Murtaza Vali

  • Hrair Sarkissian, Execution Squares (detail), 2008, fourteen digital C-prints, each 49 1⁄4 × 63" or 49 1⁄4 × 68 7⁄8".


    TAKEN AT DAWN on a large-format Linhof Technika four-by-five camera, Hrair Sarkissian’s Execution Squares, 2008, show intersections in the Syrian cities of Aleppo, Damascus, and Latakia where criminals were publicly hanged; many of these sites have been used for this specific purpose since the Ottoman period. The suite of fourteen photographs was inspired by the artist’s childhood memory of encountering three suspended corpses on his way to school one morning, an image so indelibly imprinted on his psyche that it continues to haunt the ways in which he navigates his home city of Damascus.

  • Natalie Ball, Sling Shot, 2022, textiles, cowhide, wood, deer hide, paint, ribbon, 80 1⁄2 × 60 × 5".

    Natalie Ball

    Natalie Ball, an artist of Native American (both Modoc and Klamath) and African descent, is drawn to assemblage. She crafts raucous wall hangings and wily sculptures out of materials sourced in and around her home in Chiloquin, Oregon. Some of these items, such as beads, quilts, various textiles, animal hides, and bones, carry great ancestral significance. Others come from the realm of synthetic consumer kitsch, including cowboy paraphernalia, varsity letters, and images of sports mascots. All of these things present her lifeworld without necessarily explaining it. For Ball, the value of assemblage

  • Tuan Andrew Nguyen, The Unburied Sounds of a Troubled Horizon, 2022, 4K video, color, sound, 60 minutes.

    Tuan Andrew Nguyen

    Working primarily in film and sculpture, Tuan Andrew Nguyen, who is based in Ho Chi Minh City, Vietnam, seeks to give visibility and voice to displaced and marginalized communities, often through the use of what theorist Marianne Hirsch has called “testimonial objects,” i.e., physical repositories of memory that retain the agency to narrate these recollections. Tackling the lingering trauma of the Vietnam War, the centerpiece of this exhibition—which also featured a selection of sculptures and photographs—was The Unburied Sounds of a Troubled Horizon, 2022, a feature-length film shot in the

  • Chitra Ganesh, Guardian, 2021, ink, paint, fabric, pastel, paper, rope, and tea on linen, 60 × 48".

    Chitra Ganesh

    Through a practice anchored in (though not limited to) drawing, Chitra Ganesh has developed a sophisticated iconography and lively illustrative style that synthesizes myriad references to South Asian mythology and religion, comic books, pulp and science fiction, Bollywood posters, and feminist and queer history and theory. Ganesh’s exhibition here, “Nightswimmers,” processed and responded to the profound shifts experienced during the widespread lockdowns that characterized the pandemic’s early months, when life suddenly came to a terrifying and isolating standstill. In contrast to the unruliness

  • Jitish Kallat, Epicycle, 2021, double-sided multilayer print on 20 LPI lenticular lens, teakwood, 89 × 52 × 24". From the series “Epicycles,” 2020–.

    Jitish Kallat

    Mumbai-based artist Jitish Kallat toys with scale, often collapsing the infinitesimal and the infinite, the commonplace and the cosmic, into a single object. In the past, he presented the phases of the moon as pieces of roti, a whole-wheat flatbread that is a staple across much of the Indian subcontinent, and transformed close-ups of fruit into celestial fields with lenticular lenses. Yet regardless of perspective, the human, as image and/or condition, remains a central concern, as the three distinct but interrelated series that constituted Kallat’s exhibition here demonstrated.

    The scale, format,

  • Sreshta Rit Premnath, Fold 2 (detail), 2021, aluminum, weeds, plastic, IV tube, galvanized steel tube, dimensions variable.
    interviews January 17, 2022

    Sreshta Rit Premnath

    Sreshta Rit Premnath abstracts materials associated with the architecture and institutions of confinement and control—chain-link fencing, metal barriers, aluminum sheets, Mylar blankets, foam mattresses—into floating signifiers that he recombines into installations at once topographical and quietly theatrical. Below, Premnath discusses two related exhibitions, both titled “Grave/Grove” and currently on view at the MIT List Visual Arts Center until February 13, 2022, and Cincinnati’s Contemporary Arts Center until February 27, 2022, where his austere sculptures become unlikely hosts to various

  • Hugh Hayden, Good Hair 2, 2021, wooden desk, Tampico, nylon, epoxy, 33 1⁄2 × 24 × 27". From the series “Good Hair,” 2021.

