{"id":10089,"date":"2015-12-11T08:46:00","date_gmt":"2015-12-11T08:46:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=10089"},"modified":"2023-03-02T08:52:59","modified_gmt":"2023-03-02T08:52:59","slug":"truth-or-fiction-does-it-matter-walid-raad-at-moma","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/truth-or-fiction-does-it-matter-walid-raad-at-moma\/","title":{"rendered":"Truth or Fiction? Does It Matter? Walid Raad at MoMA"},"content":{"rendered":"\n<p><a href=\"http:\/\/www.moma.org\/calendar\/exhibitions\/1493?locale=en\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Walid Raad solo exhibition<\/strong><\/a><\/p>\n\n\n\n<p><strong>Museum of Modern Art<\/strong>&nbsp;(11 West 53 Street, New York),&nbsp;<strong>Oct 7, 2015\u2013Jan 31, 2016<\/strong><\/p>\n\n\n\n<p>Had MoMA been empty, the Walid Raad show would have been amazing to see there.<\/p>\n\n\n\n<p>But MoMA is never empty. Quite the opposite. It is one of the most popular institutions in the world. One part of Walid Raad\u2019s untitled exhibition is shown in the atrium\u2014a large area connecting the entrance stairway to the exhibition halls complete with the sound of thousands of people walking in and out of the museum, its echo traveling to the second-floor space. The atrium is a great location for performance: this is where Marina Abramovi\u0107 sat in front of viewers for the duration of the exhibition\u2019s opening hours in \u201cThe Artist is Present\u201d in 2010. And it\u2019s a great place to show work of massive scale, like Monet\u2019s twelve meter long \u201cWater Lilies\u201d from MoMA\u2019s collection. It is unfair to discuss the museum-tourism complex in a review of an artist\u2019s exhibition, suffice to say: the museum\u2019s atrium is not a place to show slow, considered, textual work.<\/p>\n\n\n\n<p>The result thereof is that in the atrium, Raad\u2019s project \u201cScratching on things I could disavow\u201d (2007-ongoing) reads more like a stage set than a space of contemplation. This is fitting: Raad will be performing\u201cWalkthrough\u201d, an artist-led (and artist-meddled-with) tour of his exhibition, where he tells the backstory of the works and shares his ideas with the audience, about sixty times throughout the show\u2019s run. The rest of the time, however, the experience of Raad\u2019s exhibition is of an attempt not to give in to the scale of the space and the works and really delve into them. There is an audio guide recreating \u201cWalkthrough\u201d, but it is far from being as effective as the artist\u2019s version, especially since it falls into familiar tropes of the audio guide of the \u201dFor more information on this work, press 280\u201d variety, rather than expand its possibilities. In the atrium, \u201cScratching on things I could disavow\u201d feels grander, more spectacular, than its content would imply. The wall text explains that the \u201cWalkthrough\u201d is one chapter in \u201cScratching on things\u2026\u201d, a bid to tell a number of stories from the numerous attempts charted around 2007 to define \u201cArab art\u201d with the rise of art fairs, museums, schools, galleries, and other contemporary-art infrastructure in the Middle East.<\/p>\n\n\n\n<p>Bookmarked by two sizable pieces, \u201cScratching on things\u2026\u201d does command the space, the progression through different works begins with a huge temporary wall on one end of which is hung \u201cAppendix XVIII: Plates 22\u2013257\u201d, a collection of framed prints that have escaped the wars in Lebanon and which somehow offers remnants of the culture of the country through typefaces, colors, shapes, and forms. On the opposite wall is \u201cSection 88_Act XXXI: views from outer to inner compartments\u201d; lit with massive theater lights, it is a large projection of a traditional museum\u2019s halls fading into one another. The museum on film and the museum hosting the work merge in the viewer\u2019s mind, conveying a uniformity of presentation, from one white cube to another, one tourist attraction museum to the next. Perhaps this is what Raad is afraid of with the rise of new, shiny museums throughout the Middle East.