Thursday, June 13, 2024

CATEGORY

Culture

‘backbone’ group show curated by studio salasil at Carbon 12

Carbon 12 announces the opening of their new show titled ‘backbone عمود فقري’ opening on June 12, 2024. studio salasil, a duo of curators, Zainab Hasoon and Sara bin Safwan, has curated this group show. The exhibition will feature works by seven artists: Nour Malas, Alia Hamaoui, Jana Ghalayini, Malik Thomas Jalil Kydd, Kaïs Dhifi, Audrey Large, and Théophile Blandet. Installation image ‘backbone’ group show curated by studio salasil at Carbon 12. The backbone, composed of vertebrae, discs, joints, soft tissues, nerves, and the spinal cord, is essential for internal strength and connectivity. It embodies our internal worlds and the expansive senses of function and emotion. This concept resonates with the Arabic word “سند” (sanad), meaning someone who has your back, highlighting the backbone’s role in support and connection. The exhibition backbone delves into the complexities and vulnerabilities of these structures, which can be exposed, excavated, or elusive. Installation image ‘backbone’ group show curated by studio salasil at Carbon 12. salasil invites six artists who incorporate risk and interruption in their work, spanning painting, sculpture, video, sound, and textiles. ‘backbone’ explores how the ‘image,’ whether imagined or felt, can materialise into physical forms, producing outcomes that shift and collapse within a balance of temporal spaces. The interaction between objects and space is dynamic, with each dimension transmitting signals of our presence. The exhibition challenges our senses and nerves, aiming to render the internal and external visible to understand their differences. Nour Malas employs spontaneous gestures, delving into endless inner voids, and chronicling confrontations and emotions. Alia Hamaoui’s work resembles viewing architectural structures from a moving car, constructing and distorting places that reflect our inner worlds. Malik Thomas Jalil’s textiles, made with natural materials, evoke soft, spectral figures, poetically challenging the viewer to trace his psychological journey. Kais Dhahifi uses engraved aluminium to blend ancient knowledge with futuristic technologies, probing past remnants. Jana Ghalayini’s tapestries, woven using traditional techniques, explore her inner world, aiming to create a tangible presence. Audrey Large and Théophile Blandet question the reliability of vision, using distinct visual languages to explore the concept of the object and its worldview. Installation image ‘backbone’ group show curated by studio salasil at Carbon 12. About studio salasil studio salasil is a future-focused curatorial studio dedicated to care, research, and experimentation. They develop exhibitions, publications, programs, mentorships, and artworks that reimagine narratives, senses, and experiences. Embracing collaboration and dialogue, they explore the multidisciplinary nature of creativity to uncover the endless possibilities in exhibition-making and art creation. Their work highlights the dynamic relationship between curators, artists, and audiences, aiming to foster risk-taking, disruption, and imagination. studio salasil has curated ‘Beyond A Reasonable Doubt’ in collaboration with The West Asian North African Women’s Art Library at Reference Point, London, and ‘Crystal Clear’  at Bayt Al Mamzar, Dubai. Location: Carbon 12, Alserkal Avenue, Dubai Dates: 12 June – 7 September 2024 No Newer Articles

H Residences – Redesigning Culture and Community

The newly developed H Residences on Al Wasl Road in Dubai replaced an old retail structure that has been a cherished destination since the 1980s. The residences are now slowly turning into a hub to foster culture and community. The hub is being developed by HUNA, whose ethos – as articulated by Mohammad Saeed Al Shehhi, CEO of A.R.M. Holding – revolves around the core belief that vibrant communities are the cornerstone of exceptional developments. The company’s recent ventures, The Fold and H Residences, stand as testament to this philosophy, heralding a new era of cultural living while revitalising Al Wasl Road. At the heart of HUNA’s mission is a commitment to enhancing Dubai’s liveability by curating spaces that foster connection, purpose and cultural enrichment. Through strategic partnerships with renowned designers and creators, the company is crafting an ever-evolving lifestyle narrative for an elite clientele, underpinned by art, culture and community activation. What sets H Residences apart is not just the promise of luxurious living spaces but also its seamless integration with the local community. The project replaces an old retail structure with a vibrant communal hub, featuring globally renowned dining establishments. Architect Tariq Khayyat’s design for H Residences is a harmonious blend of innovation and urban living. The development boasts a spacious public plaza, artfully sloping design for privacy and panoramic views, and a 30-metre spanning bridge connecting residents to prime recreational areas. With a focus on sustainability and energy efficiency, the design incorporates elements like vertical louvres for shade and natural light optimisation, creating serene living environments while minimising environmental impact. The H Residences project is not just about creating luxurious living spaces; it’s about fostering a sense of belonging, inclusivity and community engagement. By seamlessly integrating indoor and outdoor spaces, promoting social interaction and providing much-needed green and shaded areas, H Residences is poised to become a beloved destination for residents and visitors alike. Technical sheet Client: HUNADesign: Tariq Khayyat, Xiaosheng LiArchitect of record & engineering: Dewan Architects & EngineersFaçade engineering: Drees & SommerLandscape: Francis LandscapeArchitectural lighting: Delta lighting solutionsMain contractor: ASGC Photography by Gerry O’Leary; Philip Handforth Catch our latest architecture news here. DubaiTariq Khayyat Design Partners

