notes from a biennial -appendix [ii] in conversation with aisha khalid

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Aisha Khalid & I

by Guy Mannes-Abbott

Conversation at Sharjah Art Museum Sharjah UEA March 2011

Guy Mannes-Abbott [gma]

Let’s begin with your piece hanging in the entrance foyer of the Sharjah Art museum, Kashmiri Shawl [2011]?

Aisha Khalid [ak]

There is a whole story behind this piece I did, this shawl. Continue reading “notes from a biennial -appendix [ii] in conversation with aisha khalid”

notes from a biennial – on reflection

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Notes from a Biennial – On Reflection

21.03.2011, 12:01

by Guy Mannes-Abbott

The opening week of this year’s Biennial was very intense; promising and delivering much. I’m glad I had early access to it all, could play that off repeated circuits and discrete returns, along with mini wanders with various artists and writers, old and new friends, listen to other’s highlights, tips, and ‘zoom’ in and out of the city, region and world in the process.

I was invited as a writer to write critically and I would fail the Biennial as much as myself if I did otherwise. I’m a demanding judge or at least have very high thresholds and am not biddable! Yet Sharjah Biennial 10 has been a triumph for all those involved. It took big risks Continue reading “notes from a biennial – on reflection”

on my way to sharjah biennial 10, 16.03-16.05 2011

I’m abandoning the Fruit Store for the [warmer] Biennial, where I’m invited to be art critic in residence during a genuinely exciting opening week. Check the contents of it on the Biennial’s webpage.

My project is to restage Notes from a Fruit Store for the opening week and you’ll find the button -Notes from a Biennial-  on Sharjah’s header very soon. For highlights and much more check here from about the 12th March through the 20th. For my part, I can’t wait…

nb, visual art noticeboard [alternatives to friezing…]

Dirk Stewen untitled [bronx monkey II]

Dirk Stewen untitled [Bronx Monkey II] at Maureen Paley

I’ve been enjoying quite a few shows recently which are likely to be blown out of the water by the imminent frieze fair and so with mighty respect to the latter I thought I’d flag them up as alternatives…

Future Movements Jerusalem at Liverpool Biennial [18 Sept-28 Nov 2010] is an essential exhibition of work from and about Palestine. I posted on Raouf Haj Yihya’s Meter Square here, the New Statesman bravely ran a rather muted piece here and my own review will run at Babelmed shortly. Surprise yourself if you can get to it, or wait for it to travel south as I know it is scheduled to do. But be sure to see it.

Otherwise, Liverpool is a far better Biennial than scarce notice of it by lazy old journos suggests; everyone rightly notes the almost painfully compelling acid-Warhol-mashup-vids of Ryan Trecartin’s but there’s much else, including NS Harsha’s very nice installation [right] at 52 Renshaw Street and not least at Tate Liverpool -where a dubiously conceived but actually nicely put together show called The Sculpture of Language by Carol Anne Duffy exhibits some great and rarely aired works.

Dirk Stewen at Maureen Paley [08 October — 14 November 2010] is the most winning new work in town for me. If you do make it to the frieze jamboree then add this show to your bottom-line schedule otherwise you’ll have failed yourself and London. If you’re not friezing it then take advantage and spend some time in a show spread over two floors, beautifully arranged/hung works combining utopian gesture with extraordinary concentration, tentativeness and beauty. The work seems hardly there at all and yet surprises/delights with a precision that makes for indelibility. It’s Stewen’s first show in London, I’d never seen the work before and this exhibition made me happy to be alive; don’t miss it! Continue reading “nb, visual art noticeboard [alternatives to friezing…]”

nasreen mohamedi; reflections on indian modernism, bidoun

NASREEN MOHAMEDI: NOTES

BIDOUN WINTER 2009 #19 NOISE

bidoun-interviews_cover_1-1_large

by Guy Mannes-Abbott

A previous post on Mohamedi referred to my catalogue text from 2001. Now I’m posting my short review of her recent retrospective exhibition as it appeared in the UK. I was pleased and proud to write something on a show that went almost unnoticed -and was certainly not engaged with- in the UK [again], but there’s much more to be written about her work and its contexts.

For now, here are scans of the pages in Bidoun [below; click to enlarge]. Let me repeat that it’s essential wherever you are in the world to see the work itself -to stand in front of the drawings in particular- whenever the opportunity arises. Until you do you will have missed an important 20th Century artist and maker of our new world.

I’ll return to Nasreen Mohamedi at greater, speculative and more definitive length in the future…

Continue reading “nasreen mohamedi; reflections on indian modernism, bidoun”