PASCAL HACHEM PRESS REVIEW - Schiavo Zoppelli Gallery
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
PASCAL HACHEM PRESS REVIEW
Martin Herbert, “Martin Herbert’s pick of exhibitions to see this October”, Art Review Asia, October 2017
John Russell, DOGGO (still), 2017, video, 45 min. Courtesy the artist and Kunsthalle
FEDERICA SCHIAVO GALLERY ROMA MILANO
Martin Herbert, “Martin Herbert’s pick of exhibitions to see this October”, Art Review Asia, October 2017
Juliette Blightman, Loved an image (5th May) – Cactus, 2017, watercolour on paper, 38 × 28 cm. Courtesy the artist and
Galerie Isabella Bortolozzi, Berlin
Cildo Meireles, Babel, 2011, radios, lighting, sound, dimensions variable. Photo: Agomstino Osio. © and courtesy the artist
FEDERICA SCHIAVO GALLERY ROMA MILANO
Martin Herbert, “Martin Herbert’s pick of exhibitions to see this October”, Art Review Asia, October 2017
Rivane Neuenschwander, Infancy and History (WAR) (detail), 2017, 43 hand-sewn flags, 67 × 42 cm (each). © the artist.
Courtesy the artist and Stephen Friedman Gallery, London
FEDERICA SCHIAVO GALLERY ROMA MILANO
Martin Herbert, “Martin Herbert’s pick of exhibitions to see this October”, Art Review Asia, October 2017
Caroline Achaintre, A.D.O., 2017, hand-tufted wool, 310 × 190 cm. Photo: Philipp Hänger. Courtesy the artist and Arcade
Fine Arts, London
Alexander Apóstol, Le Corbusier y Diego Rivera se visitan 30 veces (still), 2008, 16mm film transferred to DVD, colour,
sound, 8 min 56 sec. Courtesy the artist
FEDERICA SCHIAVO GALLERY ROMA MILANO
Martin Herbert, “Martin Herbert’s pick of exhibitions to see this October”, Art Review Asia, October 2017
Pascal Hachem, Who Carries Whom?, 2017. Courtesy the artist and The Mosaic Rooms, London
Mircea Cantor, Your Ruins Are My Flag, 2017. © the artist. Courtesy the artist and Fondazione Giuliani, Rome
FEDERICA SCHIAVO GALLERY ROMA MILANO
Martin Herbert, “Martin Herbert’s pick of exhibitions to see this October”, Art Review Asia, October 2017
Helen Rae, February 21 2017, 2017, coloured pencil and graphite on paper, 61 × 46 cm. Courtesy The Goodluck Gallery,
Los Angele
FEDERICA SCHIAVO GALLERY ROMA MILANO
“The Rise & Rise of Beirut”, Canvas, September/October 2017
FEDERICA SCHIAVO GALLERY ROMA MILANO
“The Rise & Rise of Beirut”, Canvas, September/October 2017
FEDERICA SCHIAVO GALLERY ROMA MILANO
“The Rise & Rise of Beirut”, Canvas, September/October 2017
FEDERICA SCHIAVO GALLERY ROMA MILANO“The Rise & Rise of Beirut”, Canvas, September/October 2017
FEDERICA SCHIAVO GALLERY ROMA MILANO“The Rise & Rise of Beirut”, Canvas, September/October 2017
FEDERICA SCHIAVO GALLERY ROMA MILANO“The Rise & Rise of Beirut”, Canvas, September/October 2017
FEDERICA SCHIAVO GALLERY ROMA MILANO“The Rise & Rise of Beirut”, Canvas, September/October 2017
FEDERICA SCHIAVO GALLERY ROMA MILANO“The Rise & Rise of Beirut”, Canvas, September/October 2017
FEDERICA SCHIAVO GALLERY ROMA MILANO“The Rise & Rise of Beirut”, Canvas, September/October 2017
FEDERICA SCHIAVO GALLERY ROMA MILANOVeerle Devos, “Saving the cityt”, DAMN, July/August 2017
FEDERICA SCHIAVO GALLERY ROMA MILANOVeerle Devos, “Saving the cityt”, DAMN, July/August 2017
FEDERICA SCHIAVO GALLERY ROMA MILANOVeerle Devos, “Saving the cityt”, DAMN, July/August 2017
FEDERICA SCHIAVO GALLERY ROMA MILANOVeerle Devos, “Saving the cityt”, DAMN, July/August 2017
FEDERICA SCHIAVO GALLERY ROMA MILANOVeerle Devos, “Saving the cityt”, DAMN, July/August 2017
FEDERICA SCHIAVO GALLERY ROMA MILANOVeerle Devos, “Saving the cityt”, DAMN, July/August 2017
FEDERICA SCHIAVO GALLERY ROMA MILANOVeerle Devos, “Saving the cityt”, DAMN, July/August 2017
FEDERICA SCHIAVO GALLERY ROMA MILANOVeerle Devos, “Saving the cityt”, DAMN, July/August 2017
FEDERICA SCHIAVO GALLERY ROMA MILANOVeerle Devos, “Saving the cityt”, DAMN, July/August 2017
FEDERICA SCHIAVO GALLERY ROMA MILANORedazione, “Lebanese artist Pascal Hachem transforms everyday objects into unexpected artworks”, Creative Boom, 12 September 2017
FEDERICA SCHIAVO GALLERY ROMA MILANORedazione, “Lebanese artist Pascal Hachem transforms everyday objects into unexpected artworks”, Creative Boom, 12 September 2017
FEDERICA SCHIAVO GALLERY ROMA MILANORima Suqi, “A Creative Flowering in Beirut. Is it the ‘borderline danger, borderline madness’?”, The New York Times, Thursday October 6 2016
FEDERICA SCHIAVO GALLERY ROMA MILANORedazione, “Pascal Hachem talks art and cities at NADA Miami”, Phaidon.com, Friday 6 December 2013
Pascal Hachem talks art and cities at NADA Miami
The artist thinks Beirut - one of our Art Cities of the Future - is caught between danger and hope
You Always Want What The Other Has - Pascal Hachem 2013
We’re getting good reports from attendees who’ve visited the New Art Dealers Alliance (NADA)
booth in Miami over the last couple of days - Jemima Kirk, from the HBO show Girls, was spotted
yesterday sporting one of our cool Art Cities of the Future tote bags. We’ve also had a great reaction
to our daily interviews with some of the artists exhibiting at NADA who are from the cities highlighted
in our Art Cities of the Future book and whose work can be seen in the NADA booth.
