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Through Carte Blanche, ikono offers a virtual space to international curators, directors of renowned art institutions, and art project managers, providing the opportunity to showcase their choice of artworks based on an original curatorial concept. Each selection is chosen from the guest curator's collections or former exhibitions and, thanks to ikono's team, their ideas are communicated through unique films to be broadcasted as a exhibitions in and of themselves.

Camilla Chaudhary – Temporal Search

For the month of October ikono is proud to present a series of artworks selected by Camilla H. Chaudhary. curator and director of ArtChowk Gallery in  Karachi, Pakistan.

Her Carte Blanche, “Temporal Search” brings four solo shows under one conceptual umbrella.

The curatorial thinking behind these works is the idea of appropriating the past through different media to discuss the present. The artists in exhibition contextualize history into the present by using traditions: literary, artistic or cultural. Individually and collectively, they provoke a cerebral interaction with the viewer, merging strong technique and concept to create works that are distinctive and specific in their visual commentary. All test artistic boundaries to create works that go beyond the obvious and are concerned with present-day social and political issues.

 

Simeen Farhat’s installations take their origins from the calligraphic legacy of South Asia and the Middle East. The deconstructed text, based on Urdu, Persian, English and Bengali poetry, morphs into a sensory experience as she manipulates its form and structure. While not a calligrapher, she has merged the Muslim passions for poetry and the carved text into sculptural installations and develops their narrative further to become socio-political commentary.

She explores the poetry of Rumi, Khayyam, Faiz Ahmed Faiz, Hafez and also the English poet Edward Fitzgerald. Urdu and Persian poetry is filled with double meaning, often discussing love (both mystical and human) and political commentary through the same verses.  This expressive versatility combined with her preoccupation with post 911 global politics led to exploring the visual interpretation of the poetry. Many of the earlier works are direct political statements, stark installations discussing the prejudice and dogma that dominates public beliefs on both sides of the debate. Her more recent works are subtler in their statements, using the poetry to make her point.

Simeen completed her MFA from Texas Christian University, Fort Worth, Texas.

Jamil Baloch’s work remains rooted in his Baluch heritage, from where he sources his subject matter. Trained as a sculptor and painter from the National College of Art in Lahore, his practice explores new ground in medium and style while staying true to its core narrative. Social and gender inequality are recurring topics, dealt through the context of his indigenous culture. Running concurrently with this narrative is a practice that consistently evolves in its use of media, and reads like a linear story, simultaneously becoming a deeper study of its subject and expanding its context.

In this series his wood-based sculptures use the natural material in a uniquely contemporary voice; his exploration of imagery becomes more intensive as he progresses to the core of traditional motifs symbolic of Baluchi culture, expanding them into abstraction. This serves as a metaphor for his subject matter, the Baluchi people. Constructing complex grids, linear movement, texture, all with his paintbrush he sub-consciously references multiple influences: culture, history and Islamic geometry among others.

Asif Ahmed, a miniaturist, balances the graceful precision of miniature painting with exploration of scale, composition and subject that is rooted in the present. Historically miniaturists were chroniclers of history, depicting battles and courtly life in layered paintings. Asif’s compositions are more simplified yet remain true to the same purpose, using symbols often depicted in ancient miniatures such as royalty and their regalia as metaphors in a contemporary context, executing them with the exquisite precision required of fine miniature painting. Traditional symbols are used to represent current axes of power that are often strongly criticized, such as the portrait series titled “A Noble Mughal”.  Asif graduated in miniature painting from the National College of Arts in Lahore.

Abdullah Qamer graduated in painting from Karachi University. A visual artist and social activist, Abdullah combines his painting practice with working for social change through art and theatre.

His consciousness is explicit in his work: each piece has a specific narrative, one complete subject that it discusses. The enigma of his work is that it is open to interpretations beyond his intentions. His metal sculptures discuss social injustices, yet present a visual that is organic and incorporates a dialogue on the genesis of creation and growth. A similar narrative can be extrapolated from his paintings: works like “Conclusion” and “Argument” have a cellular composition with obscured beginnings and endings.

Abdullah is also very influenced by 17th century reformist poets such as Bulleh Shah and Waris Shah, whose poetry preached tolerance and a disdain for any theocratic doctrine that did not result in social betterment. This influence is embryonic, directly inspiring the subject matter of many of the works, yet is treated very subtly, obscured by a strong contemporary aesthetic that underlies his artistic practice.

 

Camilla H. Chaudhary

Curator and Director

ArtChowk-The Gallery and ArtChowk.com

Ars Electronica

ikono invites Ars Electronica, an interdisciplinary hub and one of the world’s leading media art festivals based in Linz, Austria, to present two of their wonderful projects: the ZeitRaum installation, designed by the Ars Electronica Futurelab for the Vienna International Airport in 2012, and a film on Franz Gesellmann’s famous Weltmaschine:

ZeitRaum
The Ars Electronica Futurelab inaugurated a new virtual space inside the new terminal of Vienna’s airport to be passed by more than five billion strangers a year – five billion people on a journey through an imaginary interzone between security checkpoint and takeoff.

