#michael rakowitz

[banalityofweevil]

from Michael Rakowitz, the Waiting Gardens of the North at the BALTIC

[egoschwank]

al things considered — when i post my masterpiece #1234

first posted in facebook october 30, 2023

michael rakowitz -- "the invisible enemy should not exist (northwest palace of nimrud" room n, panel n-14

[composed of arabic newspapers, food packaging, cardboard relief sculptures on wood panel, museum labels]

"'the invisible enemy should not exist (northwest palace of nimrud)' constructs reappearances of historically looted and recently destroyed relief sculptures that lined the walls of the ancient assyrian palace of nimrud (present day mosul, iraq)" … nimrud gallery

"[this is] part of an ongoing series called 'the invisible enemy should not exist', which, [rakowitz] says, is a reflection on 'the threat to cultural heritage in times of war'. its long-term aim is to reproduce, in some shape or form, the 7,000 cultural artefacts that have been reported as missing, either looted or destroyed, since the beginning of the iraq war in 2003" … peter aspden

"i am attracted to work that can make you feel really good and really bad at the same time and i think that there’s something redemptive in the reappearance of these artefacts, these ghosts of things that are lost" … michael rakowitz

"you think that you can create a history of what has been. present artifacts. a clutch of letters. a sachet in a dressing table drawer. but that's not what's at the heart of the tale. the problem is that what drives the tale will not survive the tale" … cormac mccarthy

"al things must pass" … al janik

[totallyhussein-blog]

Michael Rakowitz exhibition takes the North East by storm

'The Waiting Gardens of the North' is centred around a relief panel from the North Palace of Ashurbanipal (668–631 BCE) in Nineveh depicting the Assyrian gardens, believed to have preceded what is now known as the Hanging Gardens of Babylon.

Reader's will also be interested to know, 'The Waiting Gardens of the North' has been created by Iraqi-American artist Michael Rakowitz and has been commissioned by Baltic Arts in partnership with the Imperial War Museums 14-18 NOW Legacy Fund.

The Baltic Centre is open Wednesday-Sunday 10am-6pm. It's situated on the Quayside in Gateshead, a 10-15 minute walk from Gateshead Town Centre. Baltic is accessible for pedestrians from the Newcastle Quayside over the Gateshead Millennium Bridge.

[eucanthos]

Michael Rakowitz   (US, 1973)

_

The Monument, The Monster and The Maquette, May 6 - June 18, 2022

installation view Rhona Hoffman Gallery, Chicago

Rakowitz’s two new sculptures expose the relationships between monuments in the US that have been removed and those that remain.

The word monument is derived from the Latin verb monere, meaning “to remind,” “to advise,” and “to warn.” It gives words like demonstrate and monster. Monsters have functioned allegorically throughout history, often sent from above as a warning.

https://www.rhoffmangallery.com/exhibitions/michael-rakowitz4

thnx exasperated-viewer-on-air

[gothhabiba]

I’ve been told by various importers that any Mamoul cookie coming from Saudi Arabia or Damascus actually contains Iraqi dates, even though the label says “Select Saudi dates.” The baking dates used in these cookies come from Iraq—they’re of better quality and they’re also cheaper. Between 2002 and 2004 there was a company in Sharjah, United Arab Emirates, that was bringing in dates from Basra, from a really famous company called the Al Moosawi Date Company. They were packaging them as Dubai Dates and selling them to the rest of the world as a product of the UAE.

That company stopped business in 2004 because there was a concern, actually a belief throughout the entire region, that the US and Britain had used depleted uranium in the bombs they dropped. From 30 million date palms in the mid-1970s the number fell to sixteen million, and by the end of the 2003 campaign Operation Iraqi Freedom, there were only three million date palms left in the entire country. And these palms were suffering from a kind of Fusarium bacterium, which many scientists link to the use of depleted uranium. The radiation lowers the tree’s immune system. The bacteria attack the trunk, making the trunks go flaccid and the crowns fall over. They end up looking like weeping people. It’s very sad, an ecological disaster that mirrors the human disaster.

Another thing I found out is that whenever anything is labeled from these other countries, Iraqi businessmen take an enormous hit. They see only 30 percent of their profit when these middlemen are involved. I talked about this with a representative from Dubai Dates. It was something he would never bring up with an Iraqi, because the relationship was so adverse. The Iraqis aren’t making any money, but it’s the only way they can get their dates out into the world.

I was also told that even a professional US importer would have problems bringing in Iraqi products. They’d have to wait months. I realized I might have to wait years. I called Charlie Sahadi and asked, “Do you remember me?” I said, “Listen, I found out we can import dates. I am talking to a company in Iraq that thinks we can do it—will you work with me?” He was saying things like, “Look, if this goes wrong, it’s like a black mark on our record, a blemish. The dates could be scanned, and you’ll end up paying $3,500.00 even before they get to our warehouse, and then the USDA [us Department of Agriculture] and the FDA [Food and Drug Administration] have to come and inspect them, and then they might get sent back.” So I tell Charlie I understand, but that I have a budget, and it’s cultural money. He said, “You know this is bad business.” And I said, Yeah, but it might be really good art. And he understood. He understood that if this works out, a big step could be made.

Michael Rakowitz in "Enemy Kitchen: An Interview with Michael Rakowitz," by Liza Johnson. Gastronomica, Vol. 7, No. 3 (Summer 2007), pp. 11-18. DOI 10.1525/gfc.2007.7.3.11.

