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Navid Nuur

Eruption from the Surface. The Origami Principle in Art (group show)
Marta Herford, Herford
24 February - 3 June 2018

Navid Nuur, Transfigurations, 2011-2012. Courtesy of the artist and Galeria Plan B Cluj, Berlin
Navid Nuur, Transfigurations, 2011-2012. Courtesy of the artist and Galeria Plan B Cluj, Berlin

Flower buds, wings, and even DNA: the world consists of complex folds, bends and crushes. While folding techniques already have a long cultural history, they are now being rediscovered by science and technology. In spatial experiments, as a game with the senses or with artistic experiment set-ups, this exhibition develops an impressive cosmos of contemporary reflections on the dynamic relationship between surface, space and materiality.

Origami forms a bridge between mathematics and art, between planning and chance, between order and creative chaos. These principles are imitated, reflected and further developed by the artists. Unlike classic sculptural approaches, they create spatial constructs without anything being added or removed, solely through the infinite possibilities of deformation of one or several surfaces.

These three-dimensional objects, whether folded, bent, arched, drawn or on the canvas, playfully take over the exhibition room. This gives rise to filigree works, space occupations or conceptual spaces between sensual perceptibility and surprising perspectives, between rebellious opposition and collapsing form.

Marta Herford, Herford


Additional:

Navid Nuur

RE/FLECT/OR (public sculpture)
Intersection Spui / Grote Markstraat, Den Haag
19 December 2018, 6pm

Navid Nuur, model of
Navid Nuur, model of "RE/FLECT/OR", 2018. Photo: Navid Nuur

Since the early 1990s art center Stroom Den Haag has developed a unique Sculpture Gallery in the city center of The Hague. On Wednesday 19 December 2018, just two days before the shortest day of the year, we will add a new sculpture - entitled RE/FLECT/OR - by the internationally renowned artist Navid Nuur. The sculpture comes to life through the use of artificial light.

RE/FLECT/OR is a sculpture that resembles a building: horizontal layers alternate with layers of colored reflectors, that generate a completely different effect during day or night. At night this effect is particularly strong: the reflectors light up through the lights of the passing traffic and the surrounding shop windows. These moving lights also change the colours of the sculpture.

Navid Nuur: “I started thinking about a sculpture in 2013, after I was invited by Stroom to contribute a work to The Sculpture Gallery. My main concern was to create a sculpture in public space that enters into a relationship with the passers-by, who all have a different perspective. People walk or drive by the sculpture day and night, so when you create a sculpture for an outdoor location you have to take into account both the day and night rhythm of the passers-by. The reflectors make it technically possible to show different aspects of the sculpture - the work enters into a dialogue with the dynamics of the city. This can be a random sensation or one that you consciously capture with flash photography.”

For Navid Nuur RE/FLECT/OR (2008-2018) forms the basis for future works. His installations, drawings and objects are best described as modules of thought. He himself prefers to call them ʻinterimodules'. Module stands for a way of thinking/concept, and interim for the temporary ʻin between'.

Stroom Den Haag


Navid Nuur

RE:Collecting (group show)
Singer Museum, Laren
11 December 2018 - 7 April 2019

Navid Nuur, City Silence, 2013–2018. Courtesy of the artist and Singer Museum, Laren
Navid Nuur, City Silence, 2013–2018. Courtesy of the artist and Singer Museum, Laren

An exhibition that explores untold stories of corporate collections in The Netherlands

RE:Collecting


Navid Nuur

Out of Office. Art in Business (group show)
Singer Museum, Laren
11 December 2018 - 7 April 2019

Navid Nuur, installation view, Galerie Max Hetzler, Berlin, 2017. Photo: def image
Navid Nuur, installation view, Galerie Max Hetzler, Berlin, 2017. Photo: def image

This winter, for the first time, over 150 rarely seen highlights from the art collections of several major Dutch companies will exchange their familiar home on the office wall for a spot in the museum. Out of Office . Art in Business , an exhibition organised by Singer Laren in collaboration with the Netherlands Association of Corporate Art Collections (VBCN), will offer a surprising overview of 75 years of Dutch art from corporate collections. From 11 December to 7 April this exhibition, featuring work by artists like Karel Appel, Marlene Dumas, Armando, Jan Schoonhoven and Folkert de Jong, will reveal some surprising connections between artists from different period and between the different collections.

Out of Office will showcase the multifaceted range of Dutch art from 1945 to the present that is held in corporate collections, tying in with the VBCN’s efforts to bring art treasures from its members’ collections to the general public. The exhibition will be based on a number of themes, grouping artworks from different periods and leading to some surprising artistic encounters. The theme of ‘Liberated’ will bring together Lucebert, Karel Appel and David Bade. Works by Carel Willink, Erwin Olaf and others will enter into a dialogue in the gallery devoted to the theme ‘On the Shoulders of Giants’. ‘Guilty’ will be the element connecting Pyke Koch, Armando and Ronald Ophuis. Portraits by Ina van Zyl, Marlene Dumas, Levi van Veluw, René Daniëls and many others will feature under the title ‘Ecce Homo’. Finally, ‘A New Skin’ will feature spectacular installations by artists like Folkert de Jong and Peter Struycken.

