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It's Spring And The Weather Is Great So Let's Close All Object Matters, 2012

mixed media installation, dimension variabel

The installation was originally commissioned by Serpentine Gallery and proposed by the Artist for the Speaker’s Corner in London - a place commonly associated with the idea of free speech. The location has a very complex history as a former execution site that started as early as in the XII century with the Tyburn Hanging Tree. The freedom to talk to the public is drawn here from the last public address of the felons on the gallows, who were often critics of the ruling governments. In a way both uses of space insist on elevation in order to make something public. The project was meant for my previous work with the Serpentine called Chicago Boys While We Were Singing They Were Dreaming to play at the Speakers Corner as a 70´s music revival band and a group discussion based around the Neoliberal economy. The band’s musicians were expected to play with the use of self-made ladders but then the idea did not come at fruition. Finally, the installation, under the title: It´s Spring And The Weather Is Great So Let´s Close All Object Matters was made for a group exhibition. The title of the work is adopted from Suad Husni´s 70´s song written by Salah Jahin. He actually wrote It´s Spring And The Weather Is Great So Let´s Close All Subject Matters. For the purpose of this installation the word Subject has been changed to Object. Salah Jahin was highly critical when Sadat came to power in Egypt as he turned his back to the East and opened the door to American policy in the region. It was Sadat who introduced major changes that eventually led to The Liberal Economic Polices (Al Enftah Al Eqtsadi) in Egypt. Jahin relates to this policy with fierce irony. The materialization of this installation in relation to something based on process and performance like the Chicago Boys (a project presented at Alternativa in 2010) embraces the very complicated nature of object / subject conflict. The collective construction process that has never been completed brings to the work part of the tension of the Chicago Boys, the project that among other issues finds itself in the middle of the fading myth of the singular expert, such as the individual musician.

Source: hiwak.net

Hiwa K, It's Spring And The Weather Is Great So Let's Close All Object Matters, 2012, Mixed media installation, Dimensions variable, Installation view KOW, Berlin, 2016
Hiwa K, It's Spring And The Weather Is Great So Let's Close All Object Matters, 2012, Mixed media installation, Dimensions variable, Installation view KOW, Berlin, 2016
Hiwa K, It's Spring And The Weather Is Great So Let's Close All Object Matters, 2012, Mixed media installation, Dimensions variable, Installation view KOW, Berlin, 2016
Hiwa K, It's Spring And The Weather Is Great So Let's Close All Object Matters, 2012, Mixed media installation, Dimensions variable, Installation view KOW, Berlin, 2016
Hiwa K, It's Spring And The Weather Is Great So Let's Close All Object Matters, 2012, Mixed media installation, Dimensions variable, Installation view KOW, Berlin, 2016
Hiwa K, It's Spring And The Weather Is Great So Let's Close All Object Matters, 2012, Mixed media installation, Dimensions variable, Installation view KOW, Berlin, 2016
Hiwa K, It's Spring And The Weather Is Great So Let's Close All Object Matters, 2012, Mixed media installation, Dimensions variable, Installation view KOW, Berlin, 2016
Hiwa K, It's Spring And The Weather Is Great So Let's Close All Object Matters, 2012, Mixed media installation, Dimensions variable, Installation view KOW, Berlin, 2016
Hiwa K, It's Spring And The Weather Is Great So Let's Close All Object Matters, 2012, Mixed media installation, Dimensions variable, Installation view KOW, Berlin, 2016
Hiwa K, It's Spring And The Weather Is Great So Let's Close All Object Matters, 2012, Mixed media installation, Dimensions variable, Installation view KOW, Berlin, 2016
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Hiwa K

Hiwa K was born in Kurdistan-Northern Iraq in 1975. His informal studies in his home town Sulaymaniyah were focused on European literature and philosophy, learnt from available books translated into Arabic. After moving to Europe in 2002, Hiwa K studied music as a pupil of the Flamenco master Paco Peña in Rotterdam, and subsequently settled in Germany. His works escape normative aesthetics but give a possibility of another vibration to vernacular forms, oral histories (Chicago boys, 2010), modes of encounter (Cooking with Mama, 2006) and political situations (This lemon tastes of apple, 2011). The repository of his references consists of stories told by family members and friends, found situations as well as everyday forms that are the products of pragmatics and necessity. He continthuously critiques the art education system and the professionalization of art practice, as well as the myth of the individual artist. Many of his works have a strong collective and participatory dimension, and express the concept of obtaining knowledge from everyday experience rather than doctrine. Hiwa K participated in various group shows such as Manifesta 7, Trient (2008), La Triennale, Intense Proximity, Paris (2012), the “Edgware Road Project” at the Serpentine Gallery, London (2012), the Venice Biennale (2015) and documenta14, Kassel/Athens (2017). A selection of recent solo shows include the New Museum, NYC (2018), S.M.A.K., Ghent (2018), Kunstverein Hannover (2018), Jameel Arts Center Dubai (2020), Museum Abteiberg (2021) and The Power Plant (Toronto (2022). He has recieved several prizes such as in 2016 the Arnold Bode Prize and the Schering Stiftung Art Award and the latest being the Hector Prize in 2019.



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