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Curated by Montserrat Albores Gleason",2014,19,"cmci2uwja0032p6wmx7i52bmn",[900],{"_9":310,"_11":901,"_13":902,"_17":313,"_24":314},["D",1751226190379],["D",1751226190379],[904],{"_9":877,"_11":905,"_13":906,"_17":31,"_24":31},["D",1751226190379],["D",1751226190379],[908],{"_9":78,"_11":909,"_13":910,"_17":31,"_24":31},["D",1751226190341],["D",1751226190341],[],{"_9":898,"_11":913,"_13":914,"_17":915,"_24":916},["D",1751226190379],["D",1751226190379],"Hessel-Museum-of-Art-Bard-College","Hessel Museum of Art, Bard College",[],{"_9":864,"_11":919,"_13":920,"_633":720,"_15":921,"_635":636,"_637":-5,"_638":864,"_640":-5,"_641":922,"_643":-5,"_644":-5,"_645":-5,"_646":923,"_41":42,"_43":-5,"_648":924,"_653":928,"_661":932,"_54":936,"_667":937,"_673":942},["D",1751226190379],["D",1751226190379],"Robert Smithson's Hotel Palenque introduced by Ann Reynolds",17,"cmci2uwjc0036p6wmzpcvn0hk",[925],{"_9":316,"_11":926,"_13":927,"_17":319,"_24":320},["D",1751226190379],["D",1751226190379],[929],{"_9":877,"_11":930,"_13":931,"_17":31,"_24":31},["D",1751226190379],["D",1751226190379],[933],{"_9":78,"_11":934,"_13":935,"_17":31,"_24":31},["D",1751226190341],["D",1751226190341],[],{"_9":923,"_11":938,"_13":939,"_17":940,"_24":941},["D",1751226190379],["D",1751226190379],"Light-Industry-361-Stagg-Street-Suite-407-Brooklyn","Light Industry, 361 Stagg Street, Suite 407, Brooklyn",[],{"_9":676,"_11":944,"_13":945,"_15":946,"_41":42,"_43":-5,"_44":947,"_52":951,"_54":952,"_56":953,"_58":984},["D",1751226190343],["D",1751226190343],"21.3",[948],{"_9":88,"_11":949,"_13":950,"_17":91,"_24":92},["D",1751226190343],["D",1751226190343],[],[],[954,960,966,970,976],{"_9":955,"_11":956,"_13":957,"_41":42,"_735":736,"_737":958,"_15":-5,"_739":959,"_741":-5,"_742":-5,"_743":-5,"_6":-5,"_43":31},"cmci2uwk20052p6wmbhqcvcfl",["D",1751226190379],["D",1751226190379],"https://artlyst.com/news/robert-morris-pioneer-minimalism-dies-age-87/",["D",1543554000000],{"_9":961,"_11":962,"_13":963,"_41":42,"_735":736,"_737":964,"_15":-5,"_739":965,"_741":-5,"_742":-5,"_743":-5,"_6":-5,"_43":31},"cmci2uwk6005cp6wma7d3nnw3",["D",1751226190380],["D",1751226190380],"https://1995-2015.undo.net/it/evento/74384",["D",1216872000000],{"_9":967,"_11":968,"_13":969,"_41":42,"_735":736,"_737":31,"_15":-5,"_739":-5,"_741":-5,"_742":-5,"_743":-5,"_6":-5,"_43":31},"cmci2uwk7005ep6wm3gsmsjzz",["D",1751226190380],["D",1751226190380],{"_9":971,"_11":972,"_13":973,"_41":42,"_735":736,"_737":974,"_15":-5,"_739":975,"_741":-5,"_742":-5,"_743":-5,"_6":-5,"_43":31},"cmci2uwk9005ip6wmr7nmw94r",["D",1751226190380],["D",1751226190380],"https://ia800706.us.archive.org/16/items/robertm00morr/robertm00morr.pdf",["D",1994],{"_9":977,"_11":978,"_13":979,"_41":42,"_735":736,"_737":565,"_15":980,"_739":981,"_741":-5,"_742":-5,"_743":-5,"_6":982,"_43":983},"cmci2uwks006op6wm4ml5nvou",["D",1751226190380],["D",1751226190380],"The Mind/Body Problem",["D",1994],"160","In February 1964. Morris performed 21.3 (no. 57) before a small audience at the Surplus Dance Theater in New York. Clad in a neat gray suit and tie, he stood behind a podium, masquerading as an art historian for twenty minutes, as he lip-synched his own reading of the opening of Erwin Panofsky's well-known essay \"Iconography and Iconology.