Exhibition

Basim Magdy: An Absent Population Laughs at its Haunting Withdrawal

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Basim Magdy, The Hollow Desire to Populate Imaginary Cities, 2014. 30 C-Prints from chemically altered slides on metallic paper. 34 × 51 cm each. Photo: Charles Benton. Image courtesy the artist and Art in General

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Basim Magdy, An Absent Population Laughs at its Haunting WIthdrawal, installation view, 2014. Photo: Charles Benton. Image courtesy the artist and Art in General

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Basim Magdy, The Hollow Desire to Populate Imaginary Cities, 2014. 30 C-Prints from chemically altered slides on metallic paper. 34 × 51 cm each. Photo: Charles Benton. Image courtesy the artist and Art in General

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Basim Magdy, Clowns, 2014. Wall text, acrylic. Dimensions variable. Photo: Charles Benton. Image courtesy the artist and Art in General

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Basim Magdy, The Everyday Ritual of Solitude Hatching Monkeys, 2014. Super 16mm film transferred to Full HD, 13 minutes, 22 seconds. Photo: Charles Benton. Image courtesy the artist and Art in General

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Basim Magdy, The Everyday Ritual of Solitude Hatching Monkeys, 2014. Super 16mm film transferred to Full HD, 13 minutes, 22 seconds. Photo: Charles Benton. Image courtesy the artist and Art in General

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Basim Magdy, The Everyday Ritual of Solitude Hatching Monkeys, 2014. Super 16mm film transferred to Full HD, 13 minutes, 22 seconds. Photo: Charles Benton. Image courtesy the artist and Art in General

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Basim Magdy, The Hollow Desire to Populate Imaginary Cities, 2014. 30 C-Prints from chemically altered slides on metallic paper. 34 × 51 cm each. Photo: Charles Benton. Image courtesy the artist and Art in General

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Basim Magdy, The Hollow Desire to Populate Imaginary Cities, 2014. 30 C-Prints from chemically altered slides on metallic paper. 34 × 51 cm each. Photo: Charles Benton. Image courtesy the artist and Art in General

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Basim Magdy, The Hollow Desire to Populate Imaginary Cities, 2014. 30 C-Prints from chemically altered slides on metallic paper. 34 × 51 cm each. Photo: Charles Benton. Image courtesy the artist and Art in General

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Basim Magdy, The Hollow Desire to Populate Imaginary Cities, 2014. 30 C-Prints from chemically altered slides on metallic paper. 34 × 51 cm each. Photo: Charles Benton. Image courtesy the artist and Art in General

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Basim Magdy, The Hollow Desire to Populate Imaginary Cities, 2014. 30 C-Prints from chemically altered slides on metallic paper. 34 × 51 cm each. Photo: Charles Benton. Image courtesy the artist and Art in General

Aig_bmagdy_nov14_032_web_620_620

Basim Magdy, The Hollow Desire to Populate Imaginary Cities, 2014. 30 C-Prints from chemically altered slides on metallic paper. 34 × 51 cm each. Photo: Charles Benton. Image courtesy the artist and Art in General

Aig_bmagdy_nov14_033_web_620_620

Basim Magdy, The Hollow Desire to Populate Imaginary Cities, 2014. 30 C-Prints from chemically altered slides on metallic paper. 34 × 51 cm each. Photo: Charles Benton. Image courtesy the artist and Art in General

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Basim Magdy, The Hollow Desire to Populate Imaginary Cities, 2014. 30 C-Prints from chemically altered slides on metallic paper. 34 × 51 cm each. Photo: Charles Benton. Image courtesy the artist and Art in General

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Nov 7, 2014
Opening
Winter Exhibitions Opening
New Commissions

Basim Magdy: An Absent Population Laughs at its Haunting Withdrawal

Basim Magdy
Curated by Anne Barlow

Press: “Basim Magdy: Optical Trauma,” Regina Basha, ArteEast, Winter 2015. View article.
“Of Failures and Withdrawals: An Interview with Basim Magdy,” Murtaza Vali, Art in America, December 3, 2014. View article.
ART: Basim Magdy,” The New Yorker, November 2014. View article.

Exhibition: November 7, 2014–January 10, 2015
Opening Reception: Friday, November 7, 2014, 6–8pm

Magdy’s exhibition comprises a newly commissioned film, The Everyday Ritual of Solitude Hatching Monkeys, 2014, a series of photographs, The Hollow Desire to Populate Imaginary Cities, 2014, and a text piece entitled Clowns, 2014.

