the exhibition ‘La Marseillaise, 15 years of collecting‘ until December 8, 2014.

© Jacqueline Hassink.

Featured: Edward Burtynsky

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Edward Burtynsky (Canadian, b.1955) is a photographer best known for his photographic depictions of nature altered by industry.

Oil Fields #2Belridge, California, USA, 2003

Oil Fields #2Belridge, California, USA, 2003

What are the artist’s three wishes? Watch here….

Highway #1Los Angeles, California, USA, 2003

Highway #1Los Angeles, California, USA, 2003

Born in Ontario, he grew up near a General Motors plant, an experience that sparked his interest in photographing industries such as oil productionmining, and quarrying. His imagery explores the collective impact we as a species are having on the surface of the planet; an inspection of the human systems we’ve imposed onto natural landscapes.

Colorado River Delta #2Near San Felipe, Baja, Mexico, 2011

Colorado River Delta #2Near San Felipe, Baja, Mexico, 2011

For more than 25 years, Burtynsky has documented the connections between land, industry, technology and architecture. His approach to monumental construction sites – such as the AGO – reveals the beauty and complexity of the process by which urban structures develop.

SOCAR Oil Fields #6Baku, Azerbaijan, 2006

SOCAR Oil Fields #6Baku, Azerbaijan, 2006


Jet EnginesTucson, Arizona, USA, 2006

Jet EnginesTucson, Arizona, USA, 2006

“These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear.” E. Burtynsky

Shipbreaking #11Chittagong, Bangladesh 2000

Shipbreaking #11Chittagong, Bangladesh 2000

His work is currently on show at :

Huis Marseille -la Marseillaise group exhibition- too, have a look if you are in Amsterdam!

Fotodokthe power of water. Until 25 october

WAC: Nature speaks. Until 1 november

Photographs © Edward Burtynsky

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