Current

Artissima 2024
Turin

1 – 3 November 2024

Frieze London
D16
9 – 13 October 2024

Ali Eyal & David Horvitz
A new garden from old wounds
11 SEP - 9 NOV 2024


CONTACT



Where do the walls of the museum go when they are forgotten? And 2021


Page "20"​
Commissioned for Akademie der Künste der Welt
Curated by Madhusree Dutta and Ala Younis
95 x 195 x 103 cm
Used jacket, glove, oil paint, torn painting on canvas, broken picture frame, clay sculptures, glaze, fabric and bedstead.

Caterpillar sculptures wrapped in small pieces of a painting. Number – 26.


Accompanied by threads pricked by artist Diana Cantarey. 
Translation: Samar Al Summary.
Production: Akademie der Künste der Welt.



The air a person inhales at the farm is resplendent, imbued as it is with the spirit of work that you can't feel elsewhere, and of course this opportunity was thanks to them. After failing to rebuild the rooms, living quarters, and kitchens of the farm, due to the flowers' scent which kidnapped and conquered the minds of the architects and the draftsmen, it was time to reassess so that the working assessments fell in line with the culture and mentality of the strange flowers. The curator/curaturess/director/directoress of the museum, Sofa previously, decided to build the museum on the grounds of the farm, with the help of an enormous grant, to compensate for what the beautiful hideous and poisonous flowers perpetrated to the place and the workers previously. they exhibited original paintings that had been lost during the war. I don't know how they reached them?

Basically, you come to see the beautiful design of the museum. The paintings are an afterthought. But the farm’s sloped earth posed a problem for the building of the museum. In addition to that, small butterflies were born which fed on the wood of the stolen canvases, taking on the details of the paintings as homes. This led to the cancelling of the exhibition and the use of the walls to hang the paintings. When they went bare, the walls were exposed to the predation of unknown vandals. The exhibition hall was moved piecemeal to become a part of reception halls for guests, kitchens, and sleeping quarters throughout the village.

The obsession of the director/directoress for plants and insects compelled her to cut pieces of the paintings so as not to wake the sleeping caterpillars from their sleep or annoy them, and this ongoing love and failure is embraced by her/his jacket and sleeves, as a horse feeling his end draws near does what he can to preserve his guts, so some horses flatten their stomachs on the ground, while others turn onto their backs, but their teeming insides are not spared, but spilled. This work is intended to create perceptual and spatial effects that may lead to new imaginations. 

Multiples
Dimensions ca. 15 x 10 x 2 cm
Edition: 25 similar but unique objects.
Material: Clay, oil paint, glaze, canvas.
Photo: IN MY HANDS

​Colorful clay sculpture of a caterpillar wrapped in a torn piece of a painting of dead horse. The figure of the dead horse is a poetic gesture, symbolizing the failure and death of the idea of a museum to be founded on a farm. The caterpillar and torn piece of the painting are extracted from the jacket / museum. 25 pieces.  






Théodore Gericault, French 1791-1824, Dead Horse, one of the resources inspiring my project. 



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 













Ali Eyal 2024 ​© All Rights Reserved​