ZeitRaum embeds art in a public space where people are more open to artistic ideas while waiting for their flight. Caught up between time zones and connecting flights the visitors encounter the ZeitRaum space for the first time at Check In 3 area, where a large screen reacts to the motions of each new guest arriving by releasing letters of scientific or poetic texts. Arriving and departing planes create data mountains of information before dissolving into thin digital air again.

After leaving Check In 3, everyone will encounter further artworks connected to time and space: Yugo Nakamura’s Industrious Clock uses handdrawn digits for the digital clock, while the Last Clock by Jussi Ängeslevä and Ross Cooper display live footage from the airport in three rings updated by the hour, minute or the second. AIRPORT SOUNDSCAPES #1 by Rupert Huber is a datasonification project turning data from the tower into audioscapes surrounding the visitors with the sound of traffic.

 

The Weltmaschine of Franz Gsellmann
The Weltmaschine (World Machine) is a kinetic installations built by austrian farmer Franz Gsellmann (1910-1981). Without any special knowledge or an artistic background and inspired by a religious vision, Gsellmann started working on the machine after seeing the Atomium at the World’s Fair 1958 in Bruxelles and finished it right before his death in 1981.

Built by discarded everyday objects and material, the Weltmaschine looks like an elaborate Hollywood prop from the lab of a mad scientist or the steam engine of Captain Nemo’s Nautilus. It’s four meters long, two meters wide and four meters high. It has around 2000 pieces, including a toy rocket Gsellmann had imported from Japan. Long forgotten the Weltmaschine was rediscovered and filmed in action by Ars Electronica in 2011, while the real one is still on view in a private museum in Edelsbach near Feldbach, Austria.

Charlotte Bank: Spatial Reflections

ikono’s guest for this edition of the Carte Blanche series is Charlotte Bank, an internationally operating researcher, curator and writer living and working between Berlin, Geneva and Damascus. Bank curates exhibitions as well as film and video programs, she organizes talks and seminars, and is currently the director of Zakharif projects, a platform for contemporary visual practices in the Middle East and beyond.

Focusing on the emerging contemporary art scene in Syria in the context of the critical art tradition of the country, the curator has a background in Near Eastern archaeology and art history. In her curatorial and scientific work Bank addresses the reception of Islamic and Arab art and culture in Western high and popular culture, early Islamic visual art, contemporary artistic and cultural practice in the Arab world and its Diaspora, hybridity and inter/transculturality.

Bank is also part of the curatorial team of the Visual Arts Festival Damascus, an independent art festival launched in 2010 and re-conceived as a nomadic event from 2012 onwards.

With Spatial Reflections, Bank presents a selection of works “that explore different aspects of the relation between human beings and their physical surroundings.” The series of five productions showcases artworks of Steve Sabella, Salah Saouli, Ghassan Halwani, Ali Skeikh Khudr, Bashar Hroub and Kevork Mourad.

Please find below Charlotte Bank’s introduction to Spatial Reflections:

 

SPATIAL REFLECTIONS

by Charlotte Bank

“Spatial Reflections” presents a series of works – videos, photography, installation – that explore different aspects of the relation between human beings and their physical surroundings. They share a fragmentary and fragile quality which seems to be symptomatic for contemporary existence with its frequent changes of locations and recurring feelings of alienation. Like fragments of memories that one might attempt to piece together in order to reconstruct a complete image of a past event or experience, these works are composed of multilayered, occasionally barely graspable imagery, complex and haunting at the same time.

 The artists come from Lebanon, Palestine, Syria, places that have known political oppression, dissent, war, civil war, armed conflict and social violence. But while their works might be partly informed by traumatic experiences, they transcend the geographic locality and through their very personal languages touch upon universal issues of great relevance to the 21st century. They tell stories of loss, displacement, disorientation, of recollection and longing.

 Steve Sabella has since his series “In Exile” (2008) been using multi-angled photomontages to investigate his mental map as he strove to come to terms with the condition of inner exile and dislocation that defines his existence since an early age. In the following series, “In Transition” (2010), “Euphoria” (2010) and “Beyond Euphoria” (2011), like he did in “In Exile”, he delved into the depths of his own mind and studied the complexities of his alternating feelings of anxiety and deliverance. In his new work, “Metamorphosis” (2012), Sabella seems to have reached a new stage on this path, a stage of maturity, of meticulously “reconstructing” his self, as he states on his website. The images that form the basis of the series are all somehow related to Palestinian reality, the separation wall, barbed wire, the cactus plant behind the window. But these images are in no way simple statements of cultural belonging. Rather, each of them appears to hold an inner conflict between the outer appearance and the inner function, or between the obvious connotation and possible other significations. Thus, Sabella has chosen to turn barbed wire into a method to “stitch wounds together” or as “organic extensions of a tree branch” (stevesabella.com). The spectator is drawn into a whirl, like a kaleidoscope by the pattern of plants and wire, blurring the boundaries between the two elements. This ultimate metamorphosis of a symbol of restricted movement and forced control into a whirling movement of vegetal forms appears as the crucial step to overcome those burdens that weigh upon humans in conflict zones around the world and could constitute an important step in a necessary process to overcome the wounds of a tormented history.

