杜梦堂(巴黎)新展 Abed AL KADIRI「Genealogy of Repair 修复的系谱」

Abed AL KADIRI

Genealogy of Repair

阿贝德·阿尔-卡迪里修复的系谱

2023.10.17 - 11.18

DUMONTEIL Contemporary8 rue d'Aboukir 75002 Paris阿贝德·阿尔-卡迪里，“修复的谱系”展览现场，杜梦堂（巴黎）Image ©Yuxin Zheng

Abed Al Kadiri, Genealogy of Repair installation view at DUMONTEIL Contemporary

杜梦堂Dumonteil Contemporary巴黎空间荣幸呈现来自黎巴嫩的多学科艺术家阿贝德·阿尔-卡迪里（Abed Al Kadiri，1984 年生于贝鲁特）在法国的首次个展 “修复的谱系”（Genealogy of Repair），展览汇集了他以个人经历出发从过去五年中精选的作品。
In his first solo show in France at Dumonteil Contemporary, multidisciplinary artist Abed Al Kadiri (b. 1984, Beirut, based in Paris) invites us to explore a very personal selection of works from the last five years.

阿贝德·阿尔-卡迪里，“修复的谱系”展览现场，杜梦堂（巴黎）Image ©Yuxin Zheng

Abed Al Kadiri, Genealogy of Repair installation view at DUMONTEIL Contemporary

这些带有强烈自传性质的作品如桥梁般连接着两座城市：贝鲁特和巴黎。2021 年，在贝鲁特港口发生爆炸的几个月后，阿尔-卡迪里搬到了巴黎。这些作品源于对暴力的诠释，以及对被压抑的个人和集体创伤经历的调查，探索脆弱的情感与毁灭，以及自然、孤立和失落之间的关联。同时，这些作品描绘了人们如何逐渐走出新冠和黎巴嫩大爆炸的阴霾，并深入探讨了对文化遗产的破坏、移民和归属感的问题。
Highly autobiographical in nature, these works bridge and connect two cities: Beirut and Paris. Abed moved to Paris in 2021 just a few months after the Beirut port blast. These works, which stem from a need to translate violence and investigate repressed personal and collective traumatic experiences, explore feelings of fragility and destruction and the relationship between nature, isolation, and loss. At the same time, they dive into the destruction of cultural heritage, migration, and belonging, while representing an emergence from the darkness of the pandemic and the aftermath of the explosion.

Abed Al Kadiri | 阿贝德·阿尔-卡迪里 (b.1984)

Enlightenment | 启迪

2021 - 2023Oil and charcoal on canvas布面油画和炭笔150 x 129 cm

虽然近年的气氛令人倍感压抑——无论是大爆炸后的痛苦、新冠最严重时期的状况，还是黎巴嫩当前的经济和政治局势，但敏锐的观众或许会注意到一种扎根和向往的基调。几乎是下意识的，许多作品都依靠树的形象来构筑乐观和成长的叙事。阿尔-卡迪里的作品所展开的故事如同树的年轮般层层环绕，树被作为社会持续崩溃的见证者和叙述者。
While the years since have been oppressive—whether as a result of the pain following the explosion, the conditions during the worst of the pandemic, or because of the ongoing economic and political situation in Lebanon, the observant viewer will notice a motif of grounding and yearning. Almost subconsciously, many of these works rely on the image of a tree to weave together a narrative of optimism and growth. As the growth rings at a tree’s core, Al Kadiri’s work unreels stories that position the tree as a witness and narrator of a society in perpetual collapse. 

