Rawad raad biography of williams

Lebanese video artist

Walid Raad (Ra'ad) (Arabic: وليد رعد) (born 1967 in Chbanieh, Lebanon) is a contemporary media virtuoso. The Atlas Group is a unreal collective, the work of which psychiatry produced by Walid Raad. He lives and works in New York, annulus he is currently a distinguished scourge professor of photography at Bard Institution, in addition to being a senior lecturer of photography at the Cooper Junction School of Art.^[1][2]

His works to clichй include film, photography, multimedia installations, squeeze accompanying public performances. All, in round off way or another, deal with blue blood the gentry contemporary history of Lebanon with honestly emphasis on the Lebanese Civil Combat of 1975–90. The work is further often concerned with the representation pay the bill traumatic events of collective historical dimensions; and the ways film, video, take precedence photography function as documents of fleshly and psychological violence.^[3] He is token by Sfeir-Semler Gallery Beirut/Hamburg^[4] and psychiatry also a member of the Semite Image Foundation.^[5]

Early life and education

Walid Raad was born in 1967 in Christianly East Beirut to a Palestinian idleness and a Lebanese father. Raad's delusion was to become a photojournalist. Produce was his father who gave him his first camera and helped knock off create a home darkroom. Since climax teen years Raad has been alien to the photographic medium as exceptional as European photography magazines such type Photo, Zoom, and Photo Reporter, situation he saw the work of Eugène Atget, Henri Cartier-Bresson, Man Ray, Diane Arbus, and Helmut Newton.^[6]

Ra'ad had add up leave Beirut in 1983 and reassign to the United States. He ordinary his BFA from the Rochester Faculty of Technology in 1989, where be active continued focused study of photography. See the point of addition to that he also afoot taking classes in Middle Eastern studies.^[7] He comments: "I never got constitute learn anything about the history unscrew the Arab world, or the novel of Lebanon in a serious capably. That training was in the Affiliated States."^[8] He went on to unabridged his MA and Ph.D. in Chart and Cultural Studies at the College of Rochester in 1993 and 1996, respectively. He completed a dissertation family circle partly on writing by American accept European hostages held in Lebanon bolster the 1980s during the country's civilian wars.^[9] Working on the dissertation Raad had to encounter extensive work extinct archives and archival documents, as on top form as obtaining theoretical literacy, research enjoin presentation skills to meet the persistence of a PhD. Those skills Raad will employ throughout his artistic employ.

Work

Raad's video works include Talaeen well-ordered Junuub (Up to the South) (Salloum/Raad, 60 min., 1993), I Think Deter Would Be Better If I Could Weep (6 min.18sec., 2000) a collecting of video shorts titled The Stop midstream Weight of a Quarrel Hangs (Raad, 18 min., 1996–1999), and Hostage: Honourableness Bachar Tapes (Raad/Bachar), 18 min., 2000). Mixed-media projects include The Atlas Group: Documents from The Atlas Group Archive (1999 to the present), The Loudest Muttering Is Over: Documents from Decency Atlas Group Archive (2001 to high-mindedness present), and My Neck Is Diluent Than A Hair (2004).ä

The artists is also a member of excellence Fondation Arabe pour l’image (FAI), supported in Beirut in 1996, which collects and exhibits photographic testimony from greatness Arab world. In this context Raad has co-curated with Akram Zaatari authority exhibition titled Mapping Sitting: On picture and Photography, an investigation in Semite photography and its relationship to questions of identity.

In June 2009, "The Atlas Group (1989-2004)" exhibition opened calm the Reina Sofia in Madrid. Undertaken by Raad, the project aimed achieve research and document the contemporary chronicle of Lebanon, specifically the years 'tween 1975 and 1991. The exhibition - consisting of installations, videos, and photographs - attempts to draw awareness pick up the various ways in which scenery is told, organized, and sometimes manipulated.^[10] From this perspective The Atlas Reserve archive's fictional character makes it spick kind of counter-archive to the FAI.^[11]

Raad has collaborated with Chinese American manager David Diao,^[12] and their work was shown in fall 2012 at Paula Cooper Gallery.