Another kind of inner landscape with a similar kaleidoscopic quality is presented in Salah Saouli’s room filling installation, “The Labyrinth”. Saouli built a labyrinth of plexiglas plates onto which he printed various images and texts from the city of Beirut’s past: Historical photographs, reproductions of early postcards, newspaper texts and photographs taken by the artist during the Civil War alternate with photos of persons gone missing during this period. At each turn the visitor takes when moving though the installation, the images form new constellations and conjure up new patterns of recollection. Like a palimpsest, the work reflects memories that overlap each other, fragmentary, located on the diffusive border between the real and the imagined. The visitor is drawn into a quasi-archaeological process of following moments of collective memory through the artist’s archive of city images. While it represents a specific city, “The Labyrinth” is also a reflection on the fragile complexity of cities in general, this “most precious collective invention of civilization” in the words of Lewis Mumford (Louis Mumford: The City in History), always balancing between refinement and the risk of downfall. Salah Saouli offers us his very personal memories of a city that in its long history has seen several reconstructions after disasters, but always seem to reappear in a new shape.

 An entirely different view of a cityscape is offered by Ghassan Halwani. In his video “Jibraltar” (2005), Halwani plays with the idea of the birth of an adult, a human being that is without any history or memory, free to explore, but also free to loose himself in an unfamiliar, urban environment that appear governed by strange codes. The loss of memory might seem desirable for any person who has just left a trauma of war behind and in fact, collective, voluntary amnesia appears characteristic for many societies, past and present that strive to regain normality after periods of extreme violence. But rather than freed, Halwani’s figure seems utterly lost as he moves through the deserted spaces of a railway station, thereby reflecting the discomfort of anyone lost in a foreign city.

 In “City of Emptiness” (2010), Ali Skeikh Khudr’s revisits his hometown of Salamiyeh in northern Syria and presents a searching gaze back to another time. He shows us streets that are hauntingly empty, almost stripped of human presence, strangely suspended in time, leaving the final escape appear as the ultimate and inevitable end. For the faceless, shadow-like figures in Bashar Hroub’s “No Time, No Place” (2009), no escape seem possible. Barely recognizable as human forms, the figures gain an almost timeless, ancient and otherworldly quality as they move slowly around, following patterns of interweaving movement that remain unclear and even seem purposeless. Hroub’s figures appear doomed to eternally perform their inexplicable tasks, with no hope of deliverance; the video seems like a discomforting parable of an existence robbed of its social ties and meanings.

 The disruptive effects of architecture of power on spaces of human habitat stand at the centre of Kevork Mourad’s animation “The Walls” (2011). In delicate, drawn lines structures and buildings of a town appear, multiply and flourish, only to be separated by a wall winding its way through the cityscape like a destructive snake. The scenario repeats itself, the wall changes its appearance, crumbles, only to reappear with renewed strength. For anyone familiar with the geopolitics of Palestine, the reference to the Separation Wall seems obvious, but the trauma of walls separating families, friends or people from their land is only too well known in other parts of the world as well. At the end of Kevork Mourad’s video, the wall is once again replaced by houses; the wound in the cityscape is healed. Despite the tendency of walls, whether physical or mental, to reappear at regular intervals, we might take this as a sign of hope.

 How are our memories and bodies affected by our physical surroundings? How do urban and rural landscapes affect our perception? What are the images and fantasies that guide us when we navigate through these spaces? In what way do physical spaces reflect our own mental landscapes?

Christian Ganzenberg

A “Carte Blanche” is offered by ikono to established art curators to curate and broadcast their choice of works in the form of a unique virtual exhibition.

Christian Ganzenberg is a curator and art critic. He studied Cultural Studies in Stuttgart and Pittsburgh. He presently works for the Daimler Kunst Sammlung in Berlin, where he runs the project space 5x6x9. His current PhD studies are on the development of artist books and writing since 1960s. Luca Trevisani is one of the most promising Italian artists of his generation. Born 1979 in Verona, Trevisani studied art history in Bologna and attended a number of art classes with renowned teachers such as Tobias Rehberger and Alfredo Jaar. He has received awards
 such as the Premio Furla per l’Arte in 2007 and the New York Prize of the Italian Cultural Institute in New York in 2010. Trevisani has shown in galleries including Giò Marconi, Mailand, pinksummer, Genua, and Mehdi Chouakri, Berlin, as well as in solo shows in Athens, Amsterdam, and Rome. Recently, he was nominated for the Premio Italia Arte Contemporanea 2012. The artist deals with the basic physical connections and philosophical topics in his work. He creates fragile sculptures, abstract drawings, and experimental films that exemplarily focus on terms such as equation and balance, variability, and fluctuation. Trevisani says about his work: “Vodorosli can be beautiful, but, and this is what matters to me, the search for beauty is an ancient mistake. Beauty cannot be programmed,
 because it is always only a side-effect of other investigations. (…) It is better to forget about the boundaries between different art work as well as about the boundaries between different thoughts. There are no longer images, just sequences of images. A rythm, a song.” (Luca Trevisani)

Nine Yamamoto-Masson