<\/p>\n\n\n\n<p>Both these works are large enough to dominate the space. Each also requires less attention than the other four other pieces, which, even if almost comparable in size, demand more time and focus from the viewer. \u201cTranslator\u2019s Introduction: Pension arts in Dubai\u201d displays Raad\u2019s research into the Artist Pension Trust (APT), a private art investment company. Snaking notes drawn and printed on the wall create the image of contemporary capital\u2014omnipresent, impossible to trace. Two other works discuss the status of viewing and perception of art from the Middle East\u2014\u201dIndex XXVI: Red\u201d is a portion of a temporary wall brought in from Beirut emblazoned with the names of painters and sculptors who worked in Lebanon in \u201cthe past\u201d, while \u201cPreface to the Second Edition\u201d is the result of a visit to the Arab Museum of Modern Art in Qatar, where the artist noticed there were no reflections in the paintings on view (in all probability due to high-quality museum glass). Raad shows photographs that include a reflection of his own image, which in the exhibition text the artist says he \u201chopes will leave the works and attach themselves to the paintings.\u201d<\/p>\n\n\n\n<p>The literary nature of the titles communicates much of Raad\u2019s methodology. The Lebanese artist, who is currently living and working in New York, hones in on the effect of storytelling in his works, many of which relate to his experiences in Lebanon during the Civil War and to the socioeconomic and political situation in the Middle East. Raad\u2019s works never seem to fully convey information; rather, they are a curious combination of truth and fiction (and it\u2019s never really clear just what is truth and what fiction) presented as taxonomy of events, an archive of remnants, or a collection of objects.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-31.png\" alt=\"\" class=\"wp-image-10090\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-31-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-31-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-31-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-31.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2015\/12\/20151005_walidraad_0145.jpg\"><\/a><br>Walid Raad, \u201cScratching on things I could disavow: Walkthrough\u201d, 2015. Part of \u201cWalid Raad\u201d, The Museum of Modern Art, October 12, 2015-January 31, 2016. \u00a9 2015 The Museum of Modern Art, New York. Photo: Julieta Cervantes.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-32.png\" alt=\"\" class=\"wp-image-10093\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-32-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-32-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-32-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-32.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2015\/12\/20151005_walidraad_0068.jpg\"><\/a><br>Walid Raad, \u201cScratching on things I could disavow: Walkthrough\u201d, 2015. Part of \u201cWalid Raad\u201d, The Museum of Modern Art, October 12, 2015-January 31, 2016. \u00a9 2015 The Museum of Modern Art, New York. Photo: Julieta Cervantes.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-33.png\" alt=\"\" class=\"wp-image-10096\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-33-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-33-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-33-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-33.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2015\/12\/20151005_walidraad_0016.jpg\"><\/a><br>Walid Raad, \u201cScratching on things I could disavow: Walkthrough\u201d, 2015. Part of \u201cWalid Raad\u201d, The Museum of Modern Art, October 12, 2015-January 31, 2016. \u00a9 2015 The Museum of Modern Art, New York. Photo: Julieta Cervantes.<\/figcaption><\/figure>\n\n\n\n<p>This methodology has driven what is arguably Raad\u2019s most well-known work, \u201cThe Atlas Group\u201d (1989\u20132004). \u201cThe Atlas Group\u201d was never a group, though it presents itself as an institutional identity collecting, preserving, and displaying images, stories, and artifacts from the contemporary history of Lebanon. A selection from \u201cThe Atlas Group\u2019s\u201d archive is on view on the museum\u2019s third floor. There are photographs and films from the Lebanese historian Dr. Fadl Fakhouri, like \u201cMiraculous beginnings,\u201d a film where the doctor exposed a single frame every time he thought the war in Lebanon had ended). A document titled \u201cSecrets in the open sea\u201d is an anonymous contribution of twenty-nine photographs in different shades of blue monochrome that, when given to \u201cThe Atlas Group\u201d in 1994, were then discovered to include black-and-white portraits of people who had drowned in the Mediterranean. There are also images of ammunition taken by a member of the Lebanese Army\u2019s explosives division (\u201cI Might Die Before I Get a Rifle\u201d). There\u2019s a video taken by Officer 17, a Lebanese intelligence officer who was stationed at the boardwalk in Beirut. The seven-minutes and forty-seconds film (\u201cI Only Wish That I Could Weep\u201d) documents the sunset against the sea every day in lieu of the soldier\u2019s target. It\u2019s a slow and beautiful collection that also shows day-to-day life on the city\u2019s seaside.