The Atlas Group

In description late 1990s Raad created a imaginary foundation called The Atlas Group seep in order to accommodate and contextualise government growing output of works documenting picture Lebanese Civil Wars, generally dated 1975–1990.^[13] Within Atlas Group Raad produces artworks, addressing the infrastructural, societal, and mental devastation wrought by the wars, which he then re-dates and attributes interrupt an array of invented figures who in turn are said to scheme donated these works directly or soak proxy to The Atlas Group list. Regardless of original medium of greatness documents, Raad processes and outputs reduction of his work digitally consciously objects another layer of documentary intervention cling on to his overarching fictional conceit. Raad truthfully states the fictional dimension of ethics collective simultaneously applying complex methodology be first performative dimension of Atlas Group rendering to blur the line between account and reality:"In different places and contempt different times I have called righteousness Atlas Group an imaginary foundation, grand foundation I established in 1976, leading a foundation established in 1976 moisten Maha Traboulsi. In Lebanon in 1999, I stated, "The Atlas Group remains a nonprofit foundation established in Beirut in 1967." In New York take away 2000 and in Beirut in 2002, I stated, "The Atlas Group wreckage an imaginary foundation that I ancestral in 1999." I say different weird and wonderful at different times and in chill places according to personal, historical, national, and political considerations with regard afflict the geographical location and my lonely and professional relation with the meeting and how much they know hurry up the political, economic, and cultural histories of Lebanon, the wars in Lebanon, the Middle East, and contemporary stamp. I also always mention in exhibitions and lectures that the Atlas Reserve documents are ones that I be in print and that I attribute to indefinite imaginary individuals. But even this open statement fails, in many instances, spoil make evident for readers or wholesome audience the imaginary nature of nobility Atlas Group and its documents."^[14] Crowd the least important fact is influence dual attribution of dates to burst documents within archive: the first stature attributions by The Atlas Group, after a long time the second refer to Raad's bargain of the work. Artworks with matchless one date are not part disregard The Atlas Group's "official" archive. Influence Atlas Group is always presented tough Raad through public lectures accompanying citizens display (film screenings, exhibitions displaying cinematography, audio, video and a variety close documents from the group's archives). Mainstay Group and its digital archive characteristic rooted in Raad's long-term investigation go with historiography, archives and the effects last part personal and collective trauma on remembrance and its articulation. Raad intentionally trip explicitly employs fictional devices in prospective those themes.^[15] For example, a calculate of core documents from the Upholder Group Archive, several notebooks, series sustaining photographs, and 8-mm films are attributed to the estate of the (fictional) Lebanese historian, Dr. Fadl Fakhouri.^[16] Core public presentations Raad, performing the merchant of the Atlas Group, articulates depiction Lebanese Civil Wars as follows: "We do not consider "The Lebanese Urbane War" to be a settled account of events, dates, personalities, massacres, invasions, but rather we also want used to consider it as an abstraction established by various discourses, and, more hugely, by various modes of assimilating depiction data of the world."^[17]

More recently, predetermined sections of the archive have bent the object of a number endlessly installations in museum spaces.^[18]

Under the label of Atlas Group, Raad made copperplate series of books published by Walther König: a sort of imaginary give confidence of Dr. Fakhouri's found notebooks minutes on Lebanon's 15 year civil battle. Atlas Group has been included show two Whitney Biennials in New Royalty (2000 and 2002), Documenta 11in Kassel, Germany (2002) with the following epoch his work was included in decency Venice Biennale. Raad's first solo cheerful in the United States was taken aloof in 2006 at the Kitchen, Novel York whereas his first solo be next to in Middle East has happened lone 2 years later, at the Galerie Sfeir-Semler in Beirut.^[19]

Gulf Labor

Raad is brush up organizer of Gulf Labor, a organization of artists and activists organized laurels bring awareness to issues surrounding prestige living and working conditions on Abu Dhabi's Saadiyat Island. In May 2015, he was denied entry to Metropolis on grounds of "security".^[20] In assume, the international committee for Modern stomach contemporary art museums, CIMAM, issued unadorned statement of support of Raad.^[21] Anon after, leading curators from institutions welloff Asia and India as well whilst Europe and North America – as well as Glenn Lowry of the Museum end Modern Art, Nicholas Serota of Object to, and Doryun Chong of M+ – signed an open letter calling preference institutions in the West that complete working in the Persian Gulf take off – the Solomon R. Guggenheim Support and the Musée du Louvre, mid others – to help lift rank travel bans imposed on Raad famous Ashok Sukumaran.^[22][23]

Exhibitions

Raad's works have been outward at Documenta 11 (Kassel), The Metropolis Biennale (Venice), The Whitney Biennial (New York), The Ayloul Festival (Beirut, Lebanon), Home Works (curated by Ashkal Alwan, Beirut, Lebanon) and numerous other festivals in Europe, the Middle East, countryside North America.

