Bashir Makhoul
House of Cards
Forthcoming launch of two exhibitions in Manchester. 2014
House of Cards

www.asiatriennialmanchester.com

House of Cards: is a collection of new paintings and tapestry part of the Manchester Contemporary at Old Granada Studios, open on Thursday 25th September. You can register via the link on the invitation.

Old Granada studios,Quay Street,
Manchester, M60 9EA

If you wish to see the exhibition “House of Cards” on 26th, the artist will be available to meet you there from 4:00pm. The second launch is on Friday 26th September at the Imperial War Museum, North (IWM North) and is part of the 3rd Asia Triennial Manchester, (Conflict and Compassion). At the Museum Makhoul will present a new site-specific installation

House of Cards  House of Cards  House of Cards  House of Cards 

New paintings and tapestry by Bashir Makhoul

This exhibition represents a new departure and adds to Makhoul’s extensive oeuvre. In 1996, Makhoul bade farewell to painting. However this new collection sees a return to the medium, albeit with an entirely different formal and conceptual approach. The work is based on imagery from his contribution to the 55th Venice Biennale exhibition in 2013. “The Occupied Garden” was a large temporary cardboard city that filled one of the few larger private gardens of Venice. The paintings depict sections of the installation and are presented as formal, monumental ‘views’ of the cardboard city, affording it the same respect as Canaletto did the city of Venice. Also included in the exhibition are six large-scale tapestries of bullet holes.

For this exhibition Makhoul is showing work that deliberately evokes notions of art as monumental and commemorative as well as luxury commodities in a globalized market. The political is woven into the medium (literally, in the case of the tapestries), their modes of production and their representational content. Poverty and war are the warp and weft of ‘life’s rich tapestry’ in our advanced late capitalist world. It seems these days that wherever we look we either see an excess of wealth and luxury or scenes of atrocity and human misery. Makhoul is bringing them into the same space, while at the same time reminding us that art is more often than not, complicit in the distracting spectacles produced by power and wealth.










































































































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