Gallery Isabelle van den Eynde

06/05/2022

Exploring Haleh Redjaian's () ‘Lorem Ipsum’(2019) series.

The text ‘lorem ipsum’, a well-known print example text, with meaningless words, form a grid-like composition. Redjaian creates drawings atop the underlying space. The visual language of the pages delineating a uniqueness, paired with consistent and systematic aesthetics. A coalescence of form and text.
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Image 6: 'Lorem Ipsum I-IX', mixed media on paper, set of 9 works

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Image 1&2 by

04/05/2022

Manal AlDowayan's () project 'Crash' (2014) dissects the memorialization of tragedy in recording women teachers from Saudi Arabia, appointed to teach in remote villages, being subject to gruesome car crashes. Local traditions linked to honor have resulted in the hiding of women’s names in media reportings.

A seminal question is raised:
How do you mourn if the suffering has no face?

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Image 1-5: Installation of research material (news clippings, maps, photos, notes, printed online information), 9 silk screen prints, and 3 videos

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02/05/2022

Vikram Divecha's () 'Roof Study' (2016) draws inspiration from Claude Monet's 'The Saint-Lazare Station' (1877). Divecha’s practice partly revolves around the intervention of existing industrial urban systems to generate an altered outcome, this series acted as the foundation for his later work 'The Train to Rouen' (2017), his use of light a stylistic nod to the practice of Monet.

Further background information is highlighted in the Portrait of a Nation II () interview between Divecha and Louvre Abu Dhabi Curator, Robert Kilroy .
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Image 2: Monet, oil on canvas
Image 3,4: Divecha and MTX - Broderie Architecturale, 'The Train to Rouen' (installation), by

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Image 2-4 by: Musée d'Orsay, dist. RMN-Grand Palais / Patrice Schmidt and Louvre Abu Dhabi

29/04/2022

26/04/2022

The artist duo :mentalKLINIK () do not attempt to remind us of the regular or normal with their work, instead creating uncanny environments that take jabs at reality (and art) by navigating the slippery slope surrounding ‘truth’.

'SOME-TIME' (2017-20) a series, with pastel coloured frames, overlaid stickers and emojis atop the prestigious Time magazine, manipulates the aesthetics of a credible information source. These works raise an eyebrow towards accountability and political strategies.
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Image 2-5: 'SOME-TIME' Series, Time magazine, stickers and artist's frame in acrylic resin and natural minerals

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18/04/2022

Benchamma (.benchamma) chooses to work in a sole medium: drawings. He adopts different approaches to the drawing process, sometimes moving across a sheet of paper with the meticulous strokes of an engraver, sometimes spreading over a wall with lavish gestures that appropriate the space. The matter escapes from the frame in a form of organic growth.

Inspired by literature, philosophy, astrophysics and esoteric reflections, his works create visual scenarios that question our relationship to reality, as they probe the frontiers of the invisible.
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Image 1,3,5,7: Planets series 'Dust', 'Idoles', 'Stones', and 'Waves', 2021, ink on paper
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19/03/2022

Looking back at Art Dubai 2022 ().

Thank you to all who participated and visited our booth.
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11/03/2022

Art Dubai 2022 - Booth E1

On view are the works of Latif Al Ani. His photographs “Qanun player” and “Afternoon nap” were shot in Baghdad, in 1963 and 1956 respectively.

Al Ani captured, mostly in black and white, the transformations in urban and rural Iraqi society, offering a unique testimony of the prosperous moments in Iraq’s modern history.

Al Ani documented the socio-political, economical and cultural landscape of the 1950s-70s.

Image 1: “Qanun player, Baghdad, 1963”, 2021

Image 2: “Afternoon nap, Baghdad, 1956”, 2019

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06/03/2022

ARTGENÈVE - last day
"In 1979, a scholarship took Iranian-born artist Hassan Sharif to London, where he studied art and discovered British Constructionism represented by artists such as Kenneth Martin and Anthony Hill, who used naturally occurring proportional systems and rhythms to underpin their geometrical art.

This way of creating led him to develop, in the early 1980s, his « semi-systems » series, of which this work is a part.

In the semi-systems, Sharif conceives with arbitrary mathematical rules or instructions a preliminary « draft paper » from which a series of artworks arise. This systematic and monotonous practice, focusing on inventing new means of generating forms, leaves much room for chance and error, which are at the heart of the artist's work.

Here, 5 drawings are generated by playing with the different possible positions of a vertical line on a grid.
If the system seems rigid and geometric, the irregularity of the lines drawn by hand and the errors and repentances that the artist has left apparent testify to the irony of his artistic language.