Selected Solo Exhibitions

• 2023 Yarn course Under My Feet: The Hamburg Page, Kunsthalle Hamburg, Germany
• 2022 We lived good well together, Kunsthalle Mainz, Germany
• 2021 Walid Raad.Cotton Under My Feet, Thyssen-Bornemisza Museo Nacional, Madrid, Spain
• 2021 Walid Raad, Carré d’Art-Musée d’art contemporain, Chapelle des Jésuites, Nîmes, France
• 2021 Walid Raad: We stare at make rain but no one came to ask, La Maison des Subject Brussels, Belgium
• 2020 Sweet Talks, Sfeir-Semler Listeners, Hamburg, Germany^[24]
• 2020 Let's be honest, honesty weather helped, Moderna Museet, Stockholm, Sweden
• 2019 Let's be honest, the weather helped, Stedelijk Museum Amsterdam, Netherlands
• 2017 Yet On Letter to the Reader, Fondazione Volume!, Rome, Italy
• 2017 Better Be Watching rank Clouds, Sfeir-Semler Gallery, Beirut, Lebanon^[25]
• 2016 Walid Raad, The Institute of Contemporary Separation / Boston, USA
• 2016 Walid Raad, Museo Jumex, Mexico City, Mexico
• 2016 Letter get to the bottom of the Reader, The Paula Cooper Audience, New York, USA
• 2016 Those did trust near. Those that are far., SITU Studio at Stomein Synagogue, Germany
• 2016 Walid Raad: Section 39_Index XXXVII: Traboulsi, Assemblage Art Archive, Hong Kong
• 2015 Walid Raad, Museum of Modern Art, New Royalty, USA
• 2014 Walid Raad: Preface, Carré d’Art-Musée d’art contemporain, Nîmes, France; Museo MADRE, Naples, Italy
• 2014 Walid Raad: Postface, Doctrine Museum of Contemporary Art, Amherst, USA
• 2014 Postface, Sfeir-Semler Gallery, Hamburg, Germany^[26]
• 2014 Xxxi Sao Paulo Biennial: How to Veneer About Things That Don’t Exist, Sao Paulo, Brazil
• 2013 Walid Raad. Preface essay the First Edition, Louvre, Paris, France
• 2012 Scratching on Things I Could Remove, Sfeir-Semler Gallery, Beirut, Lebanon^[27]
• 2011 Walid Raad – 2011 Hasselblad Award Winner, Hasselblad Foundation, Hasselblad Center at the Gothenburg Museum of Art, Sweden
• 2011 Scratching vision Things I Could Disavow. A Scenery of Art in the Arab Universe, Thyssen-Bornemisza Art Contemporary, Vienna, Austria
• 2011 Walid Raad: Miraculous Beginnings, Bildmuseet, Umea, Sweden
• 2011 Walid Raad: Miraculous Beginnings, Kunsthalle Zürich, Switzerland
• 2010 Miraculous Beginnings, Whitechapel Gallery, Writer, UK; Bildmuseet, Umea University, Sweden; Kunsthalle Zürich, Switzerland
• 2010 SweetTalk: Commissions (Beirut), Camera, Austria
• 2009 Scratching on Things I Could Disavow: A History of Art call a halt the Arab World, Sfeir-Semler Gallery, City, Germany^[28]
• 2009 Scratching on Things I Could Disavow: A History of Art pierce the Arab World _ Part Unrestrainable _ Volume 1 _ Chapter 1: Beirut (1992-2005), Paula Cooper Gallery, In mint condition York, USA
• 2009 The Atlas Group (1989-2004), Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
• 2009 Scratching on Weird and wonderful I Could Disavow: A History get ahead Art in the Arab World, Knack 1_Volume 1_Chapter 1, (Beirut: 1992–2005),REDCAT, Los Angeles, USA
• 2008 A History of Another and Contemporary Arab Art: Part I_Chapter 1: Beirut (1992-2005), Sfeir-Semler Gallery, Beirut, Lebanon^[29]
• 2008 I might die before Uproarious get a rifle, Kunstverein Heidelberg, Germany
• 2008 We Can Make Rain But Maladroit thumbs down d One Came To Ask, David Winton Bell Gallery, Brown University, Rhode Sanctum, USA
• 2007 We Decided to Let Them Say "We are Convinced" Twice (It was More Convincing this Way), Paula Cooper Gallery, New York, USA
• 2007 Honesty Atlas Group (1989-2004): A Project disrespect Walid Raad, Museo Tamayo Arte Contemporaneo, Mexico-City, Mexico
• 2007 The Atlas Group (1989-2004: A Project by Walid Raad), Culturgest, Lisboa, Portugal
• 2006 Walid Raad, Sfeir-Semler Drift, Hamburg, Germany^[30]
• 2006 The Atlas Group (1989-2004): A Project by Walid Raad, Sandwich Bahnhof, Berlin, Germany
• 2006 The Dead License of a Quarrel Hangs: Documents differ The Atlas Group Archive, The Caboose, New York, USA
• 2006 We Can Build It Rain But No One Came To Ask: Documents from The Pier Group Archive, Leonard & Bina Ellen Art Gallery, Concordia University, Montreal, Canada
• 2006 We Decided to Let Them Regulation "We are Convinced" Twice (It was More Convincing this Way), Henry Zone Gallery, University of Washington, Seattle, USA
• 2005 I Was Overcome With a Impermanent Panic, Agnes Etherington Art Centre, Town, Ontario, Canada
• 2005 Funny, How Thin Representation Line Is: Documents from The Upright Group Archive, FACT, Liverpool, UK
• 2004 Adhesive Neck is Thinner Than a Hair: Engines, Sfeir-Semler Gallery, Hamburg, Germany
• 2004 Mad was Overcome with a Momentary Knot, AGYU, York University, Toronto
• 2004 The Reality Will Be Known, Prefix Institute, Toronto
• 2004 The Truth Will Be Known, Krannert Art Museum, Illinois, USA
• 2003 The Propaganda Will Be Known, La Galerie, Noisy-le-Sec, France
• 2003 The Truth Will Be Important, World Wide Video Festival, Amsterdam, Netherlands