Atelier Pagnamenta Torriani (APT) has carved a new narrative in library design

Atelier Pagnamenta Torriani has redesigned the J.G. Jabbra Library and R. Nassar Central Administration Building, which transcends traditional architectural paradigms.The buildings were strategically placed adjacent to excavated rock formations Situated on the iconic Byblos Campus of the Lebanese American University, where history meets innovation. the essence of Lebanon’s rich history and natural beauty merge seamlessly in this design ethos, while the stark contrast between excavated rock and the lush mountainous backdrop sets the stage for a transformative architectural journey. Drawing from the complex stratified history of the region, APT embraced the challenge of integrating Lebanon’s powerful light into the design while creating a soothing interior ambiance. With a design philosophy focused on harmony between nature and architecture, the buildings were strategically placed adjacent to excavated rock formations in order to create a mesmerising public amphitheatre. This unexpected and inviting space, with the rock as a dramatic backdrop, epitomises the fusion of natural and man-made elements. The design approach by Atelier Pagnamenta Torriani The structures themselves are dynamic forms, characterised by layered exterior skins that optimise light diffusion and provide essential shade. The seamless flow between exterior and interior spaces enhances connectivity and creates a sense of openness. A central atrium acts as a luminous hub, promoting natural air circulation and fostering a serene atmosphere that is conducive to learning and exploration. APT’s commitment to sustainability shines through in every aspect of the design. A central atrium acts as a luminous hub, promoting natural air circulation and fostering a serene atmosphere Passive features inspired by local typology – such as mashrabiya-inspired double skins and sunken gardens – not only enhance aesthetics but also contribute to energy efficiency. Photovoltaic solar panels further reduce electrical consumption, aligning with Lebanon’s focus on conservation and environmental stewardship. From ample study spaces to ergonomic furniture crafted by local artisans, every detail is curated to enhance comfort and productivity. The library’s layout fosters synergies between scholarly activities and social interactions, creating a vibrant hub for learning, exchange and community engagement. The façade is characterised by layered exterior skins that optimise light diffusion and provide essential shade APT’s redesign of the buildings goes beyond architectural innovation – it represents a paradigm shift in how libraries are perceived and experienced. By seamlessly blending heritage, sustainability and user-centric design, APT has redefined the status quo, setting a new standard for spaces that inspire, educate and empower. Passive features inspired by local typology such as sunken gardens were used Technical sheet Gross built area: 8,175 m2 library, 4,366 m2 landscape groundsProject location: Jbeil, LebanonClient: Lebanese American UniversityEngineers and architect of record: Rafik El-Khoury & PartnersProject manager: DG Jones & PartnersContractor: Natcon Photography by Bahaa Ghoussainy Read more architecture features here.

