Installation view of Ali Eyal Painting Size 80 x 60 cm (2018) in exhibition Theater of Operations: The Gulf Wars 1991-2011 on view at MoMA PS1 from November 3, 2019 to March 1, 2020. Image courtesy of MoMA PS1. Photo by Matthew Septimus. 



Painting Size 80x60cm


Oil paint on textile various dimensions



Entry
“In those days, there was no snake, no scorpion, no hyena, There was no lion, no fierce dog, no wolf, There was no fear or horror, Man did not have a competitor” “The land of Dilmun is holy, the land of Dilmun is pure. In Dilmun no cry the raven utters, Nor does the bird of ill-omen foretell calamity. The lion kills not, nor does the ravening wolf Snatch away the defenseless lamb. Unknown is the wild dog who tears the kid. The dove does not conceal its head. No one here says, ''My eyes are sick,'' No one here says, ''My head is sick,'' No one here says, ''I am an old woman,'' No one here says, ''I am an old man.'' The maiden walks here in innocence. No lustrations need to be poured. The somber death priest walks not here, By Dilmun's walls he has no cause for lamentations.

The Legend of Dilmun


“I don’t know why I came as a one-eyed dwarf in the middle of the Forensic Hospital’s large garden. All of this was created in the void just to see my wife.” 09/07/2018 "

​She laughed as she interpreted that dream that I decided to consider an open end. Afterwards, I decided to quit that project, destroy the work, and travel with the pieces to its resting place, leaving the eyelid behind. To understand the darkness, you must close your eyes tightly. How can I make a painting of someone being killed? The problem wasn’t in the act of painting, the problem was in painting a victim. My mother always wanted me to abandon what I do in the name of ‘contemporary art’, and to return to reason. The victim was my cousin and brother in-law. I used to stare at the canvas (size 80 x 60), to revisit that painting from time to time. I couldn’t find a single thought except to leave the whiteness of this painting. How will I get out of the trap of the image? The designer who did posters for the recently killed or deceased was faster than me. I gave him the name and the date of martyrdom, and it did not take him anytime. In ten minutes, he put the dead person in front of the sky, wingless in his military uniform, with fake roses taken from another dead person. As if helping each other out, sharing their skies and roses on that computer. With this technology, what role do artists have? We should find a convincing answer to this question: why paint? I stared at the canvas until the colors of the poster on the wall of our house began to fade and weather. I canceled Facebook friendship requests from anyone who asked me about the painting. How will I present this project to my family, instead of a painting they are waiting for? From dreams of the victim's family, and my dreams on multiple pillows" Travelling from Iraq to Beirut, Ali Eyal carried with him these pillowcases, each a canvas for specific reflections he evoked in his sleep. Usually a painter, Eyal was asked by his family to produce a portrait of his step-brother who was murdered. Instead, he kept all these fabrics with traces of his thoughts and dreams. The following are their transcriptions in English:





The dreams 

Today, I asked my brother to delay or stop the tears that are pouring out from every crevice.
And he fulfills his duty to this day.
2017/09/21

A little boy who I always carried in my arm discovered my secret. With his finger, he pointed my
father, my aunt's son, and the children with him to my room which was unfinished. And he was
pointing at me.
A Finger Gesture 2017/09/22

Today, I asked my wife to enter our house which was still a bare structure. Every room in it did
not know how to present itself to others as a function and defined space, as a kitchen or a
bedroom or a guest room, only the stairs were easy to identify. We used lighting from some of
our friends’ and relatives’ cell phones.
2017/09/23

I tried to take my cousin with me, but his brother prevented him from coming along. The grass
was flooded with water, the sounds of our feet were louder than our voices. Then I left them.
Date, unknown

I rode on my cousin's back, laughing until the heaviness of my body weighed his to the floor.
At the time I was with him on their large farm that he always dreamed of visiting. Frightened,
he fled from me into his grandfather's large guest room which was infested with spiders.
Spiderwebs covered every corner of the house and framed his grandfather’s forehead.
2017/10/06

I tried to enter a large hall, a resting place for women from Iran. Time and again, I checked on
my wife and her mother. I told a woman from Iran to tell them that I visited them three times.
2017/10/28

My hand hurt a lot, one of my relatives alleviated that pain.
Pain
Date, unknown

I was inside half a block of land surrounded by houses from three directions. I leaned on one of
the walls of those houses, put my cousin's head in my lap
Date, unknown

I said to my wife, I have been defeated and I have lost, and here I am now. All the credit goes to
a group of people who have given me this land that has not yet been built.
2017/11/28

I visited the Netherlands today with my friends to visit my brother who lives in Utrecht. I was
wearing a very big bag with a design that bewildered all the Dutch citizens, a design that no
one in Europe has thought of: a bag that resembled a tapeworm. I greeted my brother from six
meters away; then, the fog engulfed us and we disappeared.
A bag

My very good scent exposed me; the light radiating from every pore of my skin exposed me with
the fragrance. My sister-in-law knew about my presence on the ground floor and asked me
about this strange scent, as she called it.
Scent

