LAWRIE SHABIBI | OLIVER CLEGG

Oliver Clegg. Don’t You? Don’t You?. Acrylic, steel, electric motor, pin spots, and wood. 77.5 x 45.7 x 45.7 cm. Courtesy Lawrie Shabibi and the artist.

Oliver Clegg   Everything Should Be OK Through January 5, 2017 Private preview: Sunday, November 13, 6–9pm Lawrie Shabibi   Unit 21, Alserkal Avenue Al Quoz Dubai T +9714 (0) 346 9906 info@lawrieshabibi.com lawrieshabibi.com Lawrie Shabibi is pleased to announce Everything Should Be OK a solo exhibition by New York-based British artist Oliver Clegg, who works between two and three-dimensional disciplines using a diverse range of materials and methods. Delving into the complexities of modern life, Clegg wittily presents a narrative that oscillates between the tragic and comic revealing a broad set of interests that touch upon opposing notions of life such as birth and death, joy and sorrow, childhood and aging. For this exhibition Clegg presents a selection of new and older paintings of discarded childhood toys and other household objects on used table tops, church floorboards and the scratched wooden backs of old small storage boxes. The wood that the artist chooses is always intentional: "The nostalgic nature of both the surfaces and the subjects are mechanisms for inspiring the viewer to consider his position in the present day with fictitious reconstructions of the past," says Clegg. In other paintings within this continuing body of work he has also worked with old church pews and school desks showing his ambivalence towards both institutions. The artist was brought up with a religious background and began making work just as the internet began its relentless advance. Old authority and the internet—two binary notions and how they fit together—inform much of Clegg's art making. Clegg also presents two other works that highlight both the diversity of his materials and another major facet in his work—the question of self. References to cinema and music recur throughout his work. In Don't You? Don't You? (an installation that takes its title from the lyrics of "You're So Vain" by Carly Simon) Clegg suspends a disco ball in an oversized shipping crate, that reflects the words "me, me, me" around the space in thousands of multiples; meanwhile I HOPE WE NEVER DIE, SO DO I, DO YOU THINK THERE IS ANY CHANCE OF IT?takes a look at the question of self in the 21st century. A wall-based piece taking 81 birth certificates the artist bought over the course of a year using ebay, has laser cut into each an actual end title taken from a film from the year of that person's birth, an exercise reinforcing Thomas Fuller's melancholic assertion that "birth is the beginning of death." About Oliver Clegg With his erudite, surprising and striking repertoire, and his diverse materials and methods, British artist Oliver Clegg offers the viewer a complex, sometimes playful, other times moving journey into existential and ontological notions of objecthood and matter, images and signs, language and communication, creation and being. Oliver Clegg has shown internationally since graduating in 2007 in Rome, Czech Republic, South Korea, Australia, London, New York, Hungary, Milan and has been included at the Prague, Busan and Venice Biennales. He has also been included in museum shows at the Reykjavik Museum of Modern art, Dox Centre for the Contemporary Art, The Saatchi gallery and The Busan Modern Art Museum. In 2013 he showed again at the Venice Biennale in a group show curated by the Hermitage Museum in Russia at the Palazzo Franchetti and in 2014 was included in a group show curated by collector Susanne Van Hagen at S|2 Gallery London. His work is included in many private and public collections including the Getty family, Anita and Poju Zabludowicz, David Roberts, Charles Riva, Fatima and Eskandar Maleki, Faisal and Sara Tamer, and Deutsche Bank. About Lawrie Shabibi Lawrie Shabibi is a contemporary art gallery housed in Dubai's Alserkal Avenue. The gallery supports the long-term development of the careers of young and mid-career international contemporary artists with a focus on those from the Middle East and North Africa. The gallery also works with an older generation of artists from the region and organizes art historical exhibitions. Media contact For more information, images or media enquiries contact Margaret Antelme: margaret@lawrieshabibi.com / T +971 4 346 9906

THE THIRD LINE | DUBAI

(1) Laleh Khorramian, Alien (S4), 2016. Monotype and mixed media on polypropylene, 66 x 51 cm; (2) Laleh Khorramian, Guardian Pink, 2016. Ink, oil, collage on polypropylene, 107 x 158 cm; (3) Sherin Guirguis, Untitled (Hexagon), 2015. Mixed media on hand-cut paper, 101.6 x 117 x 5 cm; (4) Sherin Guirguis, Untitled (Beitana ll), 2016. Mixed media on hand-cut paper, 132 x 132 cm.

