Wed
15May
-
Sat
02Nov

Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian | We Are Open For Installation

  • VENUE: Gallery Isabelle van den Eynde

From 15 May to 2 November, Gallery Isabelle van den Eynde is ceasing to operate as an art gallery, in an attempt to unsettle the dictatorial art system and to reconnect with the fundamental process of art making. In its place, further to the gallery's invitation to Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian, the space has been handed over to the artists for the duration of five months as a living and breathing cellular domain. Audiences are welcome to visit We Are Open For Installation. Updates and invitations will be shared, or not, according to the natural energies unfolding in this collective venue.

 

In Katrina Kufer’s recent review published in Alserkal Avenue's Folio, she aptly explains, “We Are Open for Installation is a think-tank in the place of a white cube, where everyone is invited to participate in the unlisted series of activities that accompany the ‘exhibition’. But there is no spectacle to be observed – it is full immersion in ideas, emotions, research, and radical gestures, more akin to a physical expression of a cognitive network. In the words of the trio at work, ‘When people walk in a white cube space, they come with assumptions of a halo of fetishism for the art and the artists, however, when you encounter a pupating landscape here, it makes visitors more intimately connected with the works.”

 

Works? Of art? Nothing should be taken for granted; here, the ‘Artist’ is replaced by a Dastgah (they become some kind of machine rising from an assemblage of objects that repeats a set of operations), a sculpture is referred to as Pond of Language (multi-handed compositions based on body gesticulations to exchange ideas in a multilingual set of collaborators), a painting is a Field of Negotiation (at the core of the practice lies the principle that collaborators contribute to a work without a pre-determined outcome).

 

To begin the five months journey, the gallery assumed form as a conceptual think-tank, featuring voids, cavities, tunnels, … and hollowness or gaps in time and space were ubiquitous. It emphasized a form of vagueness yet steeped with intrigue. A tank, in other words a container, as well as anything hollow, invites an operation of filling; it cannot exist alone; it needs to host.