\" But if Panofsky approaches the question of \"meaning\" in the visual arts by means of a careful separation of layers of visual information, moving from brutishly nonsignifying visual shape through stages of conventional gesture, and from there to the illustration of ideas to be found in cultural texts, Morris's performance was intended as a subversion of the very notion of this logic. As happens when a single word is repeated until nothing remains but a shell of pure sound, 21.3 produces the effect of form engulfing meaning, thereby closing off the very distinction between form and content on which Panofsky's demonstration had depended. –",[985],{"_9":986,"_11":987,"_13":988,"_633":676,"_15":946,"_635":989,"_637":-5,"_638":615,"_640":-5,"_641":615,"_643":-5,"_644":-5,"_645":-5,"_646":990,"_41":42,"_43":-5,"_648":991,"_653":995,"_661":999,"_54":1003,"_667":1004,"_673":1009},24,["D",1751226190380],["D",1751226190380],1964,"cmci2uwkt006tp6wmmwp8g8p3",[992],{"_9":567,"_11":993,"_13":994,"_17":570,"_24":571},["D",1751226190380],["D",1751226190380],[996],{"_9":877,"_11":997,"_13":998,"_17":31,"_24":31},["D",1751226190379],["D",1751226190379],[1000],{"_9":88,"_11":1001,"_13":1002,"_17":91,"_24":92},["D",1751226190343],["D",1751226190343],[],{"_9":990,"_11":1005,"_13":1006,"_17":1007,"_24":1008},["D",1751226190380],["D",1751226190380],"Surplus-Theatre-New-York","Surplus Theatre New York",[],{"_9":823,"_11":1011,"_13":1012,"_15":1013,"_41":42,"_43":-5,"_44":1014,"_52":1018,"_54":1019,"_56":1020,"_58":1058},["D",1751226190345],["D",1751226190345],"Read me that part a-gain, where I disin-herit everybody",[1015],{"_9":100,"_11":1016,"_13":1017,"_17":103,"_24":104},["D",1751226190345],["D",1751226190345],[],[],[1021,1027,1033,1039,1046,1052],{"_9":1022,"_11":1023,"_13":1024,"_41":42,"_735":736,"_737":1025,"_15":-5,"_739":1026,"_741":-5,"_742":-5,"_743":-5,"_6":-5,"_43":31},"cmci2uwk8005gp6wmisaic8ai",["D",1751226190380],["D",1751226190380],"https://www.bkmag.com/2014/10/16/crossing-brooklyn-gordon-hall-read-me-that-part-a-gain-where-i-disin-herit-everybody/",["D",1413432000000],{"_9":1028,"_11":1029,"_13":1030,"_41":42,"_735":736,"_737":1031,"_15":-5,"_739":1032,"_741":-5,"_742":-5,"_743":-5,"_6":-5,"_43":31},"cmci2uwka005kp6wmytu14mqp",["D",1751226190380],["D",1751226190380],"https://outland.art/performing-lectures/",["D",1713240000000],{"_9":1034,"_11":1035,"_13":1036,"_41":42,"_735":736,"_737":1037,"_15":-5,"_739":1038,"_741":-5,"_742":-5,"_743":-5,"_6":-5,"_43":31},"cmci2uwkb005mp6wmt2dl42no",["D",1751226190380],["D",1751226190380],"https://www.wnyc.org/story/art-made-brooklyn/",["D",1412481600000],{"_9":1040,"_11":1041,"_13":1042,"_41":42,"_735":736,"_737":1043,"_15":-5,"_739":1044,"_741":-5,"_742":-5,"_743":-5,"_6":-5,"_43":1045},"cmci2uwkd005sp6wmidgo9bhf",["D",1751226190380],["D",1751226190380],"https://drive.google.com/file/d/1HclSPOXMAgrd_Xt5BilImObf0c2k0BCi/view",["D",2019],"could be