<\/p>\n\n\n\n<p>In reality, there was never a series of prints disguising portraits of the dead. Nor a Dr. Fakhouri or an Officer 17. The contributors who gave materials to \u201cThe Atlas Group\u201d never existed. It is all Raad\u2019s orchestration. Raad\u2019s system of merging of truth and fiction, his concern with the way history is made and written, and the construction of an image for all of these unifies both projects: \u201cThe Atlas Group\u201d and \u201cScratching On Things I Could Disavow\u201d. Separating them doesn\u2019t make either one weak in any way, but it does leave the viewer wondering about this curatorial decision. In its interest in the organization of images and the construction of an archive, however, the work creates its own institutional nature. Much attention has been given to the tension between truth and fiction in \u201cThe Atlas Group\u201d when, in fact, fiction is a method. The result is a selection of documents narrating a history so painful and bloody it is almost impossible to grasp. They rely on the documentary tradition in order to recount what is essentially the experience of the place; that this is presented as the personal experiences of nonexistent people only makes it seem more universal because nothing about these stories reads as untrue\u2014except the fact that they are.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"347\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-34.png\" alt=\"\" class=\"wp-image-10099\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-34-300x197.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-34-150x99.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-34-456x300.png 456w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-34.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Installation view of \u201cWalid Raad\u201d, The Museum of Modern Art, October 12, 2015-January 31, 2016. \u00a9 2015 The Museum of Modern Art, New York. Photo: Thomas Griesel.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"http:\/\/www.randian.art\/2c177379-01b5-47a7-a304-3b74ed5e0b8c\" alt=\"\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2015\/12\/mg_3916.jpg\"><\/a><br>Installation view of \u201cWalid Raad\u201d, The Museum of Modern Art, October 12, 2015-January 31, 2016. \u00a9 2015 The Museum of Modern Art, New York. Photo: Thomas Griesel<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"http:\/\/www.randian.art\/6015e1da-5ce8-4828-963b-42cccc98614e\" alt=\"\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2015\/12\/moma_raad_civilzationally.jpg\"><\/a><br>The Atlas Group\/ Walid Raad, \u201cCivilizationally, we do not dig holes to bury ourselves_Plate 922\u2033, 1958-59\/2003. Pigmented inkjet print, 25.4 x 20.3 cm. Courtesy the artist and Paula Cooper Gallery, New York. \u00a9 2015 Walid Raad<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"353\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-37.png\" alt=\"\" class=\"wp-image-10108\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-37-300x201.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-37-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-37-449x300.png 449w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/zh-hant\/image-37.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2015\/12\/moma_raad_section88viewsfromoutertoinnercompartments.jpg\"><\/a><br>Walid Raad, \u201cSection 88: Views from outer to inner compartments\u201d, 2010. Single-channel HD video (color, silent), 14:36 min. Courtesy the artist and Paula Cooper Gallery, New York. \u00a9 2015 Walid Raad<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Walid Raad solo exhibition Museum of Mod &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/truth-or-fiction-does-it-matter-walid-raad-at-moma\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":10115,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[6328,6327,6329,6331,6332,6330,6333,6334,6335,6336,6337,6338,6339,1194,6340,6341,6342,6344,6343,6345,6346],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Truth or Fiction? Does It Matter? 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