Tammam Azzam
Daniel Canogar
Nick Dawes
Chunqing Huang
Tamara Kvesitadze
ART DUBAI 2022
BOOTH C - 14
For Art Dubai 2022, Galerie Kornfeld presents the works of Tammam Azzam , Nick Dawes, Daniel Canogar, Chunqing Huang and Tamara Kvesitadze. Bringing together the new media works of Spanish American artist Daniel Canogar alongside the color-field paintings of British artist Nick Dawes, the energetic compositions of painter's portraits by Chinese artist Chunqing Huang and the paper-collages of Syrian artist Tammam Azzam. A special work in Bronze is presented by Georgian artist Tamara Kvesitadze. The artists' work in a range of mediums exploring in their own practice themes of communication, assimilation and memory.
For Azzam this is a look at the memory of war as his fragmented compositions highlight the physical remnants of conflict and showcase the importance to rebuild and create from destruction. From Daniel Canogar we will present several projects on a LED screen including Shred (2021); Yield (2019); Loom (2018); Ripple (2016)- exploring themes such as real-time data of natural phenomenas, data streams as a representation of collective consciousness, and how data is consumed, processed and circulated online, amongst others. For Dawes, the initial colors disappear partially or completely behind subsequent layers of paint, producing a story that is told and untold at the same time, a reflection of the variety of human communication: how we tell our stories, and open up to one another – only to leave behind some hints of the things left unsaid or still to tell. In the poetic work of Tamara Kvesitadze we see man confronted with his future and his past, moving in one direction as life takes him on another journey.
Tammam Azzam (*1980, Damascus, Syria) received his artistic training from the Faculty of Fine Arts at the University of Damascus. He was a fellow at Hanse-Wissenschaftskolleg, Institute for Advanced Study, in Delmenhorst in 2016 and has been living in Berlin since 2018. Over the years Azzam’s practice has encompassed painting, paper collage and digital works all of which grapple with the conflict of his homeland.
Nick Dawes (*1969, Johannesburg, South Africa) strives for a new quality of painterly abstraction within his colourfield canvases. His ability to control complex tonal arrangements and the juxtaposition of irregular shapes is what gives his works their unique and striking appeal. The unified flatness of his paintings, while remaining flat, also contrive to present us with various possibilities of distance - of nearness and of farness.
Daniel Canogar's (*1964, Madrid, Spain) life and career have bridged between Spain and the United States Photography was his earliest medium of choice, receiving a M.A. (1990) from NYU at the International Center of Photography, but soon became interested in the possibilities of the projected image and installation art.
Tamara Kvesitadze (* 1968,Tbilisi, Georgia) creates work rooted as much in ancient culture and mythology as in surrealism. In her work violence and sexuality converge; faces, masks and fragmented bodies symbolize the inner turmoil of the modern individual, its feelings, its pursuit of happiness and fulfilment, its fears and hopes. Kvesitadze follows a deep emotional current within all her sculptures and installations.
Chunqing Huang (*1974, Heze, China) has been producing portraits of painters on 40 x 30 cm canvases since 2016. Her distant view of Western art, being born in 1974 in Heze, China, lends to the power of her works. She studied at the Beijing Art Academy then in Städelschule with, Wolfgang Tillmans, Peter Angermann, and Hermann Nitsch, whose master student she was.
‘Dinamo’ by Daniel Canogar
Expo Dubai 2020
Spanish Pavillion
Daniel Canogar presents one of his most ambitious projects to date: Dinamo, a site-specific audiovisual project designed for the Spanish Pavilion, in Expo Dubai 2020, produced in collaboration with the music composer Francisco López.
The artwork, suspended in the atrium of the main pavilion and surrounded by a descendant and spiral alley, consists of three sculptural screens shaped like interlaced loops that feature generative audiovisual content through the interaction of the visitors and the railing along the ramp. The more contact the rail detects, the more dynamic and colorful the content of Dinamo’ screens will be. Similarly, the sound will be more intense when the interaction is higher. This way, the activation of the artwork is completely in the hands of the visitors. Aligned with the pavilion topic, “Connecting minds, building the future”, Dinamo exemplifies the collective as an alternate energy source for a sustainable future and puts in value the potential of community.
