Modern and contemporary art
The Sursock Museum’s collection of modern and contemporary art is comprised of works by predominantly Lebanese artists, from the late 1800s to the early 2000s. Primarily works on canvas and paper, the collection also comprises sculptures and mixed media works. Of particular note is our collection of Lebanese art from the first half of the twentieth century, including key modern Lebanese artists such as Shafic Abboud and Amine el Bacha.
The collection is closely linked to the history and evolution of the Salon d’Automne, as artworks were often acquired by the Museum following the Salon. As such, the collection’s scope and breadth give insights into Lebanese modern art. Major Lebanese artists featured in our collection include Shafic Abboud, Etel Adnan, Assadour, Daoud Corm, Paul Guiragossian, Jean Khalife, Hussein Madi, Jamil Molaeb, Omar Onsi, and Aref el Rayess.
Please note that the selection of images below is not a comprehensive selection of the Sursock Museum's modern and contemporary art collection. Our database is currently under construction, and we are working toward making it accessible online.http://www.sursock.museum/
The collection is closely linked to the history and evolution of the Salon d’Automne, as artworks were often acquired by the Museum following the Salon. As such, the collection’s scope and breadth give insights into Lebanese modern art. Major Lebanese artists featured in our collection include Shafic Abboud, Etel Adnan, Assadour, Daoud Corm, Paul Guiragossian, Jean Khalife, Hussein Madi, Jamil Molaeb, Omar Onsi, and Aref el Rayess.
Please note that the selection of images below is not a comprehensive selection of the Sursock Museum's modern and contemporary art collection. Our database is currently under construction, and we are working toward making it accessible online.http://www.sursock.museum/
Ali Cherri
Upcoming
Ali Cherri
A Taxonomy of Fallacies: The Life of Dead Objects
13 May, 2016 to 1 August, 2016
Twin Galleries, GF
- What stories do objects tell? How do ancient artefacts relate to contemporary cultures and value systems?
Using material gathered from archaeological digs, wildlife parks, and auction houses around the world, this new body of work by Ali Cherri raises important and timely questions regarding the value we place on historical artefacts, their complicity in fuelling conflict, and our complicity in their life and death.
Filmed in a wildlife park in the UAE desert, the video installation Petrified takes us on a journey tracing the life of archeological objects and their inscription into the discourse of value and authenticity.
The installation Fragments looks at the market value of history, assembling together artefacts, both real and fake, from auction houses in Paris. Here, historiography is reflected through the lens of our desire for material possessions.
The film The Digger will be screened regularly throughout the run of the exhibition. Shot in the Sharjah desert in the UAE, The Digger follows the everyday life of Sultan Zeib Khan, the Pakistani caretaker who has been guarding the ruins of a Neolithic necropolis for twenty years.
Ali Cherri (b. 1976 Beirut) is a visual artist working across film, installation, and print making. Recent exhibitions include But a Storm Is Blowing from Paradise, Guggenheim New York (2016), The Time is Out of Joint, Sharjah Art Foundation, UAE (2016), Desires and Necessities, MACBA, Spain (2015), Lest the Two Seas Meet, Warsaw Museum of Modern Art (2015), Mare Medi Terra, Es Baluard Museu d’Art Modern i Contemporani de Palma, Spain (2015), and Songs of Loss and Songs of Love, Gwangju Museum of Art, South Korea (2014).
Filmed in a wildlife park in the UAE desert, the video installation Petrified takes us on a journey tracing the life of archeological objects and their inscription into the discourse of value and authenticity.
The installation Fragments looks at the market value of history, assembling together artefacts, both real and fake, from auction houses in Paris. Here, historiography is reflected through the lens of our desire for material possessions.
The film The Digger will be screened regularly throughout the run of the exhibition. Shot in the Sharjah desert in the UAE, The Digger follows the everyday life of Sultan Zeib Khan, the Pakistani caretaker who has been guarding the ruins of a Neolithic necropolis for twenty years.
To mark the opening of his exhibition, A Taxonomy of Fallacies: The Life of Dead Objects, Ali Cherri will be in conversation with the Sursock Museum’s Head of Programs and Exhibitions Nora Razian on Thursday 12 May, from 19:00 to 20:00. The discussion will focus on Cherri’s new body of work investigating the relationship between the construction of historical narratives and the market-driven circulation of archeological artifacts.
Ali Cherri (b. 1976 Beirut) is a visual artist working across film, installation, and print making. Recent exhibitions include But a Storm Is Blowing from Paradise, Guggenheim New York (2016), The Time is Out of Joint, Sharjah Art Foundation, UAE (2016), Desires and Necessities, MACBA, Spain (2015), Lest the Two Seas Meet, Warsaw Museum of Modern Art (2015), Mare Medi Terra, Es Baluard Museu d’Art Modern i Contemporani de Palma, Spain (2015), and Songs of Loss and Songs of Love, Gwangju Museum of Art, South Korea (2014).
