The Daily Puppy

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Thursday, December 26, 2013

SEASON'S GREETINGS FROM FAURSCHOU FOUNDATION BEIJING MERRY CHRISTMAS & HAPPY NEW YEAR

SEASON'S GREETINGS FROM FAURSCHOU FOUNDATION BEIJING
MERRY CHRISTMAS & HAPPY NEW YEAR
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林冠艺术基金会 哥本哈根 | FAURSCHOU FOUNDATION COPENHAGEN
路易斯· 布尔乔亚 | LOUISE BOURGEOIS
孤身与共处 | ALONE AND TOGETHER
05.09.2013 - 14.02.2014 

林冠艺术基金会 北京 | FAURSCHOU FOUNDATION BEIJING
加布里埃尔·奥罗斯科 | GABRIEL OROZCO
旧轮胎 | CHICOTES
28.09.2013 - 23.03.2014

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798 Art District No.2 Jiuxianqiao Road Chaoyang District Beijing 100015 T +86 10 59 78 93 16 F +86 10 59 78 93 14
Tuesday - Sunday
10.00 - 18.00
北京市朝阳区酒仙桥路2798艺术区100015
电话 +86 10 59 78 93 16
传真 +86 10 59 78 93 14
周二至周日,上午十点至下午六点beijing@faurchou.com

Friday, September 6, 2013

Nasreen Mohamedi BECOMING ONE September 13 through November 23, 2013,New York

  
 
Nasreen Mohamedi
BECOMING ONE
September 13 through November 23, 2013
Opening Preview, Friday, September 13, 6-8pm
@
TALWAR GALLERY

108 East 16 Street
New York 10003
www.talwargallery.com  
 
 
Talwar Gallery is delighted to present Becoming One, an exhibition of photographs, drawings and the diaries of Nasreen Mohamedi (1931-1990). Drawn from across her practice the works on view offer a unique insight into the focused vision that characterizes her oeuvre, including some of her last works and some that have never before been exhibited. 

Possessing a totality of perspective, unity of thought and action, and absolute surrender to purpose, Mohamedi continued her unflinching quest to examine, inquire and strive for a cohesion of all that was – inside or outside, human or beyond. Whether creating with ink on paper or through a lens on film, she strove to bring together what seemed singular and separate to a connected, co-dependent whole. This was a constant and a continuous process where time did not matter and space was infinite, not one with a destination but a direction.


Mohamedi distilled the structure and order around her to an essence, of form. ThePhotographs, neither representational nor abstract, are sited in simple encounters of the tangible, pared down to light and dark, seeming to reveal universal truths beyond the logical. Intensely personal, and as controlled as the gaze of the artist, they reach outside the self, to perceive and connect. The convergence of individual and nature, form and space that emerges from her photographs is further revealed by the recently discovered photographs by Mohamedi of her own drawings. This inverted gaze, reversing the processes of her practice, instills a remarkable equilibrium to her oeuvre, leading the curve to a complete circle.