Past Exhibition / Babak Golkar

The Return Project

September 24 - November 8, 2014

  • Babak Golkar, Assisted Reconstruction, 2014, Paper cut-out from the original framed print (Fair Trade), straw, plastic bottle, water and watercolor, 31 x 25 x 8 cm

    Babak Golkar, Assisted Reconstruction, 2014, Paper cut-out from the original framed print (Fair Trade), straw, plastic bottle, water and watercolor, 31 x 25 x 8 cm

  • Babak Golkar, Fair Trade (After), 2014, Diptych c-prints mounted on aluminum, 48 x 38 x 3 cm

    Babak Golkar, Fair Trade (After), 2014, Diptych c-prints mounted on aluminum, 48 x 38 x 3 cm

  • Babak Golkar, Fair Trade/Assisted Reconstruction, Installation View

    Babak Golkar, Fair Trade/Assisted Reconstruction, Installation View

  • Babak Golkar, Mission Accomplished, 2014, Scented candle and cotton, 8 x 9 x 13 cm

    Babak Golkar, Mission Accomplished, 2014, Scented candle and cotton, 8 x 9 x 13 cm

  • Babak Golkar, Spring/Mission Accomplished, Installation view

    Babak Golkar, Spring/Mission Accomplished, Installation view

  • Babak Golkar, But A Storm Is Blowing (Before), 2014, Diptych C-prints mounted on archival foam board , 90 x 71 cm

    Babak Golkar, But A Storm Is Blowing (Before), 2014, Diptych C-prints mounted on archival foam board , 90 x 71 cm

  • Babak Golkar, But A Storm Is Blowing (After), 2014, Diptych C-prints mounted on archival foam board , 90 x 71 cm

    Babak Golkar, But A Storm Is Blowing (After), 2014, Diptych C-prints mounted on archival foam board , 90 x 71 cm

  • Babak Golkar, History, 2014, Porcelain fused resin, 18 x 15 x 6 cm

    Babak Golkar, History, 2014, Porcelain fused resin, 18 x 15 x 6 cm

  • Babak Golkar, But a Storm is Blowing/History, Installation view

    Babak Golkar, But a Storm is Blowing/History, Installation view

  • Babak Golkar, Circa 1919, Circa 2014 (Before) 2014, Diptych C-prints on Canvas, 25 x 76 cm

    Babak Golkar, Circa 1919, Circa 2014 (Before) 2014, Diptych C-prints on Canvas, 25 x 76 cm

  • Babak Golkar, Circa 1919, Circa 2014 (After) 2014, Diptych C-prints on Canvas, 25 x 76 cm

    Babak Golkar, Circa 1919, Circa 2014 (After) 2014, Diptych C-prints on Canvas, 25 x 76 cm

  • Babak Golkar, Circa 1919, Circa 2014/In Memory Of, Installation View

    Babak Golkar, Circa 1919, Circa 2014/In Memory Of, Installation View

  • Babak Golkar, Circa 1919, Circa 2014/In Memory Of, Installation View

    Babak Golkar, Circa 1919, Circa 2014/In Memory Of, Installation View

  • Babak Golkar, Batopeng/Ambidextrous Apparatuses, Installation view

    Babak Golkar, Batopeng/Ambidextrous Apparatuses, Installation view

  • Babak Golkar, Ambidextrous Apparatuses, 2014, Hand-carved wood and India ink, 36 x 12 x 6 cm

    Babak Golkar, Ambidextrous Apparatuses, 2014, Hand-carved wood and India ink, 36 x 12 x 6 cm

  • Babak Golkar, Backyard Wars (Before), 2014, Diptych C-prints on metallic paper, mounted on aluminium, 62 x 51 cm

    Babak Golkar, Backyard Wars (Before), 2014, Diptych C-prints on metallic paper, mounted on aluminium, 62 x 51 cm

  • Babak Golkar, Backyard Wars (After), 2014, Diptych C-prints on metallic paper, mounted on aluminium, 62 x 51 cm

    Babak Golkar, Backyard Wars (After), 2014, Diptych C-prints on metallic paper, mounted on aluminium, 62 x 51 cm

  • Babak Golkar, A Monument to the Cold War, 2014, Painted cut-off metal, acrylic casing, wooden base, 20 x 20 x 20 cm

    Babak Golkar, A Monument to the Cold War, 2014, Painted cut-off metal, acrylic casing, wooden base, 20 x 20 x 20 cm

  • Babak Golkar, Backyard Wars/A Monument to the Cold War, Installation view

    Babak Golkar, Backyard Wars/A Monument to the Cold War, Installation view

  • Babak Golkar, Arranged/Rearranged/Deranged, installation view

    Babak Golkar, Arranged/Rearranged/Deranged, Installation view

  • Babak Golkar, In a Nutshell/Nut in a Shell, installation view

    Babak Golkar, In a Nutshell/Nut in a Shell, Installation view

  • Babak Golkar, The Return Project, 2014, Installation View

    Babak Golkar, The Return Project, 2014, Installation View

  • Babak Golkar, The Return Project, 2014, Installation View

    Babak Golkar, The Return Project, 2014, Installation View

  • Babak Golkar, The Return Project, 2014, Installation View

    Babak Golkar, The Return Project, 2014, Installation View

  • Babak Golkar, The Return Project, 2014, Installation View

    Babak Golkar, The Return Project, 2014, Installation View

Images

Babak Golkar - The Return Project

The Third Line is pleased to present a critical new body of work The Return Project by Babak Golkar, the artist's second solo show in Dubai. A break from his previous works, The Return Project is an assemblage where readymade consumer articles are dissected, reconstructed and represented within the commercial conditions of their wholesale environment – questioning the structure of contemporary art practices.  

Babak has developed a distinct practice that engages critical investigation and renegotiation of spaces between cultural and socio-economical registers. With The Return Project, the artist seamlessly operates inside, and positions his work within, the parameters of a commercial system, interjecting the value constructs governing the contemporary art world. The project dismantles the artistic object and the artistic persona within their own contemporary systemic conditions by skewing the established points of references and relationships that seemingly authorize how and where the true value of art resides.

An object is purchased from a store and brought to the studio for photo documentation. The object is then dissected, collaged and reconstructed into a new consumer article and photo documented in its new state. The two photographs, forming a diptych, are printed in the same scale as the original object. Throughout the process original tags and labels are kept intact. The new object, now declared as an art work by the artist, accompanied by the tags and receipt and a hidden note stating "This is to authenticate this object as a work of art, signed" are then returned to the store for a full refund. The store’s return policy (often 7-10 days) determines the timeframe for the studio process. The returned object – that is, the art object - enters and circulates in the inventory of the store and is once again available for sale, but at the store’s determined price. The leftover cut-off pieces from the reconstruction process are reassembled to form a residual object to accompany the diptych. A small gesture in the large scheme, each action is planned and executed around a particular concept and is autonomous. Aside from the method that determines the project, each piece/action zooms in on a contemporary issue at stake, ranging from geo-politics and global economy to cultural shortcomings and art historical limitations.

Taking a stance, yet equally embracing the inherent anonymity, The Return Project, operates within and disrupts the limits of policies in systems that offer goods in a competitive market. The Return Project employs notions of performativity through two, often disproportionate, contexts – that of everyday retail and the rarefaction of the gallery context. 

ESSAY: Experiments with Discontinuity, by Sara Raza (pdf)

Project Space: Farah Al Qasimi, The World is Sinking