Laleh Khorramian: Saturns Neckless Sherin Guirguis: El Beit El Kabir November 2–December 10, 2016 Preview: November 2, 7pm The Third Line Al Quoz 1 Dubai UAE T +9714 3411 367 www.thethirdline.com Facebook / Instagram Gallery 1 Laleh Khorramian: Saturns Neckless "Do you remember the future? What will remain from that time to come? What happens when that future vision collapses with the past?" The Third Line is very pleased to present Saturns Neckless, Laleh Khorramian's third solo show at the gallery. Laleh returns with a new body of work featuring dyed and painted fabrics, vestments, and monotype portraits of alien and guardian beings—symbolic of an untiring fascination with that which is otherworldly, the unnameable, and of a timeless inner territory. The exhibition is an homage to these beings—in their multiple forms as druids, seers, knowers, oracles, robots and space forms—and their proximity to alienation, anonymity and totemic divinity. Born in 1974 in Tehran, Iran, Khorramian lives and works in New York. She studied at the Rhode Island School of Design and received her undergraduate degree at the School of the Art Institute of Chicago, and her MFA at Columbia University, New York. Laleh's work is housed in several prominent collections including Saatchi Gallery, London, UK; Daman Collection, UAE and C-Collection, Principality of Liechtenstein. Gallery 2 Sherin Guirguis: El Beit El Kabir El Beit El Kabir is Sherin Guirguis' second solo show in Dubai. This new body of work, built in three parts over the past two years, incorporates a combination of sculptural forms, paintings and works on paper. Shown together for the first time, they continue an interplay between personal and public histories, more specifically taking cues from Sherin's Egyptian heritage and her experience as an Egyptian-American immigrant. Framed through the lens of her diasporic identity, the exhibition recreates the last vestiges of a connection with her homeland. Sherin Guirguis was born in Luxor, Egypt in 1974 and lives in works in Los Angeles. She received her BA from the University of California, Santa Barbara in 1997 and her MFA from the University of Nevada, Las Vegas in 2001. In 2012 she was awarded the prestigious California Community Foundation Fellowship for Visual Artists. Sherin's work has been acquired by the Orange County Museum of Art, Newport Beach, CA; the Houston Museum of Fine Art, Houston, TX and the Las Vegas Museum of Contemporary Art, NV. About The Third Line The Third Line is a Dubai-based art gallery that represents contemporary Middle Eastern artists locally, regionally and internationally. In addition to this, The Third Line publishes books by associated artists and hosts non-profit, alternative programs to increase interest and dialogue in the region. Represented artists include: Abbas Akhavan, Ala Ebtekar, Amir H. Fallah, Arwa Abouon, Babak Golkar, Farhad Moshiri, Fouad Elkoury, Golnaz Fathi, Hassan Hajjaj, Hayv Kahraman, Huda Lutfi, Joana Hadjithomas & Khalil Joreige, Laleh Khorramian, Lamya Gargash, Monir Shahroudy Farmanfarmaian, Pouran Jinchi, Rana Begum, Sahand Hesamiyan, Sara Naim, Sherin Guirguis, Shirin Aliabadi, Slavs and Tatars, Sophia Al-Maria, Tarek Al-Ghoussein, Youssef Nabil and Zineb Sedira. Media contact  Saira Ansari, Director of Communications: saira@thethirdline.com / press@thethirdline.com / T +9714 3411 367

THE CONTEMPORARY AUSTIN

Images (clockwise from left): Artwork © Rodney McMillian. Image courtesy the artist and Susanne Vielmetter Los Angeles Projects. Photograph by Robert Wedemeyer; Artwork © Rodney McMillian. Image courtesy the artist, Aspen Art Museum, and Susanne Vielmetter Los Angeles Projects. Photograph by Tony Prikryl; Artwork © Rodney McMillian. Image courtesy the artist; Institute of Contemporary Art, University of Pennsylvania; and Susanne Vielmetter Los Angeles Projects. Photograph by Constance Mensh.