Singer Museum, Laren


Darren Almond, Raymond Hains, Joan Mitchell, Navid Nuur, Ida Tursic & Wilfried Mille et al.

Painting the Night (group show)
Centre Pompidou-Metz, Metz
13 October 2018 - 15 April 2019

Ida Tursic & Wilfried Mille, Landscape with Earth and Moon, 2013. Courtesy of the artists and Almine Rech Gallery
Ida Tursic & Wilfried Mille, Landscape with Earth and Moon, 2013. Courtesy of the artists and Almine Rech Gallery

The topic of night has infiltrated current debates concerning society (should we open shops at night or preserve that time for sleep?), the environment (how can we limit night light pollution which prevents us from seeing the stars and impacts natural life?), politics (the French “Nuit Debout” movement, clandestine nightly border crossings), science (we are constantly furthering our knowledge of the phenomenon).

Night-time, and the many questions it prompts, has haunted artists particularly since the late 19th century. Thanks to such ground-breaking discoveries as electrification and lighting, psychoanalysis and the advent of the space age the night has evolved, transforming us in turn: theories have consequently been completely reviewed changing our relationship to the night-tide.

From 13 October 2018 to 15 April 2019, Centre Pompidou-Metz is hosting an important exhibition featuring the night in modern and contemporary painting along with a catalogue and a wealth of associated events.

A prominent source of inspiration in the history of art, the night continues to offer a rich field of investigation. Revisiting such a vast topic spawns numerous profound interrogations on our condition and our place in the Universe and the role Art could play.

Though at first the idea might seem paradoxical, Painting the Night (Peindre la nuit in french) is in fact heavy with meaning. The title is voluntarily ambiguous for night painting could either mean representing the night or painting at night. Painting the dark or in the dark, a choice has to be made either to improve one’s night vision or on the contrary to abandon seeing altogether. Indeed it is at night that we can, both physically and symbolically, at last “disconnect from the world”— a typically modern aspiration. Actually, twilight would be a perfect metaphor for the elusive boundary between figuration and abstraction.

With a focus on the perception of night rather than its iconography, the exhibition intends to be, in fact, a nocturnal experience: as visitors weave their way in they become night-owls, the heady atmosphere of nightlife takes its hold teasing the senses, stirring the inner self inducing cosmic vertigo. One steps into the exhibition as one would step out into the night.

In keeping with the spirit of Centre Pompidou-Metz exhibitions, this show is not limited exclusively to paintings, though these are central, for parallels and resonances are established with, for instance, music and literature, as well as video and photography. The event groups about a hundred artists and historical figures (Winslow Homer, Francis Bacon, Anna-Eva Bergman, Louise Bourgeois, Brassaï, Helen Frankenthaler, Paul Klee, Lee Krasner, Henri Michaux, Joan Mitchell, Amédée Ozenfant, etc.) and contemporary artists (Etel Adnan, Charbel-joseph H. Boutros, Ann Craven, Peter Doig, Jennifer Douzenel, Rodney Graham, Martin Kippenberger, Paul Kneale, Olaf Nicolai, Gerhard Richter, etc.) as well as a number of spectacular installations, some of which were created especially for the project (Harold Ancart, Raphaël Dallaporta, Spencer Finch, Daisuke Yokota, Navid Nuur, etc.).

Centre Pompidou-Metz, Metz


Navid Nuur

RESISTANCE (group show)
CENTRALE, Brussels
27 September 2018 - 27 January 2019

Within the scope of 2018, year of protest, the City of Brussels celebrates the fiftieth anniversary of 1968, a period marked by disruptions and multiple challenges but that remains emblematic for arts and society alike. On the occasion of the ambitious project entitled RESISTANCE, CENTRALE for contemporary arts fullfils its mission as public arts centre and focuses on the ways in which art used and pursued the many society and political challenges that rocked the past half-century.

Using a thematic approach, the exhibition studies how contestation and resistance fall within a body of artworks. Instigating a dialogue between historical works from 1968 and contemporary pieces by Belgian and international artists, the show reflects on the huge gateway that opened during that era and that remains connected to contemporary art.

From 1968 to 2018, some artists chose to resist the diktats of the art world and to point the flaws that jeopardize the very foundations of our media-hungry societies. Paradoxically, art drew all its strength from the many resistances and protests imprinted in these art works…

The exhibition sheds light on works stemming from a practice of relations broadened to the world, which use unconventional materials and media and that are all animated by a burning desire for action at the heart of the community. A practice founded on firm beliefs that converge with major collective issues such as personal freedom, feminism, globalisation, the environment.

At the core of the show, the role of artists unfurls as the key player of a revolutionary thought, somewhere between resistance and protest.