We sat on the roof of a speeding car which had a coffin on it. I was squatting on top of the car
with one of my relatives and I was interpreting the dreams, dream after dream. My voice was
clear, as if everything was listening to me, not only him, but even those orchards we quickly
passed by and the barren land and the air.
Dream

One of these days, I tried to come into the form of a butterfly or a cat or a dove. I was looking
forward to a dream but only found darkness or scenarios where I did not exist. I used the
butterfly for only forty minutes; these forty minutes were forty years. I consumed the butterfly’s
entire life, its happiness, destroyed its youth, and brought it into old age. Afterwards, I left it as
a corpse at my family's home.
Butterfly

Today we all exited the mortuary during lunch. The smell of rice filled the whole place. We
met at one table, except for the surgeons; they were busy with the autopsies of stillborns.
Afterwards, we returned according to numerical order.
2018/01/14

I always return with the dust as my companion, covering my head and hands. I entered the
house of my in-laws.

​Someone hugged my feet from below, and I cursed him jokingly.

He stormed in on my eyelid’s surface and asked me about judgement, carrying with him his
artistic work. He asked me repeatedly about judgement and the punishment of the holy books
until he completed his project with proof of my words. Here, he destroyed the space of the
dream, the importance of the place, and, in a strange way, penetrated the composition and
controlled it, I don't know how! My wife stopped him from repeating his questions. I decided to
destroy the dream with a smile, and I didn’t answer him. But I know that true resurrection and
torment is when the living open their eyelids to dead. The resurrection and cold, seizing hell
is when the living subconscious of this person invites me to the surface of the eyelid and then
destroys for me and for others our world that we look forward to through the darkness. Perhaps
our world gets destroyed with the opening of the eyelid and morning work appointment. Today,
I destroyed this moment.

A small, white tiger was chasing them in circles, slashing here and there, in the kitchen and the
house's furniture. He then continued chasing the family in circles. I was looking at them from
the void, then I took my gun and went to the house, fired a bullet in his head, and killed him.

Someone put his hands in my chest and made an opening from my throat to my stomach. He
wore me as a jacket. He walked around the city wearing my body; I cursed him but he did not
care.
Jacket

He excavated my grave. He took me into his room and I did not say a word, yet I smiled at him
and almost laughed because he resembled the actors of the British television shows he has
seen. He kept my corpse in his private room on the second floor. All the residents in the area
gathered around his home demanding that he return my body to the grave. He responded to
neither his mother nor his relatives who begged him. He carried me and put me in a closet and,
at times, between carpets and mattresses, as if I was banknote, waiting for me to speak. After
a while, I opened both my eyes. My left eye looked as if it was irritated inside or as if the black
pupil seeped out into the night. I frightened him considerably and the visit ended.
2019/04/23

I don’t know why I came as a one-eyed dwarf in the middle of the Forensic Hospital’s large
garden. All of this was created in the void just to see my wife.
09/07/2018

She laughed as she interpreted that dream. She laughed as she interpreted that dream that
I decided to consider an open end. Afterwards, I quit that project, destroyed the work, and
travelled with the pieces to its resting place, leaving the eyelid behind.

Translated From Arabic to English 
Yasmeen Mobayed



The nightmare

Artworks

Look what I remember, a new garden from old wounds and Just a group school photo, but.. Tonight’s Programmem is Painting Size 80x60cm.Paper, pen, map in a pocket and my mom surprised me to show me a 2000 calendar, but what did I show my mom? The Blue Ink Pocket? and An Indefinite appearance or two walls and 6x9 doesn’t fit everything and Don't let the beautiful colors fool you, who would draw Goofy inside the rooms of grownups? And Where do the walls of the museum go when they are forgotten? Where does a thought go when it's forgotten? Autumn Solo Show. Berlin's drawing's pad. No Part Of This Book May Be Reproduced, In Any Way, By Photocopying, Recording, Or Otherwise, Except With The Prior Written Consent Of The Publisher, and  


Solo Shows


From the creases of my eyelid, In the head's sunrise and In the head's dusk there’s retrieving an Obscured Present/Presence


Text-Reviews    Publication


Ali Eyal (b.1994) is an artist working with painting, drawing, and video to explore the relationships between personal history, transitory memories, politics, and identity. Eyal is currently featured in Sharjah Biennial 15: Thinking Historically in the Present (2023). Eyal's solo exhibitions include In the Head's Sunrise, Brief Histories, New York (2023); In the Head's Dusk, SAW Gallery, Ottawa (2023). Recent group exhibitions include, Is It Morning for You Yet?, the 58th Carnegie International, Pittsburgh (2023); Surviving the Long Wars: Reckon and Reimagine, Chicago Cultural Center (2023); Documenta 15, Kassel (2022); Theater of Operations: The Gulf Wars 1991-2011, MoMA PS1, New York (2020); How to Reappear: Through the quivering leaves of independent publishing, Beirut Art Center, Lebanon (2019). Eyal’s video work is included in the 22nd Biennial Sesc_Videobrasil: Memory is an Edition Station, São Paulo (forthcoming October 2023); Rencontres Internationales, Paris; VITRINE x Kino Screenings, London; Sharjah Film Platform, Sharjah Art Foundation; and Cairo Video Festival, Medrar, Cairo. His works are in the collection of Kadist, Paris; Barjeel Art Foundation, Sharjah. Eyal earned an undergraduate degree from the Institute of Fine Arts, Baghdad (2015), he currently lives and works in Los Angeles.