Today it’s the turn of Beirut artist Pascal Hachem who has some fascinating insight into the influence
on his workof his hometown Beirut, a city he describes as “caught between danger and hope.” The
artist often uses industrial design in his work and says this allows him to “apply a detached sensibility
and a spirit of observation” that allows him “to comment on the more subtle contradictions found in
contemporary social contexts.”
He goes on to say that his practice “is inspired by and materializes my feeling of being trapped by a
lot of things that surround me in everyday life. Even my religion can feel suffocating,” he says. “My
way to deal with these elements of everyday life is by simple action of happenings, making use of
them to express my condition of existence. My obsessive attention to the details which hide themsel-
ves within the folds of our communities and human relationships, is the result of my daily approach to
life in Beirut, a city caught between danger and hope, excitement and disappointment.”
Hachem says he’s inspired by aspects of everyday life in Beirut, which tend to contextualize his way
of thinking so that they influence the work “in an unconscious way that I cannot escape. A hammer
that slowly destroys a wall in a very rhythmic movement,’I’ll Race You’; a t-shirt that is ripped apart by
an exceedingly gradual accumulation of sand, ‘Split’, the self-portrait of me sitting under a table under
a bridge of a highway in Beirut, ‘Under the table, Under the bridge’… through these artworks, I place
the viewer in uncomfortable situations that also seem puzzlingly familiar.
FEDERICA SCHIAVO GALLERY ROMA MILANORedazione, “Pascal Hachem talks art and cities at NADA Miami”, Phaidon.com, Friday 6 December 2013
You Always Want What The Other Has - Pascal Hachem 2013
My reflection involves displacing actions. They are real actions, not videos, performed either by me
or by objects that I set up. I don’t impose any set of rules upon myself, but rather am prompted by
nothing but a single impressionable moment, to declare!”
Blue Collar White Collar 2013-4 - Pascal Hachem
You can see more of Pascal’s work at Artsy and catch him at Federica Schiavo Gallery (Booth 204).
For greater insight into Beirut and other avant-gardes around the world, pick up a copy of Art Cities
of The Future from the people who made it, here. And don’t forget to visit the NADA booth if you’re in
Miami!
FEDERICA SCHIAVO GALLERY ROMA MILANOJanel Morales, “You Always Want What the Other Has - Pascal Hachem”, Janelmorales.wordpress.com, Monday 30 September 2013
Pascal Hachem from Beirut exhibiting at Federica Schiavo Gallery from
now until December 7th. In the first room as you walk into the gallery, we
are immediately confronted with an obstacle. How do you get to the other
side? It isn’t that difficult but we find ourselves immediately put to the test
when someone blocks our immediate path.
You
Always
Want
What the
Other Has
-Pascal
Hachem
A comment on gardening? I love how systematic each tool has been bent.
Ordinary home tools altered and no longer fit to use ,yet clearly blocking the
way to the other side to move forward in the space.
This piece had the
funnel on the left
inscribed “Take” and
the other to the right
“Give”. This was
my favorite piece
in the show- simply
executed, the artist
shows a piece of
metal, long and thin,
and as the funnel
takes this element,
alters it and spits
it out completely
distorted -our object
will never be the
same. It has lost
its original antiquity
and comments on
all things consu-
mers buy and spit
out again, altered
forever.
The gallery’s press release on the show mentioned many artists as influen-
ces of Hachem from Duchamp to Rebecca Horn. However much the pieces
may look back at other artists, Hachem’s message is quite clear and distinct
all on his own.
FEDERICA SCHIAVO GALLERY ROMA MILANORedazione, “L’arte quotidiana di Pascal Hachem”, Ginomagazine.it, Friday 27 September 2013
L’arte quotidiana di Pascal Hachem
You always want what the other has (Vuoi sempre quello che
hanno gli altri). Come di consueto è ispirata alla vita quotidiana anche
la seconda personale a Roma di Pascal Hachem, in mostra alla
Federica Schiavo Gallery dal 28 settembre al 7 dicembre
- inaugurazione il 27 alle 19 - . Il lavoro della poliedrica artista
libanese sembra contrapporsi nettamente alla sofisticatezza intellet-
tuale di molti avanguardisti contemporanei, che così facendo perdono
«la capacità di cambiare le cose» per via di un’arte che «sta diven-
tando sempre più elitaria». Ecco perché Pascal nelle sue installazioni
e nelle sue performance utilizza oggetti assolutamente ordinari, in
grado di veicolare il messaggio con immediatezza alla più ampia fascia
possibile di pubblico. L’esposizione include utensili relazionati al cibo
quali una forchetta conficcata in un coltello, una pentola a cui è stata
tagliata una fetta e un cucchiaio vuoto in cima ad un mucchio di farina:
una riflessione sull’avidità e sul desiderio di “divorare” ciò che non ci
appartiene o che invece apparte più debole. Parallelamente al cibo, il
petrolio è l’altra forma di ricchezza ricorrente in mostra. Una pistola
per la benzina è installata su due cavalletti – che ricorda un insetto –
con una catena alle cui estremità presenta da una parte la parola Total,
dall’altra Possession. Un’altra opera è composta da due pistole per la
benzina rivolte l’una verso l’altra: sono fissate all’estremità dello stesso
tubo, sostenuto da una cravatta simbolo dei “colletti bianchi”, forman-
do un loop in qualche modo impossibile. Perché la storia del petrolio
è, ed sempre è stata, una storia di violenza. Da lunedì a venerdì dalle 11
alle 19; sabato su appuntamento.
FEDERICA SCHIAVO GALLERY ROMA MILANOBeatrice Zanatta, “You always want what the other has”, Stereotipmag.com, Friday 11 October 2013
You always want what the other has
Fino al 7 dicembre la Galleria Federica Schiavo di Roma (Piazza
Montevecchio, 16) ospita la seconda personale di Pascal Hachem,
You always want what the other has. Già nel 2010 la Galleria aveva
accolto l’artista libanese con la mostra in.nate.ness, un’esposizione che
denunciava la violenza sui minori; stavolta, Hachem, con quindici ope-
re, ci racconta di come l’energia in tutte le sue forme, dal cibo (richia-
mato dai lavori Spoonism e Emptiness) al petrolio (cui alludono opere
come Total Possession e No Comment), sia diventata l’unità di misura
che influenza relazioni umane ed economia internazionale.