Suzanne Deal Booth Art Prize winner: Rodney McMillian The Contemporary Austin 700 Congress Ave Austin, TX 78701 www.thecontemporaryaustin.org Rodney McMillian will receive an unrestricted award of 100,000 USD along with a solo exhibition and scholarly publication. The Contemporary Austin is pleased to announce that artist Rodney McMillian is the winner of the first Suzanne Deal Booth Art Prize. In addition to receiving the award in the amount of 100,000 USD, he will receive a solo exhibition at the museum's downtown venue, the Jones Center, with the option to extend the exhibition to the museum's 14-acre outdoor site, the Betty and Edward Marcus Sculpture Park at Laguna Gloria. A publication and public programming will also accompany the exhibition, which is scheduled to open to the public on February 3, 2018. McMillian has worked in a range of mediums and materials, including sculpture, painting, video, performance, and immersive environments, to explore themes of class, gender, race, social history, and culture. His work  integrates found and scavenged materials—what the artist has labeled "post-consumer objects"—as well as techniques of interactivity and performativity, resulting in unique forms with a deep relevance to their context and time. "An award such as this can enable an artist to reimagine what is possible for one's practice or one's self," says winner Rodney McMillian. "In some cases, it could actually be a lifeline. I am very honored and thrilled to be a recipient. Thank you to Ms. Booth, The Contemporary Austin, and the advisory committee." McMillian was selected by an independent advisory committee made up of renowned curators and art historians from across the U.S. Led by Heather Pesanti, Senior Curator of The Contemporary Austin, this year's inaugural advisory committee included Stephanie Barron, Senior Curator and Head of Modern Art Department, Los Angeles County Museum of Art; Naomi Beckwith, Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago; Peter Eleey, Chief Curator, MoMA PS1; Hamza Walker, Executive Director, LAXART; and Heidi Zuckerman, Nancy and Bob Magoon CEO and Director, Aspen Art Museum. "It's been an incredible learning experience to be part of laying the groundwork and process for the inaugural Suzanne Deal Booth Art Prize. The opportunity that the prize and its correlated resources present to the artist have the potential to be immeasurable and profound," states Senior Curator Heather Pesanti. "Rodney is at the perfect moment in his career for this prize, an artist who has been well exhibited and respected in the field, but for whom the resources provided through this opportunity will ideally be a catalyst for new paths in his work." "In establishing this prize for The Contemporary Austin, my hope was to reinforce the museum's mission of transformation: first and foremost the Suzanne Deal Booth Art Prize intends to be transformative for the selected artist, but beyond that, for the institution and the community," says founder of the prize Suzanne Deal Booth. "The selection of Rodney McMillian reflects the guidance and decision of an exemplary advisory committee of curators from around the country who allowed us to broaden our reach. As the patron, I look forward to witnessing the project as it unfolds, and to seeing the dynamic possibilities that Rodney brings to the museum and the city of Austin." "The Suzanne Deal Booth Art Prize brings both established and emerging talent—from the U.S. and abroad—to audiences here in Central Texas and visitors from around the world," says Louis Grachos, Ernest and Sarah Butler Executive Director and CEO of The Contemporary Austin. "When I joined The Contemporary in 2013, my goal was to bring in artists and exhibitions that added to the ongoing dialogue in the contemporary art world. We are so privileged to administer this prize—built through the forward-thinking generosity of Suzanne Deal Booth—which aligns with the institution's mission to reflect the spectrum of contemporary art through thoughtful exhibitions, commissions, and educational programs. On behalf of The Contemporary, I am very pleased to be working with Suzanne, Heather Pesanti, and our esteemed advisory committee to help realize and ultimately present McMillian's work in 2018."

