Mistake-Out Friedrichstadt, 2018
In this installation, Nadia Kaabi-Linke uses over four hundred individual mosaic pieces to mark the imprints of bullet holes on a wall in Berlin’s Friedrichstadt neighborhood—and the subsequent, imperfect efforts to cover them up. Her mosaics trace their exact placement, directly transposing the scars of this past across space and time to the gallery’s walls. The immensity of the seeming blankness of white tiles on white walls balances on the fine line between visibility and invisibility—articulation and erasure.
A Magical Substance Flows into Me, 2016
In her film, A Magical Substance Flows into Me, Jumana Manna reanimates the British Mandate–era archives of the German ethnomusicologist Robert Lachmann, who hosted a radio program on music in Palestine. Traveling across present-day Palestine and Israel, she conducts interviews and invites people to perform contemporary renditions of the genres of music Lachmann had identified.
Preface to the third edition (Édition française), 2012–2014
This series is a part of Walid Raad’s ongoing project Scratching on things I could disavow…, in which he investigates the formation and development of “Arab” art. Using the conventions of a traditional exhibition and catalogue, he calls into question the discursive space of museums and the perspective from which this past can be viewed.
Walid Raad—Preface to the third edition (Édition française)
In 2017, The Louvre Abu Dhabi opened. But the museum did not have enough objects to fill its display cases. This was expected all along, and the Paris Louvre had prepared 300 objects to travel to Abu Dhabi for the museum’s opening. Of the 300 objects, 22 were affected by the journey in strange ways: the objects’ outline remained intact, but their façade (or skin) was that of another object. Needless to say, this puzzled all concerned.
As an artist-in-residence in the Paris Louvre at the time, I requested and was granted permission to examine the objects. Ten months in, and for reasons that remain obscure to me even today, I decided to view the objects through colored masks whose outlines matched the silhouettes of some Persian miniature paintings. This produced a momentous revelation. The affected object’s façade seemed to reveal another’s behind it. Hundreds of masks and colors later, I was able to confirm that each object was in fact a composite of at least two others.
Here, I present photographs of the objects as seen through my filters. As to the reasons for these transformations, they remain beyond my grasp.