FEDERICA SCHIAVO GALLERY ROMA MILANOMauro Piccinini, “Pascal Hachem - Everyone Wants What The Other Has”, ZERO Roma, p. 49, 16 - 30 September 2013
FEDERICA SCHIAVO GALLERY ROMA MILANOCarmen Stolfi, “I want his freedom - Pascal Hachem”, Atpdiary.com, Friday 11 October 2013
I want his freedom Pascal Hachem
PASCAL HACHEM, YOU ALWAYS WANT WHAT THE OTHER HAS (EDITION 2013), INSTALLATION VIEW, PHOTO BY
GIORGIO BENNI, COURTESY FEDERICA SCHIAVO GALLERY, ROMA
Testo di Carmen Stolfi
“Se fosse libero, vorrei la sua libertà, se non fosse libero, vorrei la sua libertà”. E’ inaugurata pochi
giorni fa, alla Galleria Federica Schiavo, la seconda personale di Pascal Hachem, artista libanese che
già nel 2010 con in.nate.ness aveva turbato mente, occhi e orecchi con installazioni al limite della
brutalità a denuncia della violenza sui minori.
Con You always want what the other has, l’artista torna a parlare della ferocia ma a livello macroe-
conomico. Quindici opere per una sola tesi: l’energia regola le viti del mondo, l’energia genera avidità
e violenza. Difficile opporvi l’antitesi, se non si è Gordon Gekko, il finanziere spietato e disinvolto
del Wall Street di Oliver Stone (1987); più semplice è invece riconoscere nel cibo e nel petrolio
(l’energia, appunto) le unità di misura che regolano le interazioni umane e condizionano l’economia
internazionale. Blue Collar/ White Collar ne è l’enunciato: un’installazione di attrezzi da giardino
occupa tutta la superficie della prima stanza e stigmatizza ironicamente una situazione di tensione
ancora attuale tra quel l’1% e quel 99% della popolazione, diremo oggi mondiale, che il movimento
Occupy aveva portato all’attenzione globale solo due anni fa con le proteste al Zuccotti Park di New
York.
The tie line e Wait for the other shoe to drop sono l’accusa senza mezzi termini all’avidità dell’alta
finanza. Attraverso la cravatta annodata e un paio di scarpe eleganti da lavoro a bloccare il flusso di
un ipotetico carburante, il richiamo va al gesto dello strozzare, quella sensazione di soffocamento
derivante dalle ineguaglianze economiche e dallo sfruttamento delle ricchezze a scapito dei paesi in
via di sviluppo. Chi tutto e troppo, e chi poco o niente è la metafora di Spoonism, opera che insieme
a Emptiness introduce il filone del cibo. Senza riguardo né reticenze, e con un po’ di didascalismo, la
denuncia è nei confronti di un mal sebbene comune costume di chi il potere ce l’ha e lo tiene stretta-
mente per sé. Total Possession e No Comment se da un lato si mostrano in tutta la loro eloquenza con
la similitudine tra denaro e oro nero, dall’altra, e più subdolamente, il loro aspetto animale richiama
una bestialità e un istinto a divorare intesi qui come sinonimi di smodata bramosia di denaro e di ciò
che non ci appartiene. Non ancora.
FEDERICA SCHIAVO GALLERY ROMA MILANOJames Scarborough, “An Interview with Lebanese artist, Pascal Hachem, from London’s Selma Feriani Gallery, Art Dubai”, Huffpost.com, Arts & Culture, 21 March 2013
"##
$ !
$
#+(1$1'+2:','James Scarborough, “An Interview with Lebanese artist, Pascal Hachem, from London’s Selma Feriani Gallery, Art Dubai”, Huffpost.com, Arts & Culture, 21 March 2013
(!- , *,*/#$)).!,0%!11%.$! )!-! ,.%-. - ' $!(",*(*) *)-!'( !,% )% ''!,2,./ %
8&"3&401306%504&/%0/&30$,&5#65*/1"3"--&-8&3&$&*7&5)064"/%4*/0/&4)05
%08/8"3%%*3&$5*0/"4"3&$&*7*/((&4563&
08*/*/(*4"8*--5)"5'0--0864*/8)"5&7&38&%0&7&/8)&/5)&$*5:*4%&4530:&%
)*48*--3&"$)5)&."35:301104*/(*4"-8":45)&05)&34*%&&7&/*'8&"3&"--&#"/&4&#&-*&7*/(5)"5)&*406348*--.",&4*5"4"
$0.1&5*5*0/ 50 4*.1-: %&$-"3& 5)*4 *4 #&-0/( 50 64 "4 4*.1-& "4 *4 5)& ."35:3 *4 "/ 0#+&$5 50 %&"- 8*5) #: 16--*/( "/% 164)*/(
"3(6.&/54:"353:0:"5:3
45)*4803,"/:%*''&3&/55)"/5)&803,:067&%0/&'03:063$633&/54)08*/0/%0/"55)& &-."&3*"/*"--&3:0&4*5'0--08:063
4".&5)06()5130$&44"3&5)&3&"/:%&1"3563&4
!&44".&%*3&$5*0/10*/5*/(4".&*446&4%*''&3&/5-:&-"#03"5&%506/%&345"/%5)&-*/,#&58&&/5)&-*145*$,"/%#&"65:*%&""/%
3&4*45"/$&
0:06$0/4*%&3:0634&-'"&#"/&4&"35*45"/&91"53*"5&"35*4503"(-0#"-"35*45 ):038):/05
:803,"/%5)&$*5:"3&)*()-:*/5&(3"5&%/&*365-*'&(0&40/'30.0/&%":505)&/&958*5)0655)&,/08-&%(&0'8)"550.03308
8*--#3*/( )&3&'03&.:1&3$&15*0/0'5)&'6563&"/%*546/$&35"*/5:%&'*/&45)&53"/4*503:/"563&0'.:803,405)"5"1*&$&)"4'6-'*--&%
