The Third Line is pleased to present Fractures, Nicky Nodjoumi’s first solo exhibition at the gallery curated by Media Farzin for Bidoun. The show features Nicky’s work from the past two years, including large and small-scale oils on canvas, ink drawings, and a collection of archival source imagery and collages.
Nicky Nodjoumi is a figurative painter with an abstract sensibility. His paintings explore the emotional dynamics of contemporary politics. The brushwork is quick, loose, and expressive, though the compositions are carefully worked out well in advance. His protagonists are often men in suits — the uniform of contemporary authority — painted against spare backgrounds.
Nicky’s recent body of work focuses on breaks, ruptures, and the layering of objects and bodies. He uses found photographs to make collages that repeat the same image with small shifts in scale. A selection of his working sketches and collages, drawn from his archive of source material, is also on view. In the final work, bodies are crisscrossed by sometimes violent slicing and fractures — vivid traces of the social violence that has caught up with them.
Hall 2.1, Booth T1 | Feature sector | June 14 – 17, 2018
The Third Line is pleased to present a solo presentation of Fouad Elkoury at Art Basel 2018. The selection of Fouad’s photographs taken between 1982 and 1995 looks at the recurring imagery of crumbling or abandoned domestic spaces as a testimony to the devastating realities in war-torn Beirut and Palestine.
The works on display at Art Basel look at Fouad’s multi-faceted photographic oeuvre and span over various series but are bound together by the artist’s preoccupation with place and presence. The photographs vary in sizes, are disposed on shelves and hung on the walls like memorabilia. Some are displayed in a linear, classical fashion, mirroring the work’s photojournalistic element, while others are shown in small sizes, forcing proximity and intimacy with the viewer. His works become a nomadic experience, retracing and retelling the steps of the artist with each photo taking us from place to place. The violence of the narrative slowly begins to fade into the background and gives way to the artist’s wistful longing for remembrance. Together, Fouad’s works propose a reconsideration on the notion of inhabitation, its disruption, and its transition from hospitable into hostile. They reveal the consequences of an assault on the domestic.
“These pictures were shot out of rage in Beirut after the end of the civil war when the authorities, in the general indifference, were pulling down most buildings that composed the city centre,” says Fouad of his works The Opera House (1994) and The Bullet Rigged Curtain(1995), both on view at Art Basel. “It is only now that the question of their beauty emerges, the beauty of what is no longer there, the beauty of a smile that I caught before it went away, drowned into the sea.”