CENTRALE, Brussels


Navid Nuur

True Luxury... Art acquisitions 2012-2018 (group show)
Stedelijk Museum, Amsterdam
22 September 2018 - 3 March 2019

Navid Nuur, Study 50-53 (The Eye Codex of the Monochrome), 1980-2010. Courtesy of the artist and Stedelijk Museum, Amsterdam
Navid Nuur, Study 50-53 (The Eye Codex of the Monochrome), 1980-2010. Courtesy of the artist and Stedelijk Museum, Amsterdam

Films, videos, installations, paintings, sculptures and works on paper are featured, by artists like Bell & Frick, General Idea, Magali Reus, Erik van Lieshout, Arthur Jafa, Tony Oursler, Ed Atkins, Meschac Gaba, Helen Marten, Han Schuil, and Fiona Tan. Almost a third of the selected pieces were gifted by artists, private collectors, and international and Dutch galleries.

With this exhibition, the museum underlines the increasing importance of private donations to the collection. The Stedelijk has traditionally received large numbers of artworks gifted by artists. Many of the purchased pieces were possible thanks to the generosity of funds such as the Rembrandt Association, Mondriaan Fund, BankGiro Loterij, Young Stedelijk and Stedelijk Circle. Some of the works were purchased jointly with fellow institutions in the Netherlands and beyond, a phenomenon that is gaining in popularity, as is the increasing number of collegial loans. The Stedelijk’s new acquisition of Imitation of Life (35 mm film, 2013) by Mathias Poledna, for example, goes on view for the first time in a presentation at the Centraal Museum, Utrecht in September.

The title of the exhibition at the Stedelijk is taken from the installation Echte luxe is niets kopen / True Luxury is Not to Shop by the Dutch artist Erik van Lieshout, who gifted the work to the museum in 2016. It is an ironic reference to the reality that, in a time of shrinking museum budgets and skyrocketing prices on the international art market, collections rely on magnanimous donors to expand their holdings. Although the exhibition spotlights recent acquisitions, several clear thematic threads leap out, such as an engagement with new technology, digital culture and the repercussions of globalization. Among the show’s highpoints is the space-filling installation by Erik van Lieshout, the imposing video installations of Arthur Jafa and the donation of the archive of the former Canadian artist collective General Idea, including their graphic work, mail art, multiples, invitations and publications.

Stedelijk Museum, Amsterdam


Navid Nuur

CHARIVARI (group show)
Pamelekerk, Oudenaarde
15 September - 16 December 2018

Navid Nuur, Untitled (OMG), 2013. Photo: Jhoeko. Courtesy of the artist and Galerie Martin van Zomeren
Navid Nuur, Untitled (OMG), 2013. Photo: Jhoeko. Courtesy of the artist and Galerie Martin van Zomeren

In the framework of the 'baroque year' 2018, the city of Oudenaarde is organizing an ambitious exhibition in their museum around Adriaen Brouwer, one of the most important and to this day unjustly unknown artists of the 17th century. Adriaen Brouwer (1605-1638) was probably born in Oudenaarde as the son of a cardboard painter of tapestries. As a transitional figure, he builds a bridge between the 16th-century Bruegel tradition and the landscape and genre scenes of the 17th century. Within architecturally dynamic, dramatic settings Brouwer introduces all sorts of characters that show the most diverse emotions and moods. Contemporaries picked up his virtuoso work: none other than Rubens and Rembrandt had works by this painter in their own collection.

We aim to offer an answer to this exhibition by bringing together a group of about 20 contemporary artists under the title CHARIVARI. We are inspired by the artistic heritage of a figure like Adriaen Brouwer with an oeuvre that shows a critical, often moralizing but always humorous look at society: obscure figures who smoke, drink, fight and gamble in a pub, a father who changes the diaper of his son, a farmer who grips a scantily clad woman. It is striking to note that the rich bourgeoisie 'ordered' these kinds of scenes to 'decorate' their homes. The quality of this work is indisputable, precisely because of its stubbornness, its game of attraction and repulsion and the enormous formal and psychological dynamics. Brouwer shares with us his view on a society that does not seem so dissimilar from ours today.

With the artists we have selected, we find an equally critical voice, but also a healthy sense of irony and sarcasm. CHARIVARI must become a ‘people’s court’, a ritual that brings together a group of people to mock or punish social norms or behavior that have been violated. According to historiography, a charivari was usually accompanied by a procession, supported by a gigantic racket, cheeky shouts, kettle music, ironic plays and songs.
Moreover, we have chosen artists who thematize and question their own position as an artist: what is their place within society, within the art world? Brouwer also portrayed himself as a drinking brother in one of his most famous scenes.

The location offered to us to set up this exhibition presents us with an interesting challenge: the Pamelekerk, situated on the banks of the Scheldt that flows right through the heart of the city. The church is still relatively active in use by the community, but is being reserved for our project. Next to this, we connect the locations of the church and the museum by occupying the café 'Adriaen Brouwer' on the central ‘Markt’ of Oudenaarde, which should become a meeting place for our visitors, and where art will also be given a place.

CHARIVARI