*54163104&0/$&*4*5&9104&%"/%5)&.&44"(&*4$0/7&:&% )*453"/4*&/5'&"563&$"/#&$0/4*%&3&%50#&.05*7"5&%#:5)&*/45*/$50'
4637*7"- %63*/( " 10-*5*$"--: 70-"5*-& 5*.& */ &*365 8)&/ "35803, 8"4 0'5&/ 3&26*4*5*0/&% #: 5)& "65)03*5*&4 03 &9".1-& 305&45*/(
"("*/455)&10-*5*$"-4*56"5*0/*/ 1&3'03."/$& -*7&%0/-:'03 )0634
4"/"35*45)08%0:06%*''&3&/5*"5&*':06%0*/%&&%%*''&3&/5*"5&#&58&&/"/"35'"*3" #*&//*"-"/%"0/&1&340/4)08"5"
.64&6..5)*/,*/(*/5&3.40'13&45*("/%*/(4"-&4"/%%*"-0(6&
/:8":&"$)130+&$5'03.&*46/*26&"/%)"7&50%&"-8*5)*5'0--08*/($&35"*/$3*5&3*""*/-:$0/5&95"/%5:1&0'16#-*$
)"5"3&:063*.13&44*0/4"/%5)06()540/5)&*/5&3/"5*0/"-"35803-%/5)&*%%-&"45&3/"35803-%/ %0&4"35)"7&"
163104&*/-0$"-3&(*0/"-"/%(-0#"-40$*&5:
35*4#&$0.*/(.03&"/%.03&'03"/&-*5&'034&-&$5*7&16#-*$'034&-&$5*7&5*5-&4
-&/5:0'5)&03:"/%-&440'"11-*$"5*0/8)*$).",&45)&"35803-%8*5)1-&/5:0'$0%*/(4:45&."/%8&"3&-004*/(5)&5"/(*#-&"41&$550
%0"/%$)"/(&5)*/(48*5)"35
0:061":"55&/5*0/50"35$3*5*$*4."#065:063803,03*/(&/&3"-':&4%0:065)*/,*503*&/541&01-&45)06()54"/%'&&-*/(4
"#0655)&803-%*/8)*$)5)&:-*7&/%*':&4%0&4*5)"7&"/:3&53041&$5*7&*.1"$50/:06308/803,
!&4*1":"55&/5*0/0/5)*48)&/)"7&5)&$)"/$&50
65 1&01-& )"7& 5)& 5&/%&/$: 50 "11-"6% .03& "/% .03& 5)&4& %":4 "/:5)*/( 5)&: 4&& 4*/$& 5)&: '03(&5 5)"5 35 )"4 " 163104& 50
$)"/(&5)*/(4"/%4":5)*/(4
)"5"3&:06803,*/(0//08
6#-*$*/5&37&/5*0/*/5)&/035)0'&#"/0/*/13*-
6*-%*/("1*&$&'035)&$0--&$5*0/0'5)&!"$)5-6#*/&*365
30614)08*/&*365*/6-:
"35*$*1"5*/(*/&69%&-"3"/$01)0/*&5)"58*--)"11&/*/*$&3"/$&
/%.:40-04)08&%&3*$" $)*"70"--&3:&/%0' &15&.#&3 0.&5"-:
FEDERICA SCHIAVO GALLERY ROMA MILANONiamh Fleming-Farrell, “Boghossian fetes Lebanese artists”, Dailystar.com.lb, 10 July 2012
0()044*"/'&5&4&#"/&4&"35*454
"4$"- "$)&. "/% "(3&&% "3()065) "3& 5)& 8*//&34 0' 5)& */"6(63"- 0()044*"/
06/%"5*0/13*;&'03:06/(&#"/&4&"35*454
)& &-(*6.#"4&% '06/%"5*0/ '&5&% 5)& 580 "35*454 "5 " 3&$&15*0/ "/% &9)*#*5*0/ */ 5)& &*365
06,4
05)#03/*/ "$)&."/%"3()065)8&3&4&-&$5&%'30. "35*454505",&5)&13*;&*/5)&
4$6-1563&"/%1"*/5*/($"5&(03*&43&41&$5*7&-:
"3()065) &.&3(&% "4 5)& 6/$0/5&45&% 8*//&3 '30. " '*&-% 0' "11-*$"5*0/4 '30. 1"*/5&34
8)*$)5)&'06/%"5*0/?41&340/+63:/"3308&%50"4)035-*450''063
7&35)&1"45)"-'%&$"%&"3()065)?4&9)*#*5*0/4)"7&&91-03&%46$)501*$4"45)&53&"5.&/50'
%0.&45*$ 803,&34 */ 5)*4 $06/53: *3303 *3303 &#"/&4& #0%: *."(& "*3 "/% 07&-:
"/% 5)& $0-03'6- 5&3.*/0-0(: 64&% 50 %&4$3*#& 8&"10/4 0' ."44 %&4536$5*0/ "/5*$-& 0'
&"5)
)&+63:3&$&*7&%"11-*$"5*0/4'30.'*7&4$6-150348)*$)5)&:'635)&38)*55-&%%08/50"4)035-*45
0'580
1&",*/( "5 5)& "8"3%4 $&3&.0/: +63: .&.#&3 "/% '06/%"5*0/ 13&4*%&/5 -#&35 0()044*"/
4"*%$)004*/("4*/(-&-"63&"5&'034$6-1563&8"4=%*''*$6-5>65="'5&3"-0/(%*4$644*0/5)&+63:
6/"/*.064-:%&4*(/"5&% "4$"-"$)&.5)&13*;&8*//&3>
530--*/(5)306()5)&&8&-&3?4 06,&9)*#*5*0/41"$&8)&3&"4".1-&0'5)&8*//&34?803,4"3&
0/ %*41-": *5 8"4 *..&%*"5&-: "11"3&/5 5)"5 26*5& #&:0/% 803,*/( */ %*''&3&/5 .&%*" 5)& 803,
0'"$)&."/%"3()065)4)"3&4-*55-&*/$0..0/
"5)&3 5)"/ 803,*/( 8*5) 53"%*5*0/"- .&%*" -*,& $-": 450/& 03 .&5"- "$)&. %&1-0:4 &7&3:%":
0#+&$54Niamh Fleming-Farrell, “Boghossian fetes Lebanese artists”, Dailystar.com.lb, 10 July 2012
;1%$!.'%,Coline Miliard, “Slideshow: Pascal Hachem’s Political Machines”, Blouin Artinfo, 31 January 2013
SLIDESHOW: Pascal Hachem’s Political Machines
Pascal Hachem, Loophole, 2013 (detail) Courtesy the artist and Selma Feriani
by Coline Milliard
Published: January 31, 2013
Pascal Hachem’s solo show at Selma Feriani Gallery has something of the mechanical theatre.
Half a dozen meticulously executed contraptions enact for the viewer such complex ideas as the
instrumentalization of martyrdom, the erotics of war, and global complicity in the arms industry.
Encased in a glass display box, “No Martyr … No My Martyr” (all works 2013) features a bronze
rocket sliding back and forth inside a tube, as if pulled by the opposite sides. What they might re-
present loses all relevance. The two poles stand as faceless ideologies eager to claim the martyr
for their cause.
The cylinder shape is repeated throughout the show as a phallic, rocket-like motif. It crops up in
the many lipstick replicas echoing the red and gold Fajr-5, an artillery rocket developed in Iran in
the 1990s, and used, among others, by Hezbollah and Hamas. In Hachem’s rotating “Loophole,”
they threateningly rise one by one, as if about to be launched.
