“Letters to the Reader is composed of 11 painted and laser-cut wooden panels representing fragments of wall or wall samples. At the bottom of each panel is applied marquetry that suggests parquet flooring patterns. The following text accompanies the installation:
While visiting the recently opened museum of modern Arab art in Beirut, I noticed with great surprise that most paintings on display had no shadows. At first I was beside myself, convinced that religious zealots had destroyed the shadows. But there was no debris. I pondered anxiously whether the shadows had lost their bearings or grip. But I suppose I should have known all along that the shadows were not destroyed nor lost: they had simply lost interest in the walls where they were made to hang. I decided to build new walls on which I carved shadow-like forms—magnets of sorts—in the hope they’d attract the restless shadows. Thus far, not a single catch.
With this project and for the past 8 years, Raad has been documenting the building of new infrastructures for the arts in the Arab world. His project has concentrated on the material and immaterial conditions that inflect, alter or color the experience of Islamic, modern and contemporary “Arab” art. Here, his works engage some familiar and peculiar architectural and display features (floors, shadows, frames, walls, views) he’s encountered in various historical and imaginary, current and future museums in the Arab world.”
Letters to the readers by Walid Raad at the Paula Cooper Gallery.
“For more than twenty years, Crewdson has used the streets and interiors of small-town America as settings for photographic incarnations of the uncanny. Working with a crew, he plans his images as meticulously as any movie director, from the nocturnal Twilight series (1998–2002); to the cerebral Beneath the Roses(2003–08); to Sanctuary (2009). His careful crafting of visual suspense conjures forebears such as Diane Arbus, Alfred Hitchcock, and Edward Hopper. In Cathedral of the Pines, Crewdson’s persistent psychological leitmotifs evolve into intimate figurative dramas. ” – Gagosian Gallery
Artists: Shear Ozeri, Emerald Rose Whipple, Aaron Johnson, Gabriel Martinez, Majla Zeneli.
Left to Right – Top to Bottom
Anish Kapoor, Barbara Probst, Candida Höfer, Carlo Massoud,
Clarissa Tossin, Lucio Fontana, Kehinde Wiley, Letha Wilson,
Namsa Leuba, Nick Cave, Olivio Barbieri, Robin Rhode,
Vanessa Beecroft, Zahele Muholi, Awol Erizku, John Coplans
Additional: Anette Kelm, Nobert Bisky, Vik Muniz, Alice Neel, Alfredo Jarr, Andrew Moore, Thomas Struth, Lucio Fontana,Borden Capalino, Ai Weiwei, Wolfgang Tillmans, Richard Patterson.
I heard this song on my way to the set today and I immediately had a feeling of nostalgia. I thought of the good old happy days when I was a kid. Take me back to the days where I would dance to this beat at the Summerland Beach Resort with a bunch of kids I just met. Take me back to the days where I would carelessly devour my strawberry and vanilla ice cream without counting calories. Take me back to the days where I would enjoy going down the water slide without caring if my hair got wet. Take me back to the days where I knew nothing of this world and all the horrible things people do to each other. Take me back to those heady days at the end of the civil war when everything in my country seemed possible and optimism ruled the day. Take me back to the days where I had no worries and no responsibilities. Take me back to the days where I lived fully with no fears and regrets. Take me back to my tomboy days where I would wear baggy jeans, a large t-shrit and a cap worn backwards. Take me back to the days where I would play beach volley ball and not care about bruises. Take me back to the days where I was innocent, naive and free. Take me back to the days when I never paid attention to what people said. Take me back to the days where I could laugh out loud without looking around me. Take me back to the days where the only way I looked at the world was through my heart-shaped pink glasses. Just take me back to the 90s!