The Third Line will be participating at Frieze London from October 14 – 17, 2015
and FIAC from October 22 – 25, 2015

 

Frieze London      14 – 17 October, 2015        Booth H2

 

The Third Line is participating in the 13th edition of Frieze London and is exhibiting works by Babak Golkar, Hayv Kahraman, Joana Hadjithomas & Khalil Joreige and Zineb Sedira. Joana & Khalil will also be doing a book signing of a new publication on their work, which is being published to accompany the opening of their first solo exhibition in UK at HOME Manchester.

 

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Joana Hadjithomas & Khalil Joreige, Geometry of Space, 2014, (detail from installation view) Sculptures, stretched oxidised steel, diameter 80 cm; Scams Atlas, 3 publications, Murals, chronologic drawings of 2005, 2008 & 2010. Installation view at Villa Arson, Nice, France.

 

 

The selection of the works is based on the theme of geo-political networking, mapping and historiography. Over the years, Babak, Hayv, Joana & Khalil and Zineb have all developed bodies of work that reflect their social conditions – as immigrants, travellers, participants – within the diverse frameworks that support their professional, personal, social and political identities.

 

Originally part of Joana and Khalil’s project, I must first apologise… – which first exhibited at Villa Arson in 2014, and is currently exhibiting at HOME – the sculptural installation Geometry of Space (2014) observes the attempts of scammers to make their scams convincing and believable to the victims. Using information and facts from recent political, economic, religious, environmental, and financial events, they choose various countries to locate their story, usually in destinations where corruption seems plausible for them. This imagined mapping of corruption is shown through a series of sculptures and drawings that seek to track the circulation, and geographic itineraries of emails. The locations and countries that appear in a selection of over two hundred emails per year were used to identify these itineraries, whose coordinates (latitude and longitude) coincide with different events around the world. They are materialized with steel bands that give shape to a globe and physical reality to the virtual network as well as to the chronicle of events tabulated over a year of scams. The sculptural work will be accompanied by the artist’s video work I stared at beauty so much: Waiting for the barbarians (2013) in which they explore panoramic images of Beirut, shifting from mobile to immobile, from the general to the constantly excavated detail that opens onto the world.

 

Zineb’s photographs and video works use the intimate perspective of her own experience to investigate more universal ideas of mobility, memory and transmission, as well as explore issues concerning the environment. Sugar Craters (2013) is from a relatively new body of work, which traces the movement of sugar, starting its journey from locations across the world, and ending in the Port of Marseille, to form the sugar silos of St. Louis Sucre. These are documented by the artist as symbolic commentary on human mobility, presenting concepts of legacy and its transmission, and mankind’s impact on his environs.

 

Backyard Wars (2014), an assemblage piece from Babak’s The Return Project, is a decorative, outdoors metal model airplane taken apart and then reconstructed, considerably altering the appearance, which is burnt at one end and embellished at the bottom in gold paint. “The end result was akin to an iconic trophy that reads as a loose analogy into the West’s ‘questionable’ foreign and economic policy in the developing world. This idea was further expressed within A Monument to the Cold War, a sculpture created using the left over parts from the original model airplane that echoes both earlier and current histories. This work bears an uncanny liking to another botched up trophy, an apt ‘prize’ awarded to the egos of the world’s superpowers as they compete for the role of headline sponsor for global capitalism.” (Sara Raza, Babak Golkar: Experiments With Discontinuity, 2014)

 

New works by Hayv, including Curfew, are part of the series How Iraqi Are You? They are inspired by the Maqamat Al-Hariri, which are 12th century illuminated manuscripts that depicted daily life in Baghdad. The manuscripts allow her to explore her experiences as an Iraqi immigrant and to reevaluate her current position in relation to her cultural heritage. Each painting is a vignette of her life formed from memories of her childhood in Iraq and her family’s flight to Sweden during the First Gulf War. The texts in the works are personal memories from growing up in Baghdad as well as tongue twisters, aphorisms, typical Iraqi words and stories of existing as a refugee in Sweden, all in which the concept of dividing the text in color – black to narrate the story and red as commentary – is directly derived from the Maqamat. They become a recording of her disassociation with her culture and perhaps a yearning to reconnect with it. The process of writing the text in the works became somewhat performative and very much part of the work itself since she was actively relearning how to write her language as well as read and speak her mother tongue.