The artist fires in all directions. His chalkboard-black donation box (“The Icing on the Cake”) lifts
up to reveal another one stating in Arabic “I don’t want to be connected with that” — a direct attack
on the lack of transparency in the use of collected funds. In “Kneeling,” a car bomb mirror reflects
the words “Beliefs in Self-Deception” embroidered underneath a rolled up praying mat. Hachem’s
mechanical theatre is a dense and satisfying show. And a convincing demonstration that aesthe-
tically pleasing contemporary works can also be politically convincing.
Pascal Hachem, “Beliefs in Self-Deception,” until March 2nd, Selma Feriani Gallery,
London
FEDERICA SCHIAVO GALLERY ROMA MILANONour K Sacraine, “Human Mechanics. Pascal Hachem in conversation with Nour K Sacranie”, IBRAAZ.org, 29 January 2013
Platform 004
Interview
Human
Mechanics
Pascal Hachem in
conversation with
Nour K Sacranie
Pascal Hachem lives and works in Beirut, where he is Creative
Director of Pslab and Design Instructor at the American University
of Beirut. In this interview with Nour Sacranie, Hachem talks about
the political, the mechanical and the temporal in his artistic practice
within the context of working under the ever-unpredictable conditions
in Beirut. Sacranie and Hachem revisit a 2010 exhibition Bring the
Boys Back Home, shown at Selma Feriani Gallery, London, exploring
the themes and ideas explored in works presented, just as Hachem
returns to the gallery once more for his latest show, opening January
2013, titled BELIEFS IN SELF-DECEPTION.
Pascal Hachem, Bring
the Boys Back Home,
2010, installation view,
Selma Feriani Gallery.
Courtesy of the artist
and Selma Feriani
Gallery.
http://www.ibraaz.org/interviews/58
FEDERICA SCHIAVO GALLERY ROMA MILANONour K Sacraine, “Human Mechanics. Pascal Hachem in conversation with Nour K Sacranie”, IBRAAZ.org, 29 January 2013
Nour K Sacranie: I'd like to start by talking about your 2010
exhibition at Selma Feriani Gallery in London, Bring the Boys Back
Home. Could you talk about your thinking behind the show and what
the impetus was for creating this highly politicised body of work?
Pascal Hachem: My work is always related to the moment of
'now'. I have to live each moment where each day is full of surprises.
drift or change ideas. In producing Bring the Boys Back Home, I
was so strong in my daily life and I had on my mind how political
leaders could appear so suddenly, exist within their power and start
playing these political games knowing that later on they could easily
disappear and a new leader will step in to take their place…
NKS: You never show the face of the leaders you portray in your
work. It is more about the leaders' gesticulation: a gesture rather
than a face. Why is that?
PH:
I wanted to make the point of view more universal: I could easily
have shown the face. But it was very important for me to show the
aggression behind this gesture without showing the face because you
can easily retrace the whole face without showing it. Two, this is an
image of a politician who is very known within my given context and
my issue was not to criticise just one politician. For me, it was about
all politicians and leaders, and how they exist with their powers. For
example, & Co (2010) was a selection of a few politicians;; some who
do not exist anymore, some who have disappeared and others who
have disappeared and I don't know what happened to them. But the
main piece in Bring the Boys Back Home was Look Me In The Eye
(2010), which explores the fact that even if you have a repetition of
of course, you can still stumble by accident on another politician by
association and make the public aware of that in a very subtle way.
NKS: The works in that 2010 exhibition are quite pre-emptive
of what was to come over the two years that followed, particularly
Destiny and Smatching (2010), a mechanised device with the
repeated image of a politician and a matchbox being smashed
against the wall. To what extent would you agree with the fact that
ideas of people who are looking at works like this?
PH:
both occur. In whatever I do, I play with these elements, taking more
from reality. The idea of representing power and parade through
these rotating platforms in Look Me In The Eye, which occupied the
gallery space made the public aware of the fact that while moving
reality that I am living in my everyday life and how I assume each
one of us is experiencing it.
NKS: Let's go back to the work Destiny and Smatching (2010).
Much of your work has an element of mechanisation and I wondered
2 IBRAAZ | January 2013
FEDERICA SCHIAVO GALLERY ROMA MILANONour K Sacraine, “Human Mechanics. Pascal Hachem in conversation with Nour K Sacranie”, IBRAAZ.org, 29 January 2013
Pascal Hachem, Look
Me In The Eye, 2010,
installation view,
Selma Feriani Gallery.
Courtesy of the artist
and Selma Feriani
Gallery.
if, apart from the design element and your background in design,
there is more to be said about these pieces as apparatuses. Thinking
#
anything with the possibility to capture, orient, determine, intercept
and control the gestures and behaviours of living beings,[1] does this
notion resonate with your thinking when you were creating these
objects?
PH: Maybe it is more simple: on a level where my pieces are
$ " !
and spaces that eventually disappear and fade, as we do. There
is something perhaps contradictory in my way of thinking because
I look at each project as something new, taking place in a moment
" # "
[1] #
is-and-apparatus.pdf
3 IBRAAZ | January 2013
FEDERICA SCHIAVO GALLERY ROMA MILANONour K Sacraine, “Human Mechanics. Pascal Hachem in conversation with Nour K Sacranie”, IBRAAZ.org, 29 January 2013
the show opens and ends when it closes. The time for which these
machines I create are, let's say, 'living', ends there.
NKS: The work doesn't have a life beyond the show?
PH: It is not important for me to keep the objects moving. If you go
through my work you will see that some things are the opposite: they
are frozen and motionless. If we go back to the exhibition Bring the
Boys Back Home, besides the parade and the presentation of power
in the concept, the whole installation was designed to condition the
publicand certainly, during the opening day, the tables kept moving.
If you have a bunch of people talking to each other over these
moving tables they had to keep on moving, pushing and separating
#
movement.
NKS: The interesting thing about these continuously moving
objects is that a lot of these pieces see repetition of the same
movement over and over again: they create their own continuum
and some of them lead to their own destruction. With Smatching,
the constant smashing against the wall leads to its destruction. What
is interesting here is the interaction between the audience and the
piece itself, which creates a unique subjective experience every
time. This brings me to some of your earlier works, which have a
more performative element. I read about your ideas on Speakers'
Corner, or a type of public sphere where opinions and emotions can
be expressed, and that you think that such a space is an illusion. So
how do you create a space where opinions can be made through
Pascal Hachem, Kaak
Kaak, 2004. Courtesy of
the artist.
" ! # " Kaak Kaak
! # !
particular event.