St Regis Red Sea Resort – Where sustainable luxury meets architectural splendour

St. Regis Red Sea Resort is crafted by Architect Kengo Kuma and interior design firm Kristina Zanic Consultants. This resort famous for hosting the Red Sea Fashion Week is a ground-breaking project heralding the debut of the first island resort in the Red Sea within the Kingdom of Saudi Arabia.The interiors by Kristina Zanic Consultants embrace a nature-driven ethos. Copyright – Alex Jeffries The interiors by Kristina Zanic Consultants embrace a nature-driven ethos. Copyright – Alex Jeffries Nestled on Ummahat Island in the Al Wajh lagoon, this resort is a marvel of design and architecture, accessible exclusively by chartered boat or seaplane from the newly inaugurated Red Sea International Airport. The island, enveloped by crystal-clear waters, powdery white beaches and thriving coral reefs, sets the stage for a luxurious and sustainable retreat. The design narrative, inspired by the island’s natural splendour, resonates throughout the resort. Architectural cues mimic the fluidity of sand dunes and the organic shapes of seashells, while interiors embrace a nature-driven ethos. Soft curves, spiral motifs and a palette drawn from desert hues and marine tones create an ambiance of serenity and harmony. Copyright – Alex Jeffries The villas, whether nestled in the sand dunes or perched overwater, embody this fusion of luxury and nature. Floor-to-ceiling windows frame panoramic views, blurring the line between indoors and outdoors. Artworks crafted from natural materials and bespoke furnishings add a touch of elegance, reflecting the resort’s commitment to sustainability and design excellence. Sustainability is at the core of the resort’s ethos, with LEED Platinum certification guiding its development. Renewable energy sources, advanced water treatment and waste management solutions underscore the commitment to environmental stewardship without compromising on luxury and comfort. Kengo Kuma Architects have crafted low, horizontally oriented Land Villas with gently curved roofs, mirroring the natural sand dunes at the St Regis Red Sea Resort

‘D’Eaux, de Graines et de Particules Lumineuses’ by Fakhri El Ghezal at Lilia Ben Salah Gallery Paris

Fakhri El Ghezal Astres perdus 14 Eau de javel et encre sur papier 29,5x21cm 2023 Lilia Ben Salah Gallery opens ‘D’Eaux, de Graines et de Particules Lumineuses,’ Fakhri El Ghezal’s first solo exhibition at the gallery. Known for his multifaceted work, El Ghezal transforms his studio into a space that bridges his diverse practices. Recognised as a photographer and video artist capturing the harshness of reality, and as the painter Ibrahim Matouss, he also writes incisive phrases under the pseudonym Oueld Halima. In this new space, El Ghezal consolidates his various personas into a singular artistic expression. Since 2020, El Ghezal has developed a practice centred around bleach on coloured paper. This process, initiated by chance, transforms perceived loss into luminous gain, as the bleach reveals vibrant colours. This discovery led to a ritualistic practice where El Ghezal drew coloured shapes and applied bleach with a felt pen, creating intricate figures of dissolution. These monochrome ovoid shapes, resembling plant leaves or ellipsoids, populate both small and large surfaces in systematic or freeform arrangements. Fakhri El Ghezal Astres perdus 10 Eau de javel et encre sur papier 29,5x21cm, 2023 In the Tunisian dialect, to “open the colour” means to dilute it through various nuances until it disappears. El Ghezal’s exploration of this chemical process interests him for its ability to reveal diverse colour nuances without losing substance. This intricate play with colour and light in his circumscribed forms reflects a deeper search for openings within enclosed spaces. El Ghezal’s ritualistic practice transcends mere visual play, delving into serious contemplation. His meticulous setup, from the stall to the carefully arranged papers, underscores the gravity of his artistic process. This dedication hints at deeper meanings and personal experiences, including a period of incarceration, which influences his work. The enclosed spaces in his art evoke both the confines of a prison cell and the meditative refuge of a seeker. In these spaces, El Ghezal finds pathways of light and colour, suggesting an escape and a quest for revelation. Through his work, El Ghezal invites viewers to pause and capture moments of light and insight, mirroring the experiences of confinement and meditation. His art reveals the profound interplay between darkness and light, constraint and freedom, ultimately offering a glimpse into the transformative power of seeing. Fakhri El Ghezal, Errance vert 1, eau de javel et encre sur papier, 30×40,5cm, 2023 About Fakhri El Ghezal Born in 1981 in Akouda, Tunisia, Fakhri El Ghezal is a Tunisian visual artist and independent filmmaker. His multifaceted practice includes silver photography, video, painting, drawing, and calligraphy, often blending these mediums. From 2008 to 2021, he worked as a pyrography painter under the pseudonym “Ibrahim Màtouss” and later practised calligraphy under the pseudonym [Weld Hlima]. El Ghezal’s work centres on light and memory. Moroccan author Arafat Sadallah describes it as “manifestation by light and in light.” His photography, as noted by Ismaël in “Traces,” explores the interplay between memory and image, body and photograph, in a continuous, resonant cycle. El Ghezal graduated from the Institut Supérieur des Beaux-Arts of Tunis and the Institut des Beaux-Arts of Nabeul. His work has been showcased in numerous international festivals and exhibitions, including the African Photography Encounters in Bamako, Documenta Fifteen in Kassel, the New Museum in New York, MUCEM in Marseille, and the Centre d’Art Vivant in Tunis. He has also participated in the Carthage Film Festival, the Locarno Film Festival, and the Clermont-Ferrand Short Film Festival. Location: Lilia Ben Salah Gallery, Paris Dates: 13 June – 20 July 2024 No Newer Articles