 

BOOK SIGNING

The Rumors of the World: Rethinking Trust in the Age of the Internet

Wednesday, Oct 14, 2015 | 3 PM | The Third Line booth H2

 

I must first apologise…, the first UK solo exhibition by Joana Hadjithomas and Khalil Joreige, opened this September at HOME, Manchester’s centre for international contemporary visual art, theatre and film. Curated by Omar Kholeif, Senior Visiting Curator, and Sarah Perks, Artistic Director: Visual Art at HOME, this exhibition is a co-production with Villa Arson, Nice (France) and MIT List Visual Arts Center, Cambridge (US).

 

Accompanying the exhibition is The Rumors of the World: Rethinking Trust in the Age of the Internet, a new publication edited by Omar Kholeif and published by Sternberg Press, with special contributions from Nicolas Auray, Finn Brunton, Laura U Marks, Rasha Salti, Uzma Rizvi, Omar Kholeif, Norman M Klein, Henriette Huldisch, Sarah Perks, Jacques Ranciere, Eric Mangion, and the artists.

 

The artists will be present at the booth to talk about the project and sign copies of the publication.

 

 FIAC       22 – 25 October, 2015        Booth 1.F22 

The Third Line is pleased to return to FIAC, Paris and is exhibiting works by Abbas Akhavan, Rana Begum, Sara Naim and Zineb Sedira. Zineb is also shortlisted for the prestigious Prix Marcel Duchamp, and is currently showing works in the Carré d’Art – Musée d’art contemporain de Nîmes, as part of the finalist’s exhibition.

 

Zineb Sedira, Sugar Silo, Diptych, 2013, Digital C-type, 160 x 200 cm each. Installation view at The Third Line.

Zineb Sedira, Sugar Silo, Diptych, 2013, Digital C-type, 160 x 200 cm each. Installation view at The Third Line.

 

The Third line is presenting works that reflect elements of land and cartography in the personal, cultural and geographical histories of the artists. They look at trade, travel, demarcation, architecture, and the human intervention in responding to nature as an ally and will be exploring the theme through drawing, photographs, installations and sculptural interventions.

 

Zineb’s work traces the lines of continuing journeys within the metaphorical borders that space and time, in between sea and land, encapsulate. Looking towards the sea, her photographs document nature, immigration, the ecosystem and man’s relationship to it all. Sugar Silo (2013) is from the Sugar Routes series, which traces the movement of sugar, starting its journey from locations across the world, and ending in the Port of Marseille. The warehouse storage rooms become backgrounds to a new kind of landscape, where the heaps of different coloured sugar resemble mountains. After filtering, the sugar is packaged off as a global commodity, its own local identity being lost somewhere along the trade routes.

 

Rana draws inspiration from urban visual stimuli such as the abstract clashes of form and colour that can be seen in the city, and combines them with the repetition of geometric form found in Islamic art. A new body of smaller, freestanding aluminum sculptures cast neon light via reflection on one side. This follows Rana’s established practice of working with minimalist aesthetic and urban physiognomies – each work demanding a level of interaction to be able to experience it in its entirety. The slightest shifts in colour, shape, movement, and viewing angle create complex new alignments through changing perspectives.

 

Abbas’ new ink on stone paper drawings (2014) follow his ongoing research, which has been deeply influenced by the specificity of the sites where he works: the architectures that house them, the economies that surround them, and the people that frequent them. Recent works have shifted focus, wandering onto spaces and species just outside the home – the garden, the backyard, and other domesticated landscapes.

 

Using predominantly photography and drawing in her artwork, Sara looks at the physical forms of things that are unknown, which stems from her interest in the body, and it’s interior and exterior tensions. The series Blood Cells Interrupted, Screens (2013) examines corrupt image files of Sara’s dead skin cells and blood cells. The static behaves as a source of miscommunication, but becomes physical and material. It recalls a feeling of information that has not been linked or found, though still revealing something new. Not one corruption resembles the other, with static noise becoming unique interruptions.