[motifcollector]

"While the Venice Biennale has allowed Israel to participate year in and year out, in spite of its designation as an 'apartheid' state by Amnesty International, Human Rights Watch, and the Israeli human rights organization B’Tselem, Palestine has always been barred from having its own pavilion. To participate in the national section of the Venice Biennale, the country’s independent government must be acknowledged by the Italian Government, disqualifying Palestine.

"The Biennale appears to be politically neutral, following state protocol, but the Venice Biennale is actively involved in making and unmaking countriesʼ statehood. In 2022, the Sámi, a people indigenous to parts of Norway, Finland, Sweden, and Russia, were permitted to use the Nordic Pavilion even though Italy does not recognize the region of Sápmi as a sovereign nation. In March of that same year, the Biennale issued a statement declaring its 'full support to the Ukrainian people and to its artists' and 'expressing its firm condemnation of the unacceptable military aggression by Russia.' Yet, the festival has been deafeningly silent on the atrocities of Gaza."

[artdepo]

Michael Rakowitz

American Golem, 2022

[princessofmissouri]

Who is your favorite chi artist?

prob michael rakowitz or pope L or lee godie

[davidpaulross]

https://www.contemporaryartdaily.com/project/michael-rakowitz-at-rhona-hoffman-gallery-chicago-22946

[detournementsmineurs]

"The Invisible Enemy should not Exist..." projet de Michael Rakowitz recréant des artefacts irakien en papiers journaux ou alimentaires en aluminium (2007-2022) à l'exposition "In The Heart of Another Country" Deichtorhallen Hamburg, décembre 2022.

[dd20century]

ParaSITES: They're Not Quite What You Think They Are

When you hear the word "parasite" one usually conjures up thoughts of organisms feeding off other organisms, like tapeworms. For artist Michel Rakowitz a ParaSITES was an ingenious solution to the global homeless crisis.

Recently the Hidden Architecture blog described Rakowitz's inflatable structures as "custom-built inflatable structures designed for homeless people that attach to the exterior outtake vents of a building’s Heating, Ventilation, and Air Conditioning (HVAC) system. The warm air leaving the building simultaneously inflates and heats the double membrane structure."

Michael Rakowitz, ParaSITE (1989), New York City. Image source.

Rakowitz's ParaSITE housing was included in a 2005 exhibition, "Safe: Design Takes on Risk" at the Museum of Modern Art in New York.

Read about more of Michael Rakowitz's ParaSITE housing on Hidden Architecture.

Learn more about Michael Rakowitz's ParaSITE housing on the MOMA website.

[mrcowboytoyou]

50 Art Piece pt 2

Second verse same as the first. Remaining 20 pieces. Part one is here.

Ghost of a Drunk (self portrait)

Kim Doralnd

Oil and acrylic on jute over wood panel

2013

96 x 72

Coming In

Peggy Judy

Acrylic on canvas

2014

30 x 40

Untitled

Michael Tunk

Analog collage

2015

11" x 14"

The Unknown Rider in Hidden Blood

Michael Tunk

Analog collage

2015

11 x 14

The Entertainer

Jamian Juliano-Villani

Acrylic on canvas 

2015

48 x 40

Love of Running

Peggy Judy

Acrylic on canvas

2015

36 x 60

Grazing

Luke Anderson

Oil on Canvas

2016

20 x 24

Night falls over the little Colorado

Mark Maggiori

Oil on Linen

2016

36 x 36

Rodeo Poster

Thomas Blackshear II

Oil on canvas

2018

31 × 43

The invisible enemy should not exist (Northwest Palace of Nimrud) (Room F, Panel 15)

Michael Rakowitz

Arabic newspapers, food packaging, cardboard relief sculptures on wood panel, museum label

2018 - ongoing

88.6 x 84.2 x 3.5

Kong vs Godzilla

Shanth Enjeti

Watercolor, gouache, and ink on Cold Press watercolor board

2018

20 x 16 inches

Robot Rider

Hajime Sorayama

Lithograph on paper

2019

23.6 x 16.5

Millie Savage 2019 Campaign

Jesper Hede

Photography

2019

Size unknown

The Taming of the Cowboy (Scott)

Will Cotton

Oil on linen

2020

37 x 28

Running Wild

Logan Maxwell Hagege

Oil

2021

42 x 40

Falling Cowboy

Will Cotton

Oil on linen

2021

54 x 72

Dryads and Pollinators (Moths)

Jennifer Caotes

Acrylic and spray paint on canvas

2021

72 x 90

Sonoran Magnetism

Mark Maggiori

Oil on linen

2022

48 x 53 inches

21:35

Pascal Möhlmann

Oil on Canvas

2023

59 1/10 × 59 1/10 × 1 ⅕

The Great Mystery

Kent Monkman

Acrylic on Canvas

2023

117.5 x 91.5

[louisaelderton]

Text for Frieze: 'Michael Rakowitz's Fading Fandom'

I wrote a review of Michael Rakowitz's exhibition ‘I’m good at love, I’m good at hate, it’s in between I freeze' at Barbara Wien, which discusses the the Israeli–Palestinian conflict and Rakowitz’s attempt to understand whether we can separate an artist from their music. You can read it here.

[davidjhiggins]

This Dresséd Plot

I am greatly fond of parklets and other schemes that focus on streets as connections for humans rather than vehicles. So Michael Rakowitz’s (p)LOT: Proposition 1 installations spoke to me as soon as I heard about them. However, it also triggered a cascade of other, sometimes conflicting, perspectives. Continue reading Untitled