mai-abu-eldahab

[A VISIT TO] CLIFFORD IRVING SHOW AT CINÉ 13 IN PARIS



Gabriel Lester and Ellen Leblond-Schrader reading


Aurélien Froment and Benoît Rosemont doing magic


Byung Chul Kim’s sign for drawing portraits sessions in the style of Fabien Giraud, Philippe Parreno, Orlan, Matthieu Laurette, Pierre Huyghe, Claude Closky, Sturtevant or Falke Pisano.


Nicholas Matranga telling jokes


Rene Gabri reading


Rene Gabri and Ayreen Anastas reading and discussing


Clifford Irving Show

One-night-only variety show
Thursday, June 18, 2009
at 7:30pm at Ciné 13
1 ave Junot - 75018 Paris

Attended by Ayreen Anastas, Rachelle Bonders, Goda Budvytyte, Geoffrey Carey, Alex Cecchetti, Audrey Cottin, Gintaras Didziapetris, Mai Abu Eldahab, Benjamin Esdraffo, Aurélien Froment, Rene Gabri, Dora Garcia, Mark Geffriaud, Morten Norbye Halvorsen, William Holden, Will Holder, Byung Chul Kim, Gabriel Lester, Kobe Matthys, Nicholas Matranga, Alain Rondest, Benoit Rosemont, Ellen LeBlond Schrader, Benjamin Seror, Snowden Snowden, Lee Welch, Adva Zakai

Curated by Raimundas Malasauskas

Organised by Kadist Art Foundation, Paris and Objectif Exhibitions, Antwerp
www.kadist.org

Circular Facts
Mai Abu ElDahab

5.9 x 10.6 in / 96 pp. / paperback
$15  SOLD OUT

"Circular Facts is a collaborative endeavor between three of Europe’s most progressive contemporary art organizations: Casco - Office for Art, Design and Theory, Utrecht; Objectif Exhibitions, Antwerp; and The Showroom, London, in partnership with Kunst Halle Sankt Gallen and Electric Palm Tree. The project acted as an informal think tank to discuss the role of small contemporary art organizations in the cultural field and how they envision their future in today’s changing times while creating mutually supportive structures for the dissemination of artistic initiatives. Aiming to gather a spectrum of perspectives to explore the roles of specific projects, the multi-cultural group of contributors have produced essays that speak to their experiences within arts institutions, collaborative curatorial initiatives, and research networks. Contributions by Mai Abu ElDahab, Binna Choi, Emily Pethick, Heejin Kim, Anthony Huberman, Will Bradley, Miren Jaio and Leire Veraga, Anna Colin and others."

Sternberg Press, 2012.

Philip

2006. Dublin, Ireland. Project Arts Centre.

A dystopian sci-fi novel written by Mark Aerial Waller, Heman Chong, Cosmin Costinas, Rosemary Heather, Francis McKee, David Reinfurt, Steve Rushton and Leif Magne Tangen. Conceived during a science fiction writing workshop at Project Arts Centre, Dublin, 2–9 November 2006 as part of an exhibition curated by Mai Abu ElDahab.

7” x 4.25”

Liverpool Biennial - The Old Blind School

 

From July 5th to October 26th 2014, the hectic city of Liverpool found itself hosting the 8th edition of the Biennial. Since the previous Biennial in 2012, a programme has been developed that is ensured to be deeply connected to the city and its international context. Mai Abu ElDahab and Anthony Humberman helped to curate create the exhibition, ‘A Needle Walks Into A Haystack’, alongside with working with companies such as: Bluecoat, FACT, and Tate Liverpool. 
'A Needle Walks Into A Haystack' is a exhibition that finds itself across several places in the City, including a group show at The Old Blind School, four solo shows at FACT, the Bluecoat, Tate Liverpool and St. Andrews Gardens. These solo exhibitions present Sharon Lockhart, James McNeil Whistler, Claude Parent and Jef Corneils, all off who have significantly influenced their own fields. The exhibition is influenced by habits. Our habits, objects, images, relations and activities that constitute our immediate surroundings. The artists in the exhibition attack the metaphors, symbols, and representations that make up their own environment.
The Liverpool School for the Blind was founded by Edward Rushton in 1791, and was the first school of its kind in the country. in 1932 a modern extension was added, complete with art-deco designs by the sculptor John Skeaping that illustrated the life and work of the school. The building was then used by the Merseyside police and in 1983 became The Trade Union Centre, which included the music venue and studio The Picket and launched the career of many bands.
The building itself is easily accessible as it is close to the centre of liverpool. Some of the original features of the historic building were still on show throughout the event, including the mural by John Skeaping. 
As shown in the picture above the entrance is clean and modern, as is to be expected from such an event, but as you progress through to the exhibition itself the atmosphere completely changes. Cracks, holes and mold are on clear display throughout every room on every floor. There is no attempt at laying a surface on the floor and there is no doors on hinges.  As expected this was naturally a huge shock to the system to see such an event like this to take place in this way. it seemed that most viewers did not like the interior of the venue as it was said to be ‘Disgusting’, ‘vile’, and plain just plain ‘awful’. Adrian Searle from The Guardian even said: “A Needle Walks into a Haystack fills the run-down, atmospheric warren of rooms and staircases of the Old Blind School. It’s a great venue.” 
Even due to the popular opinion of not liking the venue I have to disagree with the majority; not only does the interior add to the interest of the history of Liverpool, I also found it to be easily relatable to the theme of ‘Habits’. Perhaps the habits of the previous owners of the building are to blame for its condition? Perhaps it is intended to clinch the habits of visitors wanting to cover it up? In no way did the condition of each room take away the most important thing that is the artwork. It even seemed to enhance it; there was no ‘saloon’ style hanging of artworks that makes it easy to miss pieces, nor was there the modern distraction of the vivid white cube contrasting against artworks making them hard to focus upon.

Liverpool Biennial 2014

Today we visited Liverpool on a course trip. We explored a few exhibitions involved in the Biennial. 

The 8th Biennial Exhibition A Needle Walks into a Haystack (5 July - 26 October 2014) was curated by Mai Abu ElDahab and Anthony Huberman. It included a group show at The Old Blind School, James McNeill Whistler at the Bluecoat, Sharon Lockhart at FACT, Claude Parent at Tate Liverpool and Jef Cornelis at St. Andrews Gardens. Also featured as part of Liverpool Biennial 2014 were the John Moores Painting Prize, Bloomberg New Contemporaries, a group show at Open Eye Gallery and Adrian Henri at LJMU’s Exhibition Research Centre.

The whole exhibition was supposed to be about our habits, our habitats, and the relationships, objects, images and activities that are part of our existing surroundings, but not what we would necessarily consider of our everyday life. Unfortunately I didn’t really understand the link between exhibitions, although individual pieces were interesting and thought provoking.

Model for ‘Monument to the Astronauts’ circa 1966-8 by Naum Gabo 1890-1977

"For A Needle Walks into a Haystack, curator Mai Abu ElDahab invited aging French architect Claude Parent to design an exhibition space on the ground floor of Tate Liverpool and rehang selections from its collection. The result felt something like an architectural model built at 1:1 scale. Installed in the ramped space alongside works from Gillian Wise, Gustaf Metzger, Anni Albers, and Francis Picabia, were two of artist Naum Gabo’s maquettes including model for “Monument to the Astronauts.” Perfect."

> 2014 According to David Reinfurt <