Interested in the power of mass media, information systems, and scientific theories—and the relationship between what is real and fiction in such domains—Magdy uses a combination of images and words to construct narratives that can be humorous, reflective, or disquieting, but never linear. His work is at once suggestive of times past, present and future through the seamless interweaving of imagery—from historic ruins, to futuristic landscapes, to everyday scenes from a nondescript present. Alongside an implied desire to know what the future holds is a sharp critique of the notion that the passing of time is indicative of societal progress. Rather, his films suggest the constant push-pull of a striving for progress against cycles of repeated failure: the future becomes less about promise than a continuous re-enactment of the present.

As with many of his films, the sense of ‘place’ in The Everyday Ritual of Solitude Hatching Monkeys is undefined, having been shot in multiple locations. The central figure is a man who has been abandoned as others leave for the beach: a story that feels like a recurring bad dream where one can never reach one’s destination. The accompanying script, which appears in different colors that correspond to those of each scene, speaks of the man’s fear of the sea, feelings of emptiness, hope and failure, a yearning to know what future a prophecy might foretell, and an ominous reference to a line in T.S. Eliot’s The Waste Land, which tells the story of Phlebas the Phoenician, who died, apparently by drowning. The script, inspired by the uncanny short stories of Magdy’s father, Magdy El-Gohary, rarely corresponds to the mesmerizing, luscious colors of the scenes and their content, creating a sense of displacement and disorientation. Despite the final rally to ‘start anew’, notions of renewal and regeneration seem to be refuted; as the man in the film asks: “Tell me, how do you deal with the relentless repetition of reality?”

Just as Magdy manipulates his films with household chemicals and layers frames within them to produce an incredible range of colors and effects, the photographs in The Hollow Desire to Populate Imaginary Cities come from different film stocks that have been exposed and treated in various ways. Seemingly mundane images from, for example, audiences watching a performing seal, to a car and a manufacturing plant, are rendered other-worldly through vivid color, pigmentation and deterioration.

The idea of the relationship of the individual to the masses is ever-present: from references to training monkeys and the man’s monologue amidst the “hundreds, millions,” to the photographs and the text piece Clowns that comment more overtly on systems of structure and power within society as a whole. While its sentiment could be applied to various times across history, Clowns also seems ultimately about the now: “After much contemplation and debate, the clowns that run this degenerating society agreed there was only one way to explain the status quo to the masses: they are clowns too, which leaves everybody without an audience."

Basim Magdy was born in 1977 in Assiut, Egypt, and lives and works in Basel, Switzerland and Cairo, Egypt. His work appeared recently in exhibitions and screenings at La Biennale de Montreal, Montreal (2014), Art as a Verb, Monash University Museum of Art | MUMA, Melbourne, Australia (2014), MEDIACITY Seoul Biennial, Seoul Museum of Art, Seoul (2014); Passerelle Centre d’art contemporain, Brest, France (2014); Trafo House of Contemporary Art, Budapest (2014); CRAC Alsace, Altkirch, France (2014); 13th Istanbul Biennial, Istanbul (2013); Tate Modern, London (2013); Centre Culturel Suisse, Paris (2013); Sharjah Biennial 11, Sharjah, UAE (2013); Yerba Buena Center for the Arts, San Francisco (2013); Biennale Jogja XII, Yogyakarta, Indonesia (2013); The High Line, New York (2013); Askhal Alwan, Beirut (2013); Haus der Kulturen der Welt, Berlin (2012); La Triennale: Intense Proximity, Palais de Tokyo, Paris (2012); Argos Art Center, Brussels (2011); Kunsthalle Wien, Vienna (2011); Institut Mathildenhohe, Darmstadt, Germany (2011); Mass MOCA, North Adams (2010) and Ateliers de Rennes – Biennale dʼart contemporain, Rennes, France (2010) among others. In 2012 he was shortlisted for the Future Generation Art Prize, Kiev and in 2014 he won the Abraaj Art Prize, Dubai.

This commission is produced by Art in General in collaboration with HOME, Manchester, UK.

Art in General gives special thanks to Letternoon and Squid Frames for their support of this exhibition.



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General Support of Art in General is provided by General Hardware Manufacturing Inc.; the Institute of Museum and Library Services; the Lambent Foundation; the New York State Council on the Arts with support of Governor Andrew Cuomo and the New York State Legislature; The Greenwich Collection; Milton and Sally Avery Arts Foundation; the William Talbott Hillman Foundation; and by individuals. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

The New Commissions Program is made possible by the Andy Warhol Foundation for the Visual Arts; Trust for Mutual Understanding; National Endowment for the Arts; and Jerome Foundation. Support has also been provided by Commissioners’ Circle leaders Jeffery Larsen and Joseph Bolduc; Commissioners’ Circle supporters Sandra Ho and Jang Kim, and Cher Lewis, and Commissioners’ Circle members Roya Khadjavi-Heidari, Mary Lapides, Richard Massey, Leslie Ruff, and Jeremy E. Steinke.

Additional support for An Absent Population Laughs at its Haunting Withdrawal provided by Letternoon and Squid Frames

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