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Yours, KOW

One Room Apartment, 2008/2017

Sculpture and photography

GermanEnglish

A photo of a new house located in Iraqi Kurdistan. The depicted building exemplifies new forms of living that came to Iraq after the shock ‘therapy’ of the Gulf Wars, of a new political order, and the application of global market economy. This situation reinforces forms of dwelling that differ dramatically from the sense of communal life before. It links the situation in Kurdistan to other socio-economic shifts around the globe and re-formulated, newly individualised societies, which used to be collective. New economic models reshaped the social structure and caused the rise of individualism and singular modes of living.

Forthcoming also as indoor installation, the work is a reconstruction of a house built recently near the minefields in Iraqi Kurdistan. Erected indoors, the replica building engages the viewer by challenging the relationship between the space that hosts it and the form that fills it up. Big enough to give an impression of a house that can be entered with a roof that can be climbed, the form is supposed to be proportioned in relation to the given space. The formal minimalism in this work is not one related to a certain period of art history but comes from pragmatism and sufficiency.

Written with Aneta Szylak

A photo of a new house located in Iraqi Kurdistan. The depicted building exemplifies new forms of living that came to Iraq after the shock ‘therapy’ of the Gulf Wars, of a new political order, and the application of global market economy. This situation reinforces forms of dwelling that differ dramatically from the sense of communal life before. It links the situation in Kurdistan to other socio-economic shifts around the globe and re-formulated, newly individualised societies, which used to be collective. New economic models reshaped the social structure and caused the rise of individualism and singular modes of living.

Forthcoming also as indoor installation, the work is a reconstruction of a house built recently near the minefields in Iraqi Kurdistan. Erected indoors, the replica building engages the viewer by challenging the relationship between the space that hosts it and the form that fills it up. Big enough to give an impression of a house that can be entered with a roof that can be climbed, the form is supposed to be proportioned in relation to the given space. The formal minimalism in this work is not one related to a certain period of art history but comes from pragmatism and sufficiency.

Written with Aneta Szylak

Hiwa K, One Room Apartment, 2008/2014, sculpture, Protocol, wood, cement, metal, mixed media, 644 x 332 x 684 cm, installation view documenta Kassel, 2017, Comissioned by documenta 14, photo by: Mathias Voelzke
Hiwa K, One Room Apartment, 2008/2014, sculpture, Protocol, wood, cement, metal, mixed media, 644 x 332 x 684 cm, installation view documenta Kassel, 2017, Comissioned by documenta 14, photo by: Mathias Voelzke
Hiwa K, One Room Apartment, 2008/2014, sculpture, Protocol, wood, cement, metal, mixed media, 644 x 332 x 684 cm, installation view documenta Kassel, 2017, Comissioned by documenta 14, photo by: Mathias Voelzke
Hiwa K, One Room Apartment, 2008/2014, sculpture, Protocol, wood, cement, metal, mixed media, 644 x 332 x 684 cm, installation view documenta Kassel, 2017, Comissioned by documenta 14, photo by: Mathias Voelzke

Sculpture, Protocol, wood, cement, metal, mixed media, 644 x 332 x 684 cm, installation view documenta Kassel, 2017, Comissioned by documenta 14, photos by: Mathias Voelzke

Hiwa K, One Room Apartment, 2008, C-Print, 133 x 200 cm, Edition of 5+2AP

C-Print, 133 x 200 cm, Edition of 5+2AP

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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 continuously 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) and Kunstverein Hannover (2018). Upcoming solo shows will be held at Zachęta National Gallery of Art in Warsaw and at the Van Every/Smith Galleries in North Carolina, USA. In 2016 he received the Arnold Bode Prize and the Schering Stiftung Art Award and had a solo exhibition at KW, Berlin (2017). His “Chicago Boys” project is continuously hosted by international institutions.



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