Ocula MagazineContentsView All
Featured ContentView All
Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...

Read More
Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...

Read More
The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...

Read More

Uri Aran

b. 1977, USA

Ranging from work comprising cookies glued to a desk, to a performance of spelling words with bagels, the multimedia works of Uri Aran are often cryptic with a touch of humour. Though unbound by particular media or approach, Aran is most known for his sculptural installations and performances that oscillate between the familiar and the uncanny and examine the hierarchies behind everyday interactions.

Aran's performances often investigate power dynamics behind social encounters. For Frieze New York in 2012, Aran's Untitled (Ticket Shack) turned an abandoned ticket office into a hospital replete with a cast of doctors and patients. The exchanges that emanated from the pretend hospital, which were projected live at the fair, documented the way in which the actors manipulated themselves to fit their roles. By extension, their transformation reflected the stereotypical behaviours involving authority figures—in this case, doctors—that contemporary media circulates. Another performance for Aran's solo exhibition Multicolored Blue at Sant'Andrea de Scaphis in Rome (18 September–7 November 2015) incorporated a group of jazz musicians and dancers who moved on Aran's direction. As the choreographer of the group's movements, Aran noted his interest in exploring social situations, and in particular an interest in exploring how whoever is in charge could 'shift paradigms, or power situations, through formal exercises, but without being able to separate personalities'.

Another defining feature of Aran's performances is their sense of circularity or relay and repetition in their actions. In 2015 Aran hired a group of actors to narrate a single story in succession. Through repetition, the story began to lose its meaning as a story; instead, the performance came to resemble a sort of formal exercise on how to tell the same story in different ways. Other performances such as Chimpanzee (2013) and Uncle in Jail (2012) follow a similar formula, in which Aran directs actors to repeat short stories. Each time, the narrative changes—either slightly or significantly—leaving room for variations and subsequently new departures.

In his sculptural installations, Aran typically uses a table as a blank canvas on which to place found objects. The materials he uses include grapes, balls of string, chocolate chip cookies and coffee cup lids—objects that echo his inclination towards circularity. Focusing on the process of arranging, Aran often leaves these tablescapes seemingly incomplete or in a state of transition. This is apparent in the series 'Departments', commissioned by Liverpool Biennial in 2014, which comprises timber cases that house Aran's collection of found materials. Aran deliberately left the cases open or partially covered, thus making it uncertain if they were being prepared for departure or being unpacked after arrival.

Aran's fixation with what critic and lecturer Declan Long in an article for Frieze called 'transitional forms' possibly derives from the artist's design background and expatriate status. Aran originally began his career in design and although Israeli-born is a long-time resident of New York. He is therefore familiar with statuses of ambiguity—of not entirely belonging to one or the other. His use of passport photographs—also a staple in his work—indicates his acute awareness of negotiations with meanings and identities; on the one hand, the passport pictures are merely images, yet they also determine one's mobility between borders. By repeating passport photographs in the same way as he does circular objects and performances, however, Aran also destabilises their particular meaning.

Aran graduated with a Bachelor of Design from Bezalel Academy of Arts and Design, Jerusalem, Israel, in 2004, after which he went on to study visual arts at Columbia University. Since his first solo exhibition at Rivington Arms in 2008, he has exhibited across the United States, United Kingdom and Europe. Aran's work has also appeared in various international exhibitions including the Whitney Biennial (2014) and Venice Biennale (2011 and 2013).

Sherry Paik | Ocula | 2017
Read More

Featured Artworks

Mirror in Italian by Uri Aran contemporary artwork Uri AranMirror in Italian, 2016 Oil pastel, silk screen, black ink, acrylic and mixed media on MDO
81 x 60.7 x 2 cm
Sadie Coles HQ
Mediterraneano by Uri Aran contemporary artwork Uri AranMediterraneano, 2016 Oil on HDO
61 x 81.3 x 1.9 cm
Sadie Coles HQ
Poster by Uri Aran contemporary artwork Uri AranPoster, 2019 Oil acrylic, graphite and collage on paper, framed
112 x 77 cm
Sadie Coles HQ
Still Life and a Hurry by Uri Aran contemporary artwork Uri AranStill Life and a Hurry, 2019 Newsprint with UV protection sprayed, graphite and mixed media, wooden frame, acrylic paint
22.9 x 30.5 cm
Sadie Coles HQ
Room by Uri Aran contemporary artwork Uri AranRoom, 2019 Charcoal, china marker, colour pencil, oil pastel, graphite on news print
30.5 x 45.7 cm
Sadie Coles HQ
Four Winds, Three Apples and Ten by Uri Aran contemporary artwork Uri AranFour Winds, Three Apples and Ten, 2019 Acrylic, charcoal, china marker, enamel, graphite, oil, oil pastel, polyurethane, wood stain and mixed media on canvas
221.9 x 377.3 x 4.1 cm
Sadie Coles HQ
Another Welcome by Uri Aran contemporary artwork Uri AranAnother Welcome, 2016 Oil on HDO, bronze installation
ShanghART

Recent Exhibitions

Contemporary art exhibition, Uri Aran, Tenants Like These at Sadie Coles HQ, London
Closed
31 January–30 March 2019 Uri Aran Tenants Like These Sadie Coles HQ, Davies Street

Represented By

Sign up to be notified when new artworks and exhibitions by Uri Aran are added to Ocula.

WeChat

Scan the QR Code via WeChat to follow Ocula's official account.

iCal GoogleYahooOutlook