    Hugh Hayden

    Sculptor Hugh Hayden has enjoyed quick success, his work interrogating the idea of the American dream, often symbolized through the kitchen table, to explore class, aspiration, and the African origins of American cuisine, especially in the South. Hayden’s strength lies in his skillful use of wood—specific types of which he often sources from particular places for their cultural and historical import—as both material and symbol. His exhibition here, titled after his pet name, “Huey,” drew on memories of his Texas upbringing to tackle the knotty subject of African American childhood through

  • Mohammed Chabâa, Untitled, 1977, acrylic on canvas, 29 1⁄2 × 37 1⁄2".

    Mohammed Chabâa

    Organized by Fatima-Zahra Lakrissa for Paris-based Zamân Books & Curating as a follow-up to the traveling retrospective of Mohamed Melehi, “Visual Consciousness” was the first retrospective of Mohammed Chabâa (1935–2013) outside his native Morocco. Bringing together six decades worth of paintings, sculptures, graphic art, interior-design models, and archival material, it revealed the depth, complexity, and influence of Chabâa’s multifaceted practice as an artist, designer, and pedagogue.

    Born in Tangier, Chabâa, like Melehi, belonged to a generation of artists who grew up under colonial rule but

  • Jordan Nassar, Scatter Them In Forest and Meadow, 2018, cotton thread on cotton, 22 x 22".
    picks December 18, 2019

    Jordan Nassar

    Tatreez is a centuries-old Palestinian form of cross-stitch embroidery, most commonly practiced by women. Its motifs range from wholly abstract patterns to stylized representations of local flora and fauna. Following the Nakba, in 1948, tatreez grew in importance as a national and political symbol, its resonance heightened by the growing precarity of the Palestinian state itself.

    Jordan Nassar uses this medium to investigate the complexities of how members of a diaspora relate to the land of their origin. Rosetta, 2015, the oldest work in this show, is a white-on-white sampler of riffs on

  • Kidlat Tahimik, Ang Ma-bagyong Sabungan ng 2 Bathala ng Hangin, A Stormy Clash Between 2 Goddesses of the Winds (WW III– the Protracted Kultur War), 2019, wood, C-prints, video projection (color, sound, 50 seconds), audio, mosaics, rattan core, figurines, ritual objects, bamboo loom, wrought-iron launchpads, fiberglass, fishing boats, sawdust, tree root, bamboo fences, fauna. Installation view, Al Mureijah Square, Sharjah. From Sharjah Biennial 14. Photo: Haupt & Binder/Universes in Universe.


    THE UNDENIABLE SHOWSTOPPER of this spring’s Sharjah Biennial was filmmaker and artist Kidlat Tahimik’s gallery-filling installation Ang Ma-bagyong Sabungan ng 2 Bathala ng Hangin, A Stormy Clash Between 2 Goddesses of the Winds (WW III–the Protracted Kultur War), 2019. Packed with gods and icons, fantastical beasts, human figures, and other sculptural elements carved out of salvaged wood or woven in rattan, the work imagines an epic standoff between the forces of indigenous resistance and American cultural imperialism, writing a mythic tale around colonial violence and the vicissitudes of

  • T. C. Cannon, Two Guns Arikara, 1973–77, oil and acrylic on canvas, 71 1⁄2 × 55 1⁄2".

    T. C. Cannon

    The painter T. C. Cannon (1946–1978) was only thirty-one when he was killed in a car accident in Santa Fe, New Mexico, leaving behind a startlingly mature body of work that deserves wider recognition. Like that of many American Indians, his art has long been marginalized; this retrospective, curated by Karen Kramer, sought to remedy that injustice.

    Some of the show’s earliest canvases were completed near the end of Cannon’s time at the Institute of American Indian Arts in Santa Fe, the tribal arts college established in 1962 that quickly became a hotbed for radical politics and avant-garde

  • Tallur L. N., Chromatophobia, 2012, mixed media, 91 × 78 × 89".

    Tallur L. N.

    Tallur L. N. makes quixotic sculptures and installations that draw on India’s rich tradition of figurative sculpture, recontextualizing this almost clichéd iconography to wryly critique transformations in the country’s society and culture. This comprehensive survey includes works produced over the past thirteen years and two new works inspired by fragments of medieval sandstone sculptures from the collection of the Philadelphia Museum of Art. Contemporary replicas of classical sculptures are common in India, where they serve both ceremonial and decorative purposes. Tallur frequently subjects