PH: For me, each moment and context gives me constraints,
! # " "
performances, otherwise they would not be accepted. Kaak Kaak
criticised the situation in Beirut as a performance. For me, what
was very important was to situate it in Lebanon so it could speak
4 IBRAAZ | January 2013
FEDERICA SCHIAVO GALLERY ROMA MILANONour K Sacraine, “Human Mechanics. Pascal Hachem in conversation with Nour K Sacranie”, IBRAAZ.org, 29 January 2013
to Lebanese people while giving my opinion on the situation, when
Syrian security was controlling Lebanese territory. I wanted to say
it out loud somehow but this is impossible. So I tried to fragment
the piece and sell pieces of 'kaak': a kind of Lebanese bread we
make and sell on the street. There are different elements to this
performance: at the time, the Syrian government sent people to sell
the bread using these bread sellers as spies and using the bread as
a tool to control the city and so my performance subverts this. It was
a way for me to let people interact with this performance and allow
me to criticise the situation in an indirect way. The action of selling
the kaak and watching people see that they could easily connect this
bread with the political context in Lebanon was the performance 's
aim. Everything is embedded inside the project.
NKS: You stamped the kaak with the Cedar Tree, the symbol
of Lebanon. When you were selling the kaak in your performance,
did you have an opportunity to talk to people or did you leave the
performance's message hanging with them?
PH: No. It was a much more mechanical movement. First of all,
I was performing in my body because I have a relationship with the
Syrian spy: these spies come to Lebanon in order to control the
city. Also, the Lebanese people no longer produce this bread as the
business has been taken over by Syrians and even in the production
of this piece I was obliged to ask a Syrian to make them. To play on
a way of articulating this message without saying it.
body in an imitation of how the vendors sell the bread. Also, I was in
Byblos, which is an old city with a lot of museums and I decreased
the size of the kaak, making them smaller. Almost like the size of
an artefact to put in a museum. We performed this project during a
festival and I put the suitcase in the middle of the festival's pedestrian
areas. On the second day, policemen came from all directions to
remove the suitcase, even though they had told been told it was part
of the festival. The police didn't want to consider this and removed
the case anyway. This raised the question: was it because of a
security issue the suitcase was removed or because of the message
enclosed within it?
NKS: Later on, with Aysh (2007), the same motif of bread comes
up again. Here, the words 'Aysh al Kanoon' are written on the bread.
There is a double meaning to this phrase: 'living on the law' and 'the
bread of the law'. By the time you had created this piece had the
Lebanese government threatened to raise the price of bread?
PH: Not yet, but each year we have the same issue of increasing
the price of bread but instead, they decide to keep the price the
same and reduce the quantity of loaves.
NKS: Could you talk about the piece Aysh and the larger body of
work No Condition is Permanent (2007) shown in Jordan?
PH: When I was in Amman, the aim was to do a public intervention
5 IBRAAZ | January 2013
FEDERICA SCHIAVO GALLERY ROMA MILANONour K Sacraine, “Human Mechanics. Pascal Hachem in conversation with Nour K Sacranie”, IBRAAZ.org, 29 January 2013
with the curator Rayelle Niemann. My reaction to this was the feeling
that people are hopeless, that they don't have a vision for the future
because the system is so strong. You see a repetition of the same act
everywhere: you see people hanging around in the shops, smoking.
No one has a big business and they are just sitting watching TV and
football. Then you have the same image of the politician with his
family: on a horse, playing golf, everywhere in the city.
The relationship between the law and the aysh, is very essential
here. The idea came to mix the words that connote the essentials
of life and this developed into a huge performance in the middle of
Amman, Banquet of Laws. We placed a big table in an urban public
space, Saha al-Hashimiya, and invited the people of old Amman
to sit and take part in the performance. The table had complete
table service, but I was serving them laws that I had observedon
the bread,discussing how they could be changed from my point of
view. It is a bit subjective because during my research in Amman,
one political analyst was talking about the importance of hiding
what is happening in Beirut. For Jordanian politicians, they did not
Pascal Hachem, from
Aysh series, 2007.
Courtesy of the artist
and Selma Feriani
Gallery.
want the Jordanian people to be inspired by the political activism
of the Lebanese at this time. I thought this was shocking because
the distance between the two countries is not far. Based on that, I
started playing with these laws in response.
NKS: Were the people you invited to participate willing or hesitant?
PH:
intervention in Amman. In order to do this you needed permission
from the government and the security issue was very strong. So
Niemann managed to prepare all these permissions and we
were even granted a group of police for security during all the
performances. But in the end, the police didn't show up. I think they
went to the wrong address! While we were setting up, the person
who delivered the chairs wanted to control everything;; he tried to
explain that people would come and take all the chairs if he didn't
keep watch. I told him that we would be responsible for any theft.
6 IBRAAZ | January 2013
FEDERICA SCHIAVO GALLERY ROMA MILANONour K Sacraine, “Human Mechanics. Pascal Hachem in conversation with Nour K Sacranie”, IBRAAZ.org, 29 January 2013
Pascal Hachem,
Banquet of Laws,
from the series No
Condition is Permanent,
2007, Saha El
Hachimiya, Amman
city center, Jordan -
date: 26.05.2007 at
19:00, chairs (rented),
tables (rented) and
accessories (full table
set). Courtesy of the
artist.
Later on, when we stared performing and inviting people to sit,
they were happy to come because they thought I was serving food.
During the performance the audience's reaction was interesting
because each person wanted to see what law would be served to
his neighbour and this kept the audience engaged until the end.
Finally, each person went in opposite directions carrying their plate,
forks and knives with them and we ended up with an empty table.
This, for me, was marvellous.
NKS: Do you think the conditions you have talked about - the
they be applied to other countries? Lebanon or Syria, for example?
PH: Yes. Each country has a set of rules to play the game but
each one has different elements. Amman is different to the Lebanese
context: it has a different system. If we talk about Lebanon we
can't. You have to criticise the system because there are so many
7 IBRAAZ | January 2013
FEDERICA SCHIAVO GALLERY ROMA MILANONour K Sacraine, “Human Mechanics. Pascal Hachem in conversation with Nour K Sacranie”, IBRAAZ.org, 29 January 2013
politicians and religions. I imagine Syria is different with a different
set of issues.
NKS: Are you working on anything at the moment that you could
tell us about?
PH: My latest show opens in London this January at Selma
Feriani Gallery. Usually when I start producing a new project I give
leeway for time where I can experience different directions. I always
have a feeling that time is a big issue for my work- things change all
the time and being from Lebanon, each day brings a lot surprises.
My work is always an evolution.
Pascal Hachem is an artist who lives and works in Beirut. He is
Creative Director of Pslab and Design Instructor at the American
University of Beirut.
About the author
Nour K Sacranie spent six months in Damascus studying Arabic
and teaching English following a degree in English Literature at King’s
College London. She has worked for Mica Gallery and Gagosian in
London and has produced fundraising exhibitions for charity. She is
currently completing a Masters in Near and Middle Eastern Studies
at the School of Oriental and African Studies, London.