PORTFOLIO PDF




Born in 1994 in Baghdad, Iraq. Lives and works in Los Angeles, USA

Education

  • 2016 - 2017  | HWP/Home Workspace, Independent Study Program, Ashkal Alwan, Beirut, Lebanon.
  • 2011 - 2015   | Diploma, Institute of Fine Arts, Baghdad.

Solo Exhibitions 

2024
  • Retrieving an Obscured Present/Presence, Bellyman, LA, US.
  • From the Creases of my Eyelid, The Quebec City BiennIal, Quebec, CA
2022
Selected Group Exhibitions

2024
  • Undoing Images I, Akademie der künste, Colonge, DE
  • A new garden from old wounds, ChertLüdde, Berlin, DE.
  • Display, Ehrlich Steinberg, LA, US.
  • Babel, Sara’s Dukunsthalle, NYC.
  • Hope Dies Last, Clint Roenisch Gallery, Toronto, CA. 
  • The David Hammons, Frieze show, curated by Suzy Halajian, LA, US. 
  • Crystal Clear, Bayt AlMamzar, Dubai, UAE.

2023
  • 4.5 Billion Years, Brief Histories, NYC, US.
  • Surviving the Long Wars, Chicago Cultural Center, Chicago, US.
  • Archival Assebly #2 at the Betonhalle, silent green, Berlin، curated by Ala Youins and Maha Maamoun. How to know what's really happening. Berlin, DE.
  • 22nd Biennial Sesc_Videobrasil | "Memory is an Editing Station"
  • 15th Sharjah Biennale, curated by Hoor Al Qasimi, U.A.E.
2022 
  •  The 58th Carnegie International, Pittsburgh, US.
  • Documenta 15 - Sada [regroup], Kassel, DE. ​
  • Crossings: Itineraries of Encounter, Blackwood Gallery. Toronto, CA.
  • How to maneuver: Shape-shifting texts and other publishing tactics, isdaT — Institute of arts and design of Toulouse. Curated by Ala Youins and Maha Maamoun | Toulouse, FR
2021
  • This Is Not Lebanon, Künstlerhaus Mousonturm. Curated by Matthias Lilienthal, Rabih Mroué, Christine Thomé (Ashkal Alwan), Anna Wagner (Künstlerhaus Mousonturm), Jaan Bossier, Uwe Dierksen, Christian Hommel (Ensemble Modern). Kuratorische Mitarbeit: Friederike Kötter | Frankfurt, DE.
  • Hamds, The Akademie der Künste. Curated by MADHUSREE DUTTA, ALA YOUNIS  | Cologne, DE .      

2020
  • Online screening. Aashra, Ashkal Alwan. Curated by Ashkal Alwan | Beirut, LB
  • Online exhibition. Triennale Tres Pesos, Mexico, MX City.
  • Online exhibtion. Viral Self-Portraits, Museum of Contemporary Art Metelkova | +MSUM, Slovenia, LJU
  • How to reappear: Through the quivering leaves of independent publishing, MMAG Foundation, Amman, JO
2019
  • How to maneuver: Shape-shifting texts and other publishing tactics, Warehouse 421, Abut Dhabi, UE, curated by Kayfa ta, Ala Youins and Maha Maamoun.
  • Screening, Kino, Bermondsey as part of VITRINE x Kino Screenings. London, UK ​
  • Screening, Rencontres Internationales Paris/Berlin video library at Haus der Kulturen der Welt. Berlin, DU
  • ​Screening, theme Less, time less, discipline less, form less. The James Black Gallery, Mexico, MX City.
  • Collective exhibition, Beirut Art Center. touché! (gestures, movement, action), Beirut, LB
  • Screening, Rencontres Internationales Paris/Berlin video library
  • Screening, I am BP, King of Exploitation, King of Injustice, P21 Gallery, London, UK
  • Screening, Sharjah Film Platform, Sharjah Art Foundation, Sharjah, UE

2018  
  • Screening, Immaterial Collection Forum IV: States of Being, Beirut Art Center, Beirut, LB
2017 
  • ​Audio piece, Collective Task, Baghdad, Baghdad, IQ
  • Open Studio, HWP 2016-17, Ashkal Alwan, Beirut, LB

2015  
  • TARKIB Installation Exhibition, Baghdad, IQ
  • Group Show, 1010Hall The ARt House, Nicosia, CY
  • Build Peace conference, Nicosia, CY
  • 6th FIVAC, International Video Art Festival, Camaguey, CU.

2013 
  • Screening, Cairo Video Festival, Medrar, Cairo, EG
  • Al-Mutanabbi Street exhibition, Baghdad, IQ
  • ​Hampshire College, Amherst, MA. US.                        
  • Screening, Iraqi Independent Film Center, Baghdad, IQ

2011
  • Nakhla Gallery, Baghdad, IQ

Collections

2022

  • Kadist Art Foundation, Paris, FR 













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