Abed Al Kadiri | 阿贝德·阿尔-卡迪里 (b.1984)

Whispering | 耳语

2019Oil and charcoal on canvas布面油画和炭笔120 x 95 cm
本次展览沉醉于树的隐喻，并以不同的方式呈现：
在 2016 年和 2018 年创作的《橡胶树的故事》（The Story of the Rubber Tree）中，阿尔-卡迪里细致地描绘了贝鲁特那些被橡胶树“侵占”的废弃房屋。这些橡胶树原本是为城市住宅的花园庇荫而种植的，它们变得臃肿不堪，破坏了它们所占据的房屋地基。这些大型画作完全是用铅笔完成的——它们可以被橡皮，这一源自橡胶树的材料擦除。而与之相伴的雕塑和视频不仅追溯了这些树木所见证的错综复杂的家庭叙事和内战记忆，也揭示了它们带来生命和毁灭的能力。

This exhibition revels in the metaphor of the tree and presents it in different modes:

In The Story of the Rubber Tree, made in 2016 and 2018, Al Kadiri examines abandoned houses in Beirut that have been “reinhabited” by rubber trees. Once planted to provide shade in the gardens of city houses, rubber trees have become unwieldy in the absence of care, undermining the foundations of the houses that they now occupy. These large-scale paintings are done entirely in pencil—erasable by the very material sourced from the tree. The juxtaposing sculpture and videos trace not only the complex familial narratives and memories of civil war that the trees bear witness to but also reveal their capacity to bring both life and ruin. 

Abed Al Kadiri | 阿贝德·阿尔-卡迪里 (b.1984)

The Story of the Rubber Tree | 橡胶树的故事

2017 - 2018Oil and pencil on canvas布面油画和铅笔200 x 300 cm

“如果说世界是一个黑暗的地方，那么黎巴嫩就是它的中心。”阿尔-卡迪里用这句话引出了他在 2020 年创作的系列作品《嗜夜》（Nyctophilia）。不断减少的燃料、停转的发电机、断崖式下滑的经济、除了反抗示威就别无他用的街道。这些创作于 2018 年和 2019 年的画作既不是对阴霾笼罩的直接回应，也并非一时兴起的自省：它们要求我们正视和反思。

If the world is a dark place, Lebanon is its epicentre. With this sentence, Al Kadiri introduced his series Nyctophilia, in 2020. Dwindling fuel, silenced generators, an economy in free fall, the street all but abandoned as a site of revolt. These paintings made in 2018 and 2019 are neither a literal reaction to the prevailing gloom, nor some flourish of introspection: They ask us to confront and reflect. 

Abed Al Kadiri | 阿贝德·阿尔-卡迪里 (b.1984)

Nyctophilia | 嗜夜

2018 - 2020

Oil and charcoal on canvas

布面油画和炭笔

180 x 280 cm

在创作这些画作的一年时间里，阿尔-卡迪里受到失眠、焦虑和迷失方向的驱使，他不仅开始探索黑色，还沉迷于它化为遗忘的可能性。这组作品曾在展览“残存的最后一朵红玫瑰”（Remains of the Last Red Rose）中展出，就在该展览开幕的后一周，贝鲁特发生了有史以来最大的非核爆，就在展出这些作品的画廊附近。爆炸摧毁了展览场地，将画作掩埋在废墟之下，与世隔绝，直到它们被抢救出来。黑暗中，艺术家找寻着那个忧郁和狂喜的所在，在那里，尽管周围一片漆黑，他的本心却能找到慰藉和平静。

Driven by insomnia, anxiety, and disorientation during the one year of the paintings’ creation, Al Kadiri came not only to explore the colour black but also to indulge in its transformative promise of oblivion. A week after showing this series in an exhibition titled Remains of the Last Red Rose, the largest non-nuclear explosion ever strikes Beirut close to the gallery showing these works, destroying the venue and encasing the paintings beneath the rubble. closing them off from the world until they could be salvaged. In the shadows, the artist searches for that place of melancholy and ecstasy in which his inner child finds consolation and peace despite the darkness around him.

