Nadine Khalil

  • Sheila Hicks, Palm, 1984–85, wool, 11' 9'' x  9' 3''.
    picks December 16, 2021

    “Here, Now”

    Organized by Sacha Craddock, the exhibition “Here, Now” proceeds from no particular curatorial premise beyond the phenomenological emphasis of the title. While there may be no guiding theme, certain motifs unfold through almost fifty works by five international artists, who have been placed in dialogue with five Saudi artists.

    Nearly four decades ago, the artist Sheila Hicks was commissioned to produce more than fifty large-scale works for King Saud University’s art program. One of these, Palm, 1984–85, a wall-size tapestry of drooping colorful fronds, now faces off with Saudi artist Filwa Nazer’s

  • Hrair Sarkissian, Background (detail), 2012, series of six Duratrans, C-prints (blacklit paper), 79 x 90 1/2".
    interviews December 09, 2021

    Hrair Sarkissian

    Hrair Sarkissian documents the conflict zones of memory. I first encountered the Syrian-Armenian photographer’s work in 2017 at Beirut’s Sursock museum, where he was showing the video Homesick, 2014, featuring himself demolishing a replica of his childhood home in Damascus. In 2019, I met Sarkissian in person at Videobrasil, which displayed an early series, 2008’s “Execution Squares”: eerie shots of vacant public hanging sites in Aleppo, Latakia, and Damascus. Sarkissian’s first mid-career survey, titled “The Other Side of Silence” and on view at the Sharjah Art Foundation until January 30,

  • Stéphanie Saadé, Second Nature, 2014, gold leaf on broken glass, 2 x 2 3/4''.
    picks September 22, 2021

    “Water”

    One of the closest galleries to the Port of Beirut, Marfa’ Projects was gutted in the August 4 blast last year. Gallerist Joumana Asseily rebuilt it exactly the way it was, in time for an exhibition on impermanence and fluidity. The show, entitled “Water,” is a collaboration with Galleries Curate, a loose consortium of twenty-one international galleries that arose during the pandemic, and a response to their inaugural theme, RHE (Greek for “that which flows”).

    In Tamara Al-Samerraei’s Fissure, 2019-2021, an indigo river appears at a geological fault line, paint bleeding down the fringes of the

  • Eva Papamargariti, Always Ecstatic, Always Lost I, II, III, 2021, print and embroidery on neoprene textile, steel chain, each 35 x 23 1/2".
    picks September 07, 2021

    “Beyond Nostalgia Hijack”

    An exercise in visual morphology, Marios Stamatis’s video EXOEXO, 2020, shuffles through hundreds of images of insect exoskeletons alongside manmade prosthetics. Inspired by these hybrid forms, his sculpture series “Real Physical Matter,” 2021, is made of actual

  • View of “Under Construction II, 2021. Background: Driss Ouadahi, Inside Zentih, 2014; foreground: Nadia Kaabi-Linke, Scorched Earth, 2018.
    picks August 18, 2021

    “Under Construction II”

    Dubai is constantly morphing into something else. The emirate belies its own representation with rapidly changing skylines and ever more artificial islands—an endless becoming that makes this exhibition, “Under Construction Part II,” particularly apt. Offering an image of Dubai as more unfinished than palimpsestic, the show is the sequel to “Under Construction Part I,” which included painter Driss Ouadahi’s skeletal buildings and Hamra Abbas’s marble-inlay interpretations of Sol LeWitt’s Incomplete Open Cubes.

    While “Part I” emphasized empty monumentality, architectural ruptures, and broken lines,

  • Afra Al Dhaheri, One at a Time (To Detangle Series), 2020, hair on cotton fabric, 78 3/4 x 13 3/4''.
    picks February 27, 2020

    Afra Al Dhaheri

    In a marked departure from her harmonious, amoeba-like watercolors enfolding stands of human hair, Afra Al Dhaheri’s latest work suggests acts of transgression and rupture. Both real and represented, hair exceeds its sculptural container and bifurcates the exhibition space, collapsing notions of public display and private ritual. She builds a vocabulary of materials—twisting cement, clay, thread, and rope to suggest plaited locks —but she is doing more than indexing the ways in which hair can be decontextualized as form.

    In Fil Al Shaar (all works 2020), a curtain of thick, braided cotton cords