The photograph is a matter of intent. It is believed that the photographer has control from shooting to printing. But what happens when the original film is obsolete? In 2000, Ziad Antar began using black and white film. He unearthed rolls of film that had expired in 1976 in the legendary Scheherazade studio of photographer […]
Archive for the "Artist News" Category
Aninat & Swinburn collective are showing their marble piece titled Painful Times during the international show Black Caravanne at the Usina del Arte Museum in La Boca, Buenos Aires. The artwork is sitting amongst other important and carefully selected pieces by other international established contemporary artists such as Anish Kapoor, Damien Hirst, Do-Ho Suh, Hiroshi […]
Nidhal Chemekh’s visual art has often been described as unsettling. His artistic exploration unfolds around complex and fragmented shapes whose meaning is often blurred, almost absent. His designs evolve in accidents, without a predetermined logic that binds one form to another.
Ismaïl Bahri uses video to talk about cinema and make time and movement visble. Currently in residence at Espace Khiasma in Les Lilas, on the eastern rim of Paris, he is working on an exhibition to be shown there next year.
Ismaïl Bahri (b.1978, Tunis) lives and works between Paris, Lyon and Tunis. He is represented by Les Filles du Calvaire, Paris. His work incorporates many cultural and aesthetic references, developing visual experiments that are both sensitive and exacting. The results of these experiments are drawings, videos, photographs, installations, and hybrids of these forms.
Armen Agop was awarded the Presidential Medal of the Italian Republic October 5th at the closing ceremony of the 40th Edition of the Sulmona Prize for Contemporary Art in Sulmona, Italy. The exhibition opened Saturday, September 7th and sees the participation of 125 artworks, representing over 20 nations, all displayed in the civic museums of […]
The sculpture resembles what it should be, although by its own nature of stone it could be the opposite of the visible, and it could be a proof of the invisible in the representations of the mind.
A ray of sun interrupts the blackness and ignites in throbbing flakes; some drops of rain and the granite is polished by tears; with the touch of a caress the form awakens, gently oscillating, like a living thing.
Armen Agop’s sculptures repose in a secretly precarious stillness. These seemingly anchored forms consent to movement when pressed to it by our hands. Later, they inexorably return to their original position. As a result of their curved shapes, these black granite metronomes gradually slow and stop in a subtle dialogue between light and shade.