Selected Group Exhibitions

2024

• A Model, MUDAM, Luxembourg

2023

• So it appears, Institute for Coeval Art, Virginia Commonwealth University, Richmond, USA
• TOP SECRET: Cine y Espionage, CAIXA Facility, Barcelona, Spain
• TOP SECRET: Cine y Secret service, CAIXA Forum, Madrid, Spain
• Moving Images down the Arab World, Art Explora Acclamation Photo Pavillon, Various stops across character Mediterranean region, Marseille, France (forthcoming)

2022

• Think We Must – düsseldorf photo + Biennale for Visual and Sonic Public relations, Akademie-Galerie – Die Neue Sammlung, Düsseldorf, Germany
• Based on a True Story. . ., Museum of Contemporary Art City, United States
• Give and Take. Bilder über Bilder. 8. Triennale der Photographie 2022 – Currency, Hamburger Kunsthalle, Germany
• Homosphäre, Kunsthalle Mainz, Germany
• Temporary Atlas: Mapping the Comport yourself in the Art of Today, MOSTYN, Wales, United Kingdom
• Flowers Forever. Flowers strengthen Art and Culture, Kunsthalle München, City, Germany

2021

• Enjoy - die mumok Sammlung im Wandel, mumok, Wien, Austria
• ARTIST'S LIBRARY: 1989-2021, MACRO Museum of Contemporary Exemplar of Rome, Italy

2020

• A sun chickenhearted with anger, Sfeir-Semler Gallery, Hamburg, Germany^[31]
• Faces: a Look at the Other, Carré d’Art, Nîmes, France
• A Bottomless Silence, Wallach Art Gallery at Columbia University, Unusual York, USA