05/03/2022

ARTGENEVE - Booth C38

In this work, German-Iranian artist Haleh Redjaian uses a handwoven carpet on which she overlaps a lithograph and embroidered coloured and metallic
threads.
In an abstract mode, she plays on the tension between the irregularities of a rug woven on a loom and the geometric perfection of her handmade embroideries and printings, resulting in what she calls « natural geometry ».
The artist thus reactivates the tradition of Iranian rug making in a new way, by
combining different mediums and techniques not traditionally associated with
fine arts.
Through this practice, Redjaian follows in the footsteps of great modernist women
artists such as Sophie Taeuber-Arp, Anni Albers or Sonia Delaunay who, within
Dada Zurich or the Bauhaus in the 1910’s and the 1920’s, invested artisanal skills
(tapestry, dressmaking…) in their work, abolishing the traditional hierarchy
between low and high art. Text by Lucas Belloc

05/03/2022

ARTGENÉVE - 2 more days In this intricate and colorful fabric work, Hoda Tawakol invokes a rich and
complex imagery that stirs the viewer's imagination.
This dreamlike jungle, reminiscent of the equally vibrant and fantastic
forests painted by Henri Rousseau in the early 20th century, intertwines
sensual organic forms on the borderline between abstraction and figuration.
Its intricate, opulent character, the variation of textures and materials, as
well as the saturation of colours evoke both the luxuriance and mystery of
tropical forests and the organic intimacy of the female body.
Indeed, strongly influenced by the feminist movements of the 1970s in
particular, Tawakol explores the possibilities of textiles, which she dyes and
sews by hand, in order to raise the issue of women's labor and gender
restrictions while celebrating the female body.

Visit is at Booth C38!

18/02/2022

“Portrait of a Nation II: Beyond Narratives” curated by Maya El-Khalil largely focuses on Mohammed Kazem’s conceptual and performative projects, often executed and documented in photographs. In ‘My Neighbours’ (2016) and ‘Window 2003-2005’ (2003-2005), Kazem tempers an objective and observational precision with a healthy dose of irony, analyzing episodes and experiences from his daily life, interrogating his specific social and political context.

Installation Images © ;
‘Window 2003-2005’ courtesy Sharjah Art Foundation Collection
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17/02/2022

In Hassan Sharif’s exhibition ‘184 Nails’ curated by Vikram Divecha, the question at stake is how his archive can be made available to generate new ideas?

Six collages by Camilo Cerro, professor of architecture and interior design at the American University of Sharjah.

In a search for the relationship between the void and the solid, what would systemic super-positioning generate?
Cerro used 2 unrelated systems: the matrix created by Hassan Sharif for a piece called ‘One-Two-Part Five-Black Stain’ (2009), overlapping the grid of different cities (New York, Mexico City, Barcelona, Chicago, Belo Horizonte and Cali)

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14/02/2022

Basma AlSulaiman, two decades of collecting works by contemporary Saudi artists, is on view in ‘What Lies Within’ at the Maraya Center in AlUla. Curated by Lulwah AlHomoud. Including complete series ‘I Am’ and ‘The Choice’. On view until 20 March, 2022.

Installation view with works by Maha Malluh, Manal
AlDowayan, and Zahrah AlGhamdi.

Installation view with works by Musaed AlHulis, Maha
Malluh, and Rashed AlShashai.

Installation view, Manal AlDowayan, The Choice, 2005.

Manal AlDowayan, The Choice, 2005
Manal AlDowayan, I am a Computer Scientist, 2007

All install views: Courtesy of the artist and the Basma AlSulaiman Collection. Photo: Zaki Ghawas.
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07/02/2022

Abdelkader Benchamma ‘Rayon Fossile’

New book published by Collection Lambert and Acte Sud, French and English, 176 pages 75 illustrations, including an interview of the artist and essays by Stephane Ibars and Marc Donnadieu.

Documenting significant moments in the artist’s career, page 161, The Unbearable Likeness, curated by Yasmina Reggad at Gallery IVDE, 2016

Online or grab a copy from bookstores such as FNAC, Centre Pompidou, Yvon Lambert

Soon available at IVDE.
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03/02/2022

Thank you
Manal AlDowayan first solo show ‘The Eternal Return of the Same’
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01/02/2022

Haleh Redjaian in ‘Paper Show’ at the Whitehouse Gallery.
On view until 20 February 2022.

In the work of Haleh Redjaian the human hand appears to be almost absent. Redjaian’s mathematical drawing style, with austere pencil lines opposing detailed embroidery of gold thread or gold leaf.

Image details: Superposed II, 2021 by
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31/01/2022

In Portrait of a Nation II: Beyond Narratives, curated by Maya El-Khalil.

In the twenty intimate black and white silver gelatin photographs ‘If I Forget You Don’t Forget Me’ (2012), Manal AlDowayan’s attempts to recollect the memories and the culture of an ‘oil community’ 50 years ago.

‘I was lucky to be part of a generation that saw their dreams become reality’ shares an oil man

Images courtesy of
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