阿贝德·阿尔-卡迪里，“修复的谱系”展览现场，杜梦堂（巴黎）Image ©Yuxin Zheng

Abed Al Kadiri, Genealogy of Repair installation view at DUMONTEIL Contemporary

作为对破坏的谴责，《今天我想成为一棵树》（Today I Would Like to be a Tree, 2020） 应运而生。面对黎巴嫩令人窒息的经济和政治局势，以及贝鲁特大爆炸的余波，这是一次具有建设性的行动。满目疮痍中，一个念头在艺术家脑海中反复：“我想成为一棵树。”树是一种替代，甚至可能是一剂良药。尽管饱受摧残，它仍能保护自己。它的根系拥抱着它所生长的大地，形成了一种生命力的相互紧握。这种景观改变了塔尼特画廊（Galerie Tanit）被爆炸湮灭的的墙壁。此刻，画廊成为了一个暴力的露天空间，容纳了由八十多块画板组成的两幅壁画。一棵棵树木宁静而坚定地矗立在那里，与造成破坏的毁灭性冲击形成反作用力。树总是默默忍受，在忍受中自我愈合。该项目是对 8 月 4 日爆炸事件的直接回应，意在为贝鲁特家园的重建和修复筹集资金。

In a rebuke to the destruction, Today I Would Like to Be a Tree (2020) was conceived. It comes as a constructive act in the face of the stifling hold of Lebanon’s economic and political situation, and the aftereffects of the Beirut blast. Observing the pain surrounding him, the artist had a recurring thought: “I want to be a tree.” The tree is an alternative, perhaps even an antidote. It protects, although shaken by ravages. Its roots embrace the earth from which it has sprung, in a reciprocal grip of life force. This landscape transfigured the walls of Galerie Tanit—the very walls obliterated by the explosion. The gallery, now a violent, open space, hosted the creation of two murals painted over eighty panels. A landscape of trees, serene and unflinching, stands as a counterforce to the conquering shocks that wrought havoc. The tree endures and by enduring, heals. This project started as a direct response to the August 4th explosion with the aim to raise funds for the reconstruction and rehabilitation of Beirut homes.  

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Abed Al Kadiri | 阿贝德·阿尔-卡迪里 (b.1984)

Today I Would Like To Be A Tree (Fragment) | 今天我想成为一棵树（片段）

Courtesy private collection 私人收藏

2020

Charcoal on paper 

纸上炭笔画

100 x 70 cm

创作于2021至2022年间的《文森森林》（Bois des Vincennes）是此次展出的最新系列作品。这些作品源于艺术家在封锁期间漫游巴黎的公园和森林，而他也在同期完成了在巴黎国际艺术城为期一年的驻留。从感恩到内心的平静，这些画作探索了森林的一切，代表了艺术家试图平复近期创伤的尝试。

Bois des Vincennes, made between 2021 and 2022, is the most recent series of paintings on display here. These works are born from the artist’s lockdown-era walks through the parks and forests of Paris, while Al Kadiri completed a one-year residency at Cité International des arts, Paris. Exploring the woods with all it has to offer from gratitude to inner peace, the paintings represent the artist’s attempt to cleanse himself of the trauma of the recent past. 

Abed Al Kadiri | 阿贝德·阿尔-卡迪里 (b.1984)

Bois de Vincennes 2 | 文森森林 2 

2023

Oil and charcoal on paper mounted on canvas

纸上油画和炭笔裱于画布

160 x 120 cm

在巴黎举办此次展览尤为合适，因为在爆炸发生的四个月后，阿贝德·阿尔-卡迪里流亡到巴黎，也是在这里，他在被迫与世隔绝的疫情中努力疗愈。这些项目在尊重和哀悼过去几年灾难中所失去的同时，也是一种反击。这是一个愈合过程的尾声，是对损失和死亡的接受，以及最重要的：对自然的复苏和对重生的庆祝。

It is fitting that this exhibition is happening in Paris, the city Abed Al Kadiri exiled himself to four months after the explosion, where, in the forced isolation of the pandemic, he tried to heal. These projects act as a counter-statement while respecting and grieving what was lost during the devastation of the last few years. It is the end of a healing process, the acceptance of loss and death, and—most importantly—a natural resurrection and celebration of rebirth.