BEPI GHIOTTI | CASTELLO DI RIVARA

Bepi Ghiotti - Materia Prima  'i Bui' black paint, XVII-XVIII century painting, wood, gold. 2016

Bepi Ghiotti

MATERIA PRIMA

30.10 - 27.11.2016

Castello di Rivara 

Museo d'Arte Contemporanea

www.castellodirivara.it | info@castellodirivara.it

tel +39 0124 31122

P.zza Sillano 2,10080 Rivara, Torino.

Materia Prima could be seen as one of the many possible outcomes of Bepi Ghiotti's work

on the neobaroque space of Castle of Rivara. Only one of the possible results, reasonably,

determined by having to set a time limit to his tireless research. Yet, there is a moment

before, at the beginning of the artist's operation on the location, in whichtime has already

overwhelmingly taken its share as a raw material. Bepi's trained photographer eye

recognizes the majesty of time, which is manifested in the traces of life and art deposited in

the Castle's ambient by the passage of time. His work thus concentrates on an attempt to

resurface the essence of this space, almost sweeping away, one after the other, all the

layers of recent history.

Bepi Ghiotti - Materia Prima  '500W'  02 Kodak Carousel projector, loaders, wall. 2016

Bepi Ghiotti - Materia Prima  'Cianotipi'  Cyanotype on paper 122x82cm. 2016

Room after room, wall after wall, Ghiotti analyzes the geometries, listening to them breathe.

Like a chemist in an ancient laboratory, he captures the light coming through the windows in

different hours throughout the day. The light continuously changes, as does the perception

of the architectures, thus delivering an essential experience of the location, through the

artist's installation. The rooms of the neo-baroque villa, similar to living organisms, bring out

the primary elements of their physiology: the asynchronous pulse of the two projectors

beaming pure light, installed in the entryway; along the electromagnetic vibrations captured

with ancient gestures on the cyanotypes, in the partial views of faces and landscapes that

can only be imagined through scratches of light, torn away from the black of darkness, of

oblivion.

Bepi Ghiotti - Materia Prima -  'Cianotipi' - Cyanotype on paper 122x82cm. 2016

Through this intervention, which is almost an archaeological operation on the location,soaked in anthropological suggestions and ancient techniques, Bepi Ghiotti 
reveals the heart to the audience. The viewer is led to the “source” of the identity of those rooms from the Eighteen hundreds, recovered through the artist's tenacious experience inside the Caslte and that of all its physical and unworldly dwellers. Walking through those rooms, among objects revealing the essence, one has the clear feeling of being inside a fully developing process, deeply interconnected with the ponderously conquered relationship the artist has had with the Castle of Rivara, day after day, 
in the resounding loneliness of those huge, empty rooms.

Bepi Ghiotti - Materia Prima  '500W'  02 Kodak Carousel projector, loaders, wall. 2016

Bepi Ghiotti - Materia Prima  'Cianotipi'  Cyanotype on paper 122x82cm. 2016

Bepi Ghiotti - Materia Prima  'Cianotipi'  Cyanotype on paper 122x82cm. 2016

Bepi Ghiotti - Materia Prima  'i Bui'  black paint, XVII-XVIII century painting, wood, gold. 206

Bepi Ghiotti - Materia Prima  'i Bui' black paint, XVII-XVIII century painting, wood, gold. 2016

Bepi Ghiotti - Materia Prima  'i Bui' black paint, XVII-XVIII century painting, wood, gold. 2016

Castello di Rivara 

Museo d'Arte Contemporanea

www.castellodirivara.it | info@castellodirivara.it

tel +39 0124 31122

P.zza Sillano 2,10080 Rivara TO

orari: 10-13 | 14-18

http://www.artnet.com/artists/bepi-ghiotti/

https://www.artsy.net/artist/bepi-ghiotti

www.bepighiotti.com