8 IBRAAZ | January 2013
FEDERICA SCHIAVO GALLERY ROMA MILANONada Raza, “Bring the Boys Back Home”, Canvas Guide, 2010
# !% ")$ " #% $
# % !*$ !
% &"! $!(%! ! $ # #*
#! %!# !' # $#% $%$
)" !#$ !% ! $!&$ %* $# %% "#!
(!# $
.-2)$%1426%1%/+!8)-' %1%#!3#()-'3(%2%+)33+%2/%#)%2 %1%
#!3#()-'3(%,!-/.6%1!2#!+!#(%,
9 -$%13(%1)$'% -$%13(%
+$ %+(*,! !+*'', !&.!+-$& !+,'*!$ !"+%9 )',%-3/1)-3 7
* + * $ !& ,' 0 !!,!'&+, , 0($'* ', ( 1+!$& #,$)3).-.-%.&3(1%%
, %('*$* $,!'&+ !(+, *'- +-$(,-* !&+,$$,!'&& .413%283(%!13)23!-$ %+,!
( * '*%& &',!'&' -+$!,1' $! *, ,!'& %1)!-)!++%18
( * '*%!& &,/!, (* !+ * ,!'& + & &,*$,'',
!+( * '*% & '&+,*-, /'*#+!+ *$1/'*#+ %'&+,*,
& '&,!&( 1+!$, &+!'&+ &+!,!. 1 ,*!,!$$1 &
* +('&+ +,'+!,-,!'&+'& *'&, / !$ $!.!& & /'*#!& !&
&'& (! /+)3 '*!&+,& /+&((*,-+/ !
+$'/$1*!(( (*,+ !*,(-$$!& !,,, +$ . +.!+!%($
% &!+%/ ! , '/&/!, +& + %!$!* ,-* !&
2'& +' '& $!,!+ +, ,! ++'% ' , .!*,-'+!,1' ,
&!-+!&. &,'*-,$+'* $ ,+, !& &-!,1' % !& +'*
+1+, %+, ,* +! & 1& ++!,1!&($ +/ *
$, *&,!. +* -&.!$$ / * % !& (*,+& '$ +*(+'
9%%/ (!1/%-)-'8.41-)5%2
/'' * * $!% & * 1$ &',1 '! -,'-,' &
!-$ (%8 )+++4-39
-23!++!3).-4-)04%6.1* 3%%+
%+*!,!$$1!&!+!. '+ *.,!'&+' , +1+, %! $/+ 2314#341%%-')-%2$%2%132!-$
!& * &,!&-** &, '*%+' ('$!,!$('/ *!& '*% !+/'*#!& *-)5%2%+%#31)#!+".7!-$%12/%7
(*,! 0 -, , *'- $ &, ! $1% &!2 , * 7 #,.413%283(%!13)23
!% &+!'&$(! + +( & &, '*(-$$!& '-,, #&!. + !-$!$.41#.++%#3).-
', $!, *$$1& ! -*,!. $1& (+,/'*#+ . !* ,$1
* ++ ('$!,!$& +'!$.!'$ & * !+ $1 & !& * , 1
* +, & ( * '*%, ,!. (*,!!(,!'&' , !& !.! -$'*
*'-(/!, !&* -$$1$!*, + ,' !*-%+,& +-%&
&1, . *1,!'&!,+ $ , ( * '*%& ' +,-* ,
'','&, ( $, $!#' , /*!+,/ ! &+ ,' !&
* ,!'&' '&,*'$$ .!'$ & !+ &,*$,' !+(*,! $'' $ ++$1
!+/'*#+ .'# -&!% !&$ '**'*
* **!& ,'(*' - /'*#, ,!+', +!, & '&, 0,+( ! ! !+
/'*# '* *'-(+ '/!&'& '& (% ()1$8%, $% *!&!
/+* -$$1'&+! * * +('&+ ,', /1!&/ !
( * (,!. $1 - , +'!$* $%!+'&,*'$$ , (', &,!$ '*
,!'&& &1 ,!. $1 &! .3 .412%+&!&.!,
.! / *+,'(* ++( $/ ! '( *, +!++'*+!&+,$$ , 1
$ . $, .!'$ & '& +, (* %'. *'%, ,!'& * &,$1
(*' - + '/!&,$1 , *+( & !& , * %'&, +!&'%
% '+ , !+,'*!$$1+! &! !&, +,!1*%! '*+!,
+( ! !!&+,$$,!'& +.6..$+!& !+!&, *. &,!'&'&, *'$ '
, ( *+'&!,/+'+, &+!$1-!$, '*!&'-, !-+ +,!-+
/ '%'& ', * -,! +/+, ' !!$' (-$!&)- ,++!&
, % !&, *&$+( ' , -*!$ % * %+/'*#
'&+!+, ' &**& % &,' -& * +' % ,$ '*#+*'-& &
%(,1($, %'.!& +-$(,-* , , .'# + * &2! -& *&
, $'*, *!,-$+'&+,*-, *'-& , ++- % &,' *
& !+ !*+,+'$' 0 !!,!'&!&'& '&, $% *!&!, *,!+,($&+
,'(* + &,/ ,!+* -$1 !+%'+,%!,!'-++-$(,-*$!&+,$$,!'&
,' , & !& %* , +&-&'% '*,$ , &+!'&!&
, / !, - +( !+& /' 1' /'*#!+'. *,$1('$ %!$
1 ,!,+!%-$,& '-+$1 $$ & +, *'$ ' ('$ %!& ('$!,!$
-, '*!,1!,+ $ 1)-'3(%.82!#*.,%!+ +! & ,'(*'.'#
,''& *'&,& ,')- +,!'& !$ , -$,-*$* * & +*
+( ! !,', *,!+,+&,!. &'&& * +('& ,', *-+,*,!'&
' $!.!& /!, * $ &,$ ++('$!,!$.!'$ & , !+/'*##&'/$ +
, ,+ %!& $1 & %!, ,* +' /*&&', !.'* *'%,
+ * (& %!' $'$'& $!, $! *, &&1 '! '
+1%'$+, ,* +-&!. *+$+, 1* (*,!-$*$$'/+,
% ++ ,'* +'&, % -+ +,' , *+!%($ . *1 1
'" ,, %, '0/!, & +!$1* ' &!+$ & !& $%%,'*1
!% %, '0& !& & !*1-,'& %(,! , *,!+,
!&,+!,& -+ ,'+ * , & !%(*!+'&/ # ** ,-* +,'
! & **1, (* !'-+'',1' , *- $& -*!'-+ !$
* -$$1+ $ , , !+(*,!-$*%, '0 *+, %!$!*
!&+! &!' %' *&*%! +, # !% ")$ " #% $
, * +,*+' %!$!,*1*&#
" %" ! "'$! #' #'
(((!'$& !%!#% $# !% ")$ " %
# $ !!"# " " " ! & "
"" " "" ! $"" "
# !" # '! $ ! "
' (
# !" 'FEDERICA
SCHIAVO GALLERY ROMA MILANO
" $ " $!"
