#walid raad

[luckyacid]

Walid Raad / The Atlas Group Comrade leader, comrade leader, how nice to see you_I, 2022 Single channel video, looped, no sound; 6 paper cutouts Edition of 1, 1 APs

[notforthebin]

Walid Raad

The Atlas Project (1989-2004)

Title: Civilizationally, we do not dig holes to bury ourselves

Attributed date: 1958-1959

Attributed to: Dr Fadl Fakhouri

The only available photographs of Dr Fakhouri consist of 24 black-and-white self-portraits that were found in a small brown envelope titled, Civilizationally, we do not dig holes to bury ourselves. The historian produced the photographs in 1958 and 1959 during his one and only trip outside of Lebanon, to Paris and Rome.

[play-bills]

Walid Raad, We have never been so populated, Paula Cooper Gallery, NYC (March 8 - April 16, 2022)

[mthvn]

Painting Trees (2020) is part of an e-flux art fundraiser for earthquake relief in Syria and Turkey running from April 1—May 1, 2023. Artists: Marwa Arsanios, Iman Issa, Ahmet Öğüt, Walid Raad, Christian Nyampeta, Jumana Manna, Koki Tanaka, Raqs Media Collective, Nikita Kadan, iLiana Fokianaki, Pelin Tan, Jonas Staal, Metahaven, and Maryam Tafakory. See https://www.e-flux.com/announcements/530274/art-benefit-for-earthquake-relief-in-syria-and-turkey/  Metahaven, Painting Trees, 2020, 22 x 15 cm jacquard weaving. Part of the series Arrows I.

[galvenporter]

Minneapolis Institute of Art names Yasufumi Nakamori photo curator - Star Tribune

... Galven Porter, Walid Raad, and Martha Rosler. His award-winning 2010 catalogue "Katsura- Picturing Modernism in Japanese Architecture" documents a ...

[sarahrserfati]

"Capturing a composite truth that stretches beyond historical fact, the works on view explore Beirut’s constant physical transformation during the protracted wars. In the early 1990s, Beirut’s ravaged downtown embarked on vast reconstruction, launching the largest urban redevelopment project of the city’s history with the establishment of the Beirut Central District. Examining the persistent effects of the war, as well as the use of photography and video as an index for archiving a violent past that lingers, the works in this exhibition cast a quizzical, mediated eye onto images of the city from this time.

In a large-scale video work consisting of kaleidoscopically mirrored loops, dilapidated buildings silently crumble into clouds of debris. As the playback reverses, the buildings reemerge from their ruins, only to crumble again. The footage is derived from video documentation of hundreds of buildings being demolished to make way for the new, glittering postwar city center. As the video plays forward and backward in a seamless and infinite loop, the dust billows dissolve into abstract blooms, confronting the viewer with the horror and beauty that history exerts onto living spaces. The iterative rise and fall, doubling and rebroadcasting, evokes the contingent nature of power relations, urban communities, and the body politic."

Via Paula Cooper Gallery

[inkv]

Agency: TBWA\RAAD Chief Creative Officer: Walid Kanaan Executive Creative Director: Frederico RobertoCreative Director: Rodrigo Scapolan Senior Art Director: Diogo Seibert Account Director: Diana Georges Creative Technology: Nikhil Verma Video Editor: Preetam Kotian Producer: Ezzat Habra

[tedoylavida]

Walid Raad les impacts. Les barres de Lina.

[ambroseisland]

Walid Raad — The Atlas Group "Oh God," she said, talking to a tree

[marilynlennon]

Thomas Hirschorn

Thomas Hirschhorn declared: “I want to give a form which resists facts, which resists opinion and which goes beyond actuality, which reaches beyond information—that is why I invented the motif ‘eye and its capacity to see everything red. . . . The eye doesn’t need to know—the eye just sees and that’s what counts.”¹ Coming from an artist famous for his impassioned political engagement, this statement is surprising, if not shocking. Hasn’t a great deal of politically inclined art, from the advent of Conceptualism to the heyday of institutional critique and right up to contemporary docudramatists such as Walid Raad and Emily Jacir, flaunted its proximity to information—taunting and titillating us with “facts” aimed at changing our minds.

[lucaaaamakesart]

Week 2 - 16/10/22

The Atlas Group - Walid Raad

I liked the visual of the bottom page. I think it is sucessful in making you want to look at it and figure it out due to the colour contrast, the physicality of the circles and the chaotic clustering. However I do think it is hard to read especially for a poster as the key isn’t clear or easily visible. 

I like the use of collaging in the top images as a way of representing data. 

[kaitlin-monty]

Walid Raad - "They were sick of being cheered by Killers" (1996/2021)

[slack-wise]

Walid Raad

[door]

Walid Raad, Epilogue II: The Constables, 2021

“Epilogue II: The Constables, 2021, presents a suite of photographs depicting the backs of paintings that we are told were discovered behind a group of unidentified old-master canvases purchased by the Louvre Abu Dhabi. The work’s title and imagery suggest the cloud studies of English painter John Constable, whose surname is also the British word for a police officer. And the paintings’ visible stretcher bars call to mind the bars of a jail cell: a visual barricade that keeps the viewer at a remove. Raad’s wall text discusses this impediment to observation, claiming that ‘Abu Dhabi has forbidden anyone from looking at the paintings’ fronts’ and has banned display of the objects entirely, only allowing these curious photos to be seen.” David C. Shuford

“What if museums, and the objects they care for, rested not only on historical, ideological, scientific, economic, and cultural grounds — but also always in parallel worlds, ones whose spatial and temporal coordinates are counter-intuitive and labyrinthine?” Walid Raad