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SHOJA AZARI & SHAHRAM KARIMI: THE COLD EARTH SLEEPS BELOW: Dubai

Past exhibition
22 June - 1 August 2016
  • Installation Views
  • press-release
  • Works
    • Shoja Azari and Shahram Karimi Dreamscape II, 2016 Mixed media on canvas with video projection 50 x 89 in

      Shoja Azari and Shahram Karimi
      Dreamscape II, 2016
      Mixed media on canvas with video projection
      50 x 89 in

    • Shoja Azari and Karimi Dreamscape III, 2016 Mixed media on canvas with video projection 50 x 89 in

      Shoja Azari and Karimi
      Dreamscape III, 2016
      Mixed media on canvas with video projection
      50 x 89 in

  • Overview
    Shoja Azari and Karimi Dreamscape III, 2016 Mixed media on canvas with video projection 50 x 89 in

    Shoja Azari and Karimi
    Dreamscape III, 2016
    Mixed media on canvas with video projection
    50 x 89 in

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  • News
    • Two faces of the natural world

      Two faces of the natural world

      August 18, 2016 Read more
  • press-release

    Leila Heller Gallery is pleased to present a selection of work from the recent exhibition at Leila Heller Gallery New York, a collaboration of filmmaker Shoja Azari and painter Shahram Karimi, on view from June 22 to September 1, 2016. The Cold Earth Sleeps Below features three of the artists’ unique, hallmark video-paintings, portraying and exploring humanity’s relation to the natural landscape. The exhibition takes its title from the work of English poet Percy Shelley; the artists seek to revisit, in their own words, the contemporary relevance of “the paradoxical notion of beauty and the sublime that the Romantics fought to free from the clutch of utilitarian materialism, egoism, and the rational mind of the 18th century”.

     

    Beauty betrays; yet its seduction remains as compelling as its deception. In the hypnotic, shimmering collaborations between Shoja Azari and Shahram Karimi, a deep suspicion of the beautiful reveals disaster below the surface of the idyllic: a terrible sublime. For each composition, the painted canvas, layered with elements of relief texture and written text, mirrors the video image; according to the artists, their cooperative “artistic intervention attempts at thwarting or enhancing the perception of the neglected.”

     

    For Azari and Karimi, however, as for Shelley, the beautiful is not a placid or comforting manifestation of equilibrium, symmetry, or harmony, but a violent, visceral experience of awe, even terror. As the artists state: “With the continuing arrogance, objectification, and destruction of nature since the Industrial Revolution, we believe that man might have arrived at a point of no return. Nature is rebelling and with it is unleashing its great powers of awe and terror. The future of our species, and that of others, is unknown.” The beautiful here is not serene, but sublime. 

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