In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...
Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...
China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...
Ramin Haerizadeh (born 1975, Tehran), Rokni Haerizadeh (born 1978, Tehran) and Hesam Rahmanian (born 1980, Knoxville) have lived and worked together in Dubai since 2009. They work independently and together propagating a form of collaboration that doesn't suppress individualism. The seeds of their language were sown as early as 1999, back in Iran. Their practice offers up a novel redefinition of the collective, as theirs is constantly growing and contracting to incorporate friends, writers, and artists at large. It entails the use of both low and high art references, and they freely embrace 'what is considered marginal, wasted, wrong, messed up, useless, and taken for granted'. Their individual practices differ stylistically while political and social commentary become inherently subversive in a common reflection. The exhibitions they conceive are as much insights into their daily practice, which they designate as the ritual of living and working together.
Immersive and multi-media, their installations build upon their perception of life as theatre while also making visible their process. Generally, their proposals begin with the 'creatures' that the three artists become, physically and mentally, and whose very beings are the roles played. Multivalent references from a variety of sources are carefully contrived and filtered growing in parallel without trying to reconcile them. Placing emphasis on the importance of 'reporting on our time', they wish to bring attention to the urgencies of the present moment while opening up questions over a spectrum of subjects such as views on art and culture, gender fluidity, and power mechanisms.
'The conglomeration of things actually asks us to look at what is in front of us' comment the artists, demanding time for contemplation.
The artists seek to encourage the viewer to recognise the reality of interdependency and the value of solidarity with others. Therefore, they create a sense of alienation or estrangement from reality with depersonalised individual subjects (creatures) and inhomogeneous crafted objects. In this way, they aim to exorcise the sentimentalism, resulting in an emotional distance to elicit from the viewer astonishment rather than empathy and ultimately allowing for critical analysis.
Recipients of the Barcelona-based Han Nefkens/MACBA Award, the trio has presented The Maids at MACBA in Barcelona (2017), The Restless Earth at the Milan Triennale/Trussardi Foundation, a multi-room installation entitled Another Happy Day (2016-17) at the Guggenheim Abu Dhabi, and in the 9th Liverpool Biennial (2016). In 2017, they were also invited to transform the catalogue of the UAE National Pavilion at the 57th Venice Biennale into an extended site of exhibition. In 2015, the trio staged Slice A Slanted Arc Into Dry Paper Sky at the Zurich Kunsthalle; Those Who Love Spiders, and Let Them Sleep in Their Hair at Den Frie Centre of Contemporary Art in Copenhagen; participated in the 8th Asia Pacific Triennial of Contemporary Art with an installation All The Rivers Run Into The Sea. Over. / Copy. Yet, The Sea Is Not Full. Over at the Queensland Gallery in Brisbane; and presented their first solo museum exhibition in the US at the Institute of Contemporary Art (ICA) in Boston. Mousse Publishing published a monograph of their work entitled Ramin Haerizadeh Rokni Haerizadeh Hesam Rahmanian in 2015. A facsimile of their artist book Her Majesty? was published by Patrick Frey Edition in 2015.
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.