‘The Harvest’ by Dalia Baassiri at Galerie Janine Rubeiz Beirut

When The Season Returns I, 2023, Acrylic, wall paint collected from Fayyad Building (post-Beirut Explosion), graphite, paraffin wax (post-Harissa Prayers), threads, organza fabric, archival glue and varnish on canvas, 90 x 52cm Galerie Janine Rubeiz presents the opening of Dalia Baassiri’s second solo show titled ‘The Harvest’ from June 12, until July 12, 2024. The artworks were produced during Baassiri’s residency at Ashkal Alwan in 2023. For the past three years, the Baassiri has collected various elements, primarily wall fragments from the Fayyad Building facing the port of Beirut after the explosion but also burnt candles left post-prayers in Harissa, and broken tree branches scattered across Beirut’s streets, intentionally cut to make charcoal for shisha smokers. The artist views these items as embodiments of ‘vulnerability.’ Stored in boxes, they await the changing seasons. Once mature, they are spread around her studio, allowing them to tell their stories after long periods of silence. When The Season Returns XII, 2023, Acrylic, graphite, paraffin wax (post-Harissa Prayers) and varnish on canvas, 60 x 80cm Through the process of assemblage, the fragments transformed into compositions that revealed their intrinsic properties, occasionally blending with other elements. At times, they coalesced into a single entity. Baassiri has been obsessively in search of fragile entities with significant stories, considered the raw materials of her work. Upon discovery, these objects are given new, solid lives by embracing their delicacy and strengthening them with adhesives. This obsession raised questions for the artist: Is vulnerability contagious? Do we become a product of our environment? Does living daily in an unstable setting like Lebanon make us particularly attuned to fragments and ruptures? Is the artist constructing a self-portrait through these clusters of broken pieces, or is this desire to preserve and merge a form of adaptation? When The Season Returns VI, 2023Acrylic, wall paint collected from Fayyad Building (post-Beirut Explosion), graphite, threads, hot glue sticks, organza fabric, archival glue and varnish on canvas, 53 x 61cm About Dalia Baassiri Dalia Baassiri, born in Sidon in 1981, is a Lebanese visual artist. She holds a BS in Graphic Design (2003) from the Lebanese American University, Beirut, and an MA in Fine Art (2012) from Chelsea College of Arts, London. Growing up during the Civil War, Baassiri explores her identity with a country in constant conflict. Her interdisciplinary work, spanning drawing, painting, and sculpture, finds refuge in the domestic sphere. Her art interrogates the familiar elements of home, from dust to walls. Her work has been exhibited globally at venues like Mathaf (Doha), Galerie Janine Rubeiz (Beirut), Art Dubai, and Venice’s Arsenale Nord. Her solo shows include “Wiped Off” (2017) and “The Harvest” (2024). Baassiri has received awards from Fabriano, Maraya, and the Lebanese Web Design, and her sculptures have been finalists at the Celeste Prize (London) and Arte Laguna Prize (Venice). She has held residencies at Kempinski (Berlin), Siena Art Institute (Italy), Residency Unlimited (Brooklyn), Sculpture Space (Utica), Fallani Venezia, Espronceda Institute (Barcelona), and Ashkal Alwan (Beirut). Location: Galerie Janine Rubeiz, Beirut Dates: 12 June – 12 July, 2024 No Newer Articles

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