%%%!
Emma Crichton-Miller, “Lebanon’s Art Scene”, FinancialTimes.com, 8 October 2010
FEDERICA SCHIAVO GALLERY ROMA MILANOEmma Crichton-Miller, “Lebanon’s Art Scene”, FinancialTimes.com, 8 October 2010
FEDERICA SCHIAVO GALLERY ROMA MILANOEmma Crichton-Miller, “Lebanon’s Art Scene”, FinancialTimes.com, 8 October 2010
FEDERICA SCHIAVO GALLERY ROMA MILANOJim Quilty, “Pascal Hachem. Bring the Boys Back Home”, Art Review, October 2010
FEDERICA SCHIAVO GALLERY ROMA MILANOAdriana Polveroni, “Lebanese Creatives”, L’Uomo Vogue, July-August 2010 N. 412, pp. 89-90
FEDERICA SCHIAVO GALLERY ROMA MILANOAdriana Polveroni, “Lebanese Creatives”, L’Uomo Vogue, July-August 2010 N. 412, pp. 89-90
FEDERICA SCHIAVO GALLERY ROMA MILANOMaria Egizia Fiaschetti, “Pascal Hachem, un’onda d’urto”, Corriere Della Sera - Roma, Tuesday 13 July 2010, p. 10
FEDERICA SCHIAVO GALLERY ROMA MILANOValentina Pannunzi, “La Piramide Cestia e l’arte del libanese Hachem”, La Repubblica - Roma, Thursday 24 June 2010
FEDERICA SCHIAVO GALLERY ROMA MILANOBarbara Cortina, “Pascal Hachem, Galleria Federica Schiavo - Roma”, Artkey - Teknemedia.com, Thursday 8 July 2010
ArtKey Magazine | Articolo
PASCAL HACHEM, GALLERIA FEDERICA SCHIAVO – ROMA
Autore: Barbara Cortina Data: 08.07.2010
Vai all’evento: PASCAL HACHEM - in.nate.ness
Vai alla sede: Federica Schiavo Gallery
Gli artisti correlati: Pascal Hachem
Una riflessione non scontata e non retorica sui rapporti di potere e lenta
prevaricazione connaturati all’interno della nostra società. Così si presenta
la personale di Pascal Hachem, In.nate.ness, sino a fine mese alla Galleria
Federica Schiavo di Roma, a cura di Costantino D’Orazio. Forse non è un
caso che a condurre il filo del discorso con tale sentimento (e delicatezza al tempo stesso) sia
questo giovane artista libanese, classe 1979, che vive e lavora a Beirut, città dalla storia dolo-
rosa e travagliata e dagli eterni conflitti, politici e sociali. E non è di certo un caso che lo stesso
Hachem risieda nel quartiere di Gemmayze, dove ancora resistono mercatini di strada e botteghe
di piccoli artigiani. Proprio da qui, infatti, Hachem ha attinto sia per l’osservazione della vita
quotidiana nei suoi minimi dettagli, sia per la creazione dei rudimentali macchinari che contrad-
distinguono le sue installazioni. All’ingresso in galleria, il visitatore viene subito accolto da una
pila di slip disposti a piramide (la piramide come simbolo di potere per eccellenza), saranno pro-
prio questi il comun denominatore di In.nate.ness. Ma è un rumore sordo, meccanico e ripetuto
a intervalli regolari, proveniente dalla sala principale, ad attirare l’attenzione. È l’opera It’s hush
hush, in cui una sorta di argano a motore solleva delle mazze che a loro volta vanno a schiaccia-
re inesorabilmente gli slip posti sotto di loro. Ancora più drammatica è l’opera Au Suivant; in
questo caso il medesimo meccanismo di ruote e catene azionato ad oltranza solleva gli slip e li
immerge, uno dopo l’altro, in una vasca dove un liquido nero li macchia indelebilmente.
Pascal Hachem, in.nate.ness, 2010, 450 culottes unic
photo by Giorgio Benni, Courtesy Federica Schiavo gallery
FEDERICA SCHIAVO GALLERY ROMA MILANOBarbara Cortina, “Pascal Hachem, Galleria Federica Schiavo - Roma”, Artkey - Teknemedia.com, Thursday 8 July 2010
Pascal Hachem, It’s Hush Hush, 2010 Steel structure (118 x 20 x 77 cm), engine, 4 marble stones,
4 wooden sticks (120 cm), 4 culottes, 4 steel arms (260 cm), electric box
photo by Giorgio Benni, Courtesy Federica Schiavo gallery
Pascal Hachem, Au Suivant, 2010 Marble tank (200 x 40 x 12 cm), black liquid, steel structure
(260 x 50 x 30 cm), engine, electric box, 11 culottes
photo by Giorgio Benni, Courtesy Federica Schiavo gallery
FEDERICA SCHIAVO GALLERY ROMA MILANOSilvia Colasanto, “Pascal Hachem - In.Nate.Ness”, Roma.Zero.Eu, Friday 25 June 2010
VENERDÌ
Pascal Hachem – “In.Nate.Ness”
25 FEDERICA SCHIAVO GALLERY
GIU • 2010 Piazza Montevecchio, 16, Roma
fino al 31 lug 12:00 - 19:00
Quanti, nel rimbalzo frenetico da un locale all’altro tra Testaccio e Ostiense, hanno
mai pensato alla Piramide Cestia come a un simbolo di potere? Pochi, eppure lo è,
tanto che l’artista libanese Pascal Hachem ha ideato un lavoro proprio all’interno
della Piramide, normalmente chiusa al pubblico, che riflette sulla natura intrinseca
di tale monumento funebre. E poiché di potenti e abusi di potenti è pieno il mondo,
Hachem ha allargato la sua denuncia agli spazi della Federica Schiavo, dove svela
i nuovi nomi del potere contemporaneo, mentre un’emblematica piramide di
mutande dichiara apertamente in che condizione sta il popolo.
articolo di Silvia Colasanto
FEDERICA SCHIAVO GALLERY ROMA MILANOLiliane Minor, “Warum Sagt Niemand Stopp”, Tages-Anzeiger, Thursday 20 July 2006
FEDERICA SCHIAVO GALLERY ROMA MILANOYou can also read