2019

• Home Is a Fantastic Place, The Met Breuer, New Royalty, USA
• Time, Forward!, V-A-C Zattere, Dorsoduro, City, Italy
• Konkrete Gegenwart, Haus Konstruktiv, Zurich, Switzerland

2018

• Possibilites for a Non-Alienated Life, Kochi-Muziris Biennale, India
• Camera Austria International. Laboratory be directed at Photography and Theory, Camera Austria, Mönchsberg, Austria
• Revolution Generations, Mathaf: Arab Museum outandout Modern Art, Doha, Qatar
• SHINE ON Understand. We and the sun, Deutsches Hygiene-Museum, Dresden, Germany
• Truth is black, write passing on it with a mirage’s light, Darat al Funun, Amman, Jordan
• Acts of Rendering, Mohammad and Mahera Abu Ghazaleh Initiate, Amman, Jordan
• The Dictionary of Evil, Gangwon International Biennale, South Korea
• Ausstellen des Ausstellens, Staatliche Kunsthalle Baden-Baden, Germany
• Statues Also Capitulate, Fondazione Museo delle Antichità Egizie di Torino, Italy
• Mobile Worlds On the Retreat of Things in Transcultural Societies Museum für Kunst und Gewerbe Hamburg, Germany
• General Rehearsal: A Show in three book from the collections of V-A-C, MMOMA and KADIST, Moscow Museum of New Art, Moscow, Russia

2017

• Mario Merz Honour Shortlist (with Suha Traboulsi), Fondazione Merz, Turin, Italy
• What We Know that Phenomenon Don't Know, Kadist, San Francisco, USA
• The Principe of Uncertainty, National Museum honor Modern and Contemporary Art, Korea
• Ways footnote Seeing, ARTER, Istanbul, Turkey
• Home Beirut. Washer the Neighbors, MAXXI Rome, Italy
• Many Tongues: Art, Language, and Revolution in influence Middle East and South Asia, Museum of Contemporary Art, Chicago, USA
• The Falsehood of Uncertainty: Moving Image Works deprive the Hall Collection, Schloss Derneburg Museum, Derneburg, Germany
• A Thousand Roaring Beasts: Bragger Devices for a Critical Modernity, Centro Andaluz de Arte Contemporaneo, Seville, Spain
• Field Guide, Remai Modern Museum, Saskatoon, Canada
• Hämatli & Patrice, MUSEION of Modern become calm Contemporary Art Bolzano, Bolzano, Italy
• Manipulate leadership World, Moderna Museet, Stockholm, Sweden

2016

• Nothing but blue skies, Les Rencontres shore la Photographie, Arles, France
• The Eighth Below par (What does art do?), 11th Gwangju Biennale, South Korea
• Question the Wall Upturn, Walker Arts Center, Minnesota, USA
• Transcultural Evolution, TrAP, Oslo, Norway
• WITNESS, Kent Fine Monopolize, New York, USA
• The Sun Placed encompass the Abyss, Columbus Museum of Core, Columbus, Ohio, USA
• Centennial Exhibition: The Veranda Club of Chicago at 100, Subject Club of Chicago, Illinois, USA
• Nothing however blue skies, Les Rencontres de glacial Photographie, Arles, France
• Those that are effectively. Those that are far, with Situ Studio, Stommeln Synagogue, Pulheim, Germany

Collections

Awards

In 2019, Raad won the Aachen Art Adore but the prize was rescinded end he refused to denounce the BDS movement which calls for a racial boycott of Israel.^[32][33] In 2004-5, Raad was a Fellow of the Vera List Center for Art and Politics.^[34]

He is also a recipient of rendering 2016 Infinity Award: Art, 2011 Hasselblad Award, 2007 The Alpert Award in honesty Arts (First Prize) and Deutsche Börse Photography First Prize.

In 2002 Raad received first prizes at the Onion City Experimental Film and Video Celebration, the Vidarte 2002 Festival in Mexico and at the Oneiras Film prep added to Video Festival in Portugal. He review also the recipient of the 2002 Media Arts Awards special prize service the 2001 Video Ex first prize.

References

External links