阿贝德·阿尔-卡迪里，“修复的谱系”展览现场，杜梦堂（巴黎）Image ©Yuxin Zheng

Abed Al Kadiri, Genealogy of Repair installation view at DUMONTEIL Contemporary

杜梦堂巴黎空间DUMONTEIL Contemporary此次阿贝德·阿尔-卡迪里个展「修复的系谱」的开幕酒会定于10月17日(周二)晚间6时至9时举办。欢迎大家关注这次展览。

The opening reception of Abed Al Kadiri's solo exhibition Transmutation at DUMONTEIL Contemporary Paris is scheduled for Wednesday, September 6th from 6 pm to 9 pm.

关于艺术家

ABOUT THE ARTIST

阿贝德·阿尔-卡迪里 Abed Al Kadiri（1984 年生于黎巴嫩贝鲁特）黎巴嫩大学获得阿拉伯文学和美术双学位。其个展包括 Abu Ghraib（2006 年）、In the Corner（2008 年）、Identity Turbulences（2011 年）、Al Maqama 2014（2015 年）、Ashes to the Sea（2016 年）、Arcadia（2016 年）和 Al Maqama Al Mosuliya（2017 年）。阿尔-卡迪里的作品曾参与多个地区和国际群展，包括阿布扎比、卡塔尔、巴林、伊斯坦布尔、匈牙利、巴黎、剑桥和巴塞尔。

2006-2015 年间，阿尔-卡迪里在其绘画实践外同时拥有多重身份。他从 2006 年开始担任艺术评论家，2010 年在科威特建立了 FA 画廊。2012 年，他担任科威特当代艺术平台（CAP）总监，该平台已成为中东地区重要的非营利性艺术机构之一。在那里，他策划了许多展览，并开展了广泛的教育项目。他还发起了艺术交流计划，与法国、西班牙、匈牙利、英国、韩国、黎巴嫩、埃及和海湾地区的主要艺术空间开展合作。2015 年，阿尔-卡迪里离开了他 CAP 。自2016 起作为全职艺术家，在贝鲁特生活和工作直至2021年，并于同年移居巴黎。他也是艺术家限量版书籍出版社 Dongola 的共同创始人。

他的作品被众多私人和公共艺术机构收藏，包括：英国大英博物馆、法国阿拉伯世界研究所、沙迦 Barjeel 基金会、黎巴嫩苏尔索克博物馆、华盛顿世界银行和科威特阿拉伯基金等。2017 年，他在第 32 届法国巴黎秋季沙龙（Salon d’Automne）上荣获苏尔索克博物馆评委会奖（le Prix du Jury du Musée Sursock）。

Abed Al Kadiri (b.1984, Beirut, Lebanon) double majored in Arabic Literature and Fine Arts at the Lebanese University. Solo exhibitions include Abu Ghraib (2006); In the Corner (2008); Identity Turbulences (2011); Al Maqama 2014 (2015); Ashes to the Sea (2016); Arcadia (2016), and Al Maqama Al Mosuliya (2017). Al Kadiri has also participated in several group exhibitions regionally and internationally including Abu Dhabi, Qatar, Bahrain, Istanbul, Hungary, Paris, Cambridge, and Basel.

From 2006-2015, Al Kadiri held various positions apart from his painterly practice. He worked as an art critic beginning in 2006, before establishing the FA Gallery, in Kuwait, in 2010. He was the director of Contemporary Art Platform (CAP) Kuwait in 2012, which has become one of the leading non-profit arts institutions in the Middle East. There, he curated numerous exhibitions and developed an extensive education program. He also initiated art exchange programs for collaborations with major art spaces in France, Spain, Hungary, the UK, South Korea, Lebanon, Egypt, and the Gulf. In 2015, Al Kadiri left his position at CAP and has been living in Beirut working as a full-time artist since 2016. He is the co-founder of Dongola, a publishing house for limited-edition books produced by artists.

His work can be found in private and public collections, such as British Museum, UK, Institute du monde Arabe, France, Barjeel Foundation, Sharjah, Sursock Museum, Lebanon, World Bank, Washington and Arab Fund, Kuwait. In 2017 he was awarded the Sursock Museum’s Jury Award at the 32nd Salon d’Automne.