The 58th Venice Biennale, May You Live In Interesting Times (11 May–24 November 2019), certainly benefitted from low expectations, given the lacklustre curatorial of the previous edition, when different segments of the show were conceptually framed with titles like 'Pavilion of Joys and Fears' and 'Pavilion of Colours'. Add to this the...
Hong Kong-based artist Zheng Bo's social, ecological, and community-engaged art practice has, in recent years, focused on moving beyond a human-centred perspective to an all-inclusive, multi-species approach. He takes up marginalised plants and communities of people as subjects in his large-scale interventions, which reintroduce wildness into...
The weather was clement for the annual Auckland Art Fair (2–5 May 2019), which was again at The Cloud on Queens Wharf. This year's edition was a get-together of 41 galleries, mostly from around Auckland and across New Zealand, with 5 spaces hailing from Sydney and the rest from Cook Islands (Bergman Gallery), Hobart (Michael Bugelli Gallery),...
Timothy Taylor is pleased to announce its first solo exhibition with Shezad Dawood, who joined the gallery in late 2015.
Continuing an interest in how we experience time, and more specifically how the past continues to echo into the present, Dawood uses the site of Kalimpong – a small town in West Bengal – as a bridge between the past and the present. This is achieved through a layering of narratives that link Buddhism, painting, textiles, animation, digital new media and historical and speculative narrative.
The exhibition is constructed as a score that is informed by the questioning of the borders between virtual and material reality, and how that border becomes a contemporary expression of the border between figuration and abstraction, and between the Buddhist tradition of nirvana and of samsara (enlightenment and the world).
Kalimpong was the site of French explorer and esotericist Alexandra David-Néel’s first meeting with the Dalai Lama (1912), before her legendary journey to Lhasa. Later it was described as a ‘nest of spies’, after the Sino-Soviet split, and in advance of the Sino-Indian war, as various powers competed for resources and influence in Central Asia. Kalimpong also became the base for Texan billionaire Tom Slick’s Yeti expeditions, which may or may not have been covert operations.
While the works are not specific illustrations of these and other stories, they explore a larger imaginary of
The exhibition will bring together a new body of work, comprising sculpture, neon, painting, and an immersive virtual reality (VR) work set in Kalimpong, spanning the 1920s and the 1960s to the present day.
Accompanying the exhibition will be Kalimpong, a new publication with texts by Barbara Sirieix, Shezad Dawood, Kai Friese, Alex Keefe, Tenzing Barshee and Rosie Thomas.
Shezad Dawood was born in London in 1974 and trained at Central St Martin’s and the Royal College of Art before undertaking a
Dawood’s work has been exhibited internationally, including the Museum of Modern Art, New York (2015); Taipei Biennial, Taiwan (2014); Marrakech Biennial, Morocco (2014); MACBA, Barcelona (2014); Witte de With, Centre for Contemporary Art, Rotterdam (2013); Modern Art Oxford (2012); Busan Biennale, South Korea (2010); Tate Britain, London (2009); and the 53rd Venice Biennale, Italy (2009). Most recently, Dawood has held solo exhibitions at Pioneer Works, Brooklyn, New York (2015); Parasol Unit, London (2014); and OCAT Xi’an, China (2014). His feature film Piercing Brightness (2013) was exhibited widely at international festivals, is distributed by Soda Pictures on Blu-ray/DVD and iTunes, and was screened at the Museum of Modern Art, New York.
Kalimpong, the Indian city that is the subject – and title – of Shezad Dawood’s first show with Timothy Taylor, is a real place rich with fantastical histories. Located in West Bengal in the Himalayas between Nepal, Tibet, Bhutan and Bangladesh, the site was a meeting ground throughout the 20th century for spies and government...
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