Past Exhibition / Group Show

Roads Were Open / Roads Were Closed

September 10 - October 02, 2008

  • Road -were -open ---Roads -were -closed

    Installation view

  • Untitled 3 (A Series )

    Tarek Al Ghoussien

  • Untitled 4 (BSeries )fix

    Tarek Al Ghoussien

  • Untitled 7 (B Series)

    Tarek Al Ghoussien

  • Untitled 8 (B Series)

    Tarek Al Ghoussien

  • Untitled 10 (B Series)

    Tarek Al Ghoussien

  • Untitled 12(B Series)

    Tarek Al Ghoussien

  • JHKJ_Wonder Beirut Series [04]_1997-2006_Colour Print With Face Mounting _70x 105cm _Ed .of 5_650

    Joana Hadjithomas & Khalil Joreige

  • JHKJ_Wonder Beirut Series , Latent Images [01]_1997-2007_Colour Print With Face Mounting _32x 42cm _650

    Joana Hadjithomas & Khalil Joreige

  • 13aout

    Fouad Elkoury

  • 10aout

    Fouad Elkoury

  • 15juillet

    Fouad Elkoury

  • 20juillet

    Fouad Elkoury

  • 21juillet

    Fouad Elkoury

  • 22juillet

    Fouad Elkoury

  • Laila Shawa, Weapons of Mass Destruction, 2008, Mixed media, 150 x 90 cm

    Laila Shawa

Images

Artists: Fouad Elkoury, Joana Hadjithomas & Khalil Joreige, Tarek Al-Ghoussein, Laila Shawa. 

Roads Were Open / Roads Were Closed is an interdisciplinary exhibition which maps varying approaches and practices around the experience, perception and memory of conflict-related trauma featuring works by Fouad Elkoury, Joana Hadjithomas & Khalil Joreige, Tarek Al-Ghoussein, Laila Shawa. 

This exhibition will feature a panel discussion with Elkoury and Joreige, as well as a series of films shown over the duration of the exhibition.

Fouad Elkoury's On War and Love is a series of 29 daily journal entries recorded during the 2006 bombardment on and incursion into Lebanon by Israel. The work combines photography and text in order to reveal the artist''''s intimate thoughts as he recounts this event which is doubled by the decision of his partner to leave him.

In Wonder Beirut, Joana Hadjithomas and Khalil Joreige retrace the career of Lebanese photographer, Abdallah Farah. In 1975, Farah started damaging the negatives of his postcards, burning them little by little, imitating and simultaneously documenting the battles and bombings of the civil war. Hadjithomas and Joreige both republish these images to record the demise of this city, as well as that of the photographer’s psyche.

Tarek Al-Ghoussein's series ofSelf-Portraits depict the artist in various settings where open spaces and obstacles intercept each other. Based in the UAE, many of his photographs include the artist dwarfed by a vast desert landscape, stuck in front of remnants of walls in the middle of an open space.

London-based Laila Shawa’sWeapons of Mass Destruction is an oversized slingshot, stretched back as if ready for release. Despite the tension within its strips, the rock in its pocket is clearly grounded and presents no danger. 

This exhibition was generously supported by Bank of Sharjah.