asset",{"_9":1047,"_11":1048,"_13":1049,"_41":42,"_735":736,"_737":1050,"_15":-5,"_739":1051,"_741":-5,"_742":-5,"_743":-5,"_6":-5,"_43":31},"cmci2uwkh0061p6wmnbylno9s",["D",1751226190380],["D",1751226190380],"https://doi.org/10.1017/S1054204322000314",["D",1662004800000],{"_9":1053,"_11":1054,"_13":1055,"_41":42,"_735":31,"_737":1056,"_15":-5,"_739":-5,"_741":-5,"_742":-5,"_743":-5,"_6":-5,"_43":1057},"cmci2uwkr006np6wmjr6ckl9c",["D",1751226190380],["D",1751226190380],"https://empac.rpi.edu/program/curatorial/residencies/2013/read-me-part-gain-where-i-disin-herit-everybody","Hall worked in residence at EMPAC conducting research on the history of lecture-performances, from the tradition of the soapbox lecture to the relationship between contemporary artists Robert Morris and Simone Forti. The culmination of Hall’s research was a presentation that used sculptural objects, sound, and projected image, titled “Read me that part a-gain, where I disinherit everybody” after a line from composer John Cage’s 1959 Lecture on Nothing. Hall’s lecture-performance offered a succinct history of the form.",[1059,1097],{"_9":37,"_11":1060,"_13":1061,"_633":823,"_15":1062,"_635":896,"_637":-5,"_638":676,"_640":-5,"_641":615,"_643":-5,"_644":-5,"_645":-5,"_646":1063,"_41":42,"_43":-5,"_648":1064,"_653":1068,"_661":1086,"_54":1090,"_667":1091,"_673":1096},["D",1751226190379],["D",1751226190379],"Read me that part a-gain, where I disin-herit everyboy","cmci2uwjo0045p6wm7j92j9t6",[1065],{"_9":367,"_11":1066,"_13":1067,"_17":370,"_24":370},["D",1751226190379],["D",1751226190379],[1069,1074,1080],{"_9":1070,"_11":1071,"_13":1072,"_17":1073,"_24":1073},"cmci2uwjn0042p6wmebs00y5v",["D",1751226190379],["D",1751226190379],"Wood",{"_9":1075,"_11":1076,"_13":1077,"_17":1078,"_24":1079},"cmci2uwjn0043p6wmc8gd4q45",["D",1751226190379],["D",1751226190379],"paint"," paint",{"_9":1081,"_11":1082,"_13":1083,"_17":1084,"_24":1085},"cmci2uwjo0044p6wmmr0z09c6",["D",1751226190379],["D",1751226190379],"and-performance-lecture-with-projected-images-and-colored-light."," and performance-lecture with projected images and colored light.",[1087],{"_9":100,"_11":1088,"_13":1089,"_17":103,"_24":104},["D",1751226190345],["D",1751226190345],[],{"_9":1063,"_11":1092,"_13":1093,"_17":1094,"_24":1095},["D",1751226190379],["D",1751226190379],"EMPAC-On-the-corner-of-8th-Street-and-College-Avenue-Troy-NY-12180","EMPAC, On the corner of 8th Street and\nCollege Avenue / Troy, NY 12180",[],{"_9":922,"_11":1098,"_13":1099,"_633":823,"_15":1100,"_635":896,"_637":-5,"_638":642,"_640":-5,"_641":37,"_643":-5,"_644":-5,"_645":-5,"_646":1101,"_41":42,"_43":-5,"_648":1102,"_653":1106,"_661":1125,"_54":1129,"_667":1130,"_673":1135},["D",1751226190379],["D",1751226190379],"Gordon Hall: “Read me that part a-gain, where I disin-herit everybody” in conjunction with the exhibition Crossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond","cmci2uwjw004sp6wm6tyscoli",[1103],{"_9":400,"_11":1104,"_13":1105,"_17":403,"_24":404},["D",1751226190379],["D",1751226190379],[1107,1110,1113,1119],{"_9":1070,"_11":1108,"_13":1109,"_17":1073,"_24":1073},["D",1751226190379],["D",1751226190379],{"_9":1075,"_11":1111,"_13":1112,"_17":1078,"_24":1079},["D",1751226190379],["D",1751226190379],{"_9":1114,"_11":1115,"_13":1116,"_17":1117,"_24":1118},"cmci2uwjw004qp6wmt8saby4e",["D",1751226190379],["D",1751226190379],"and-performance-lecture-with-projected-images-and-colored-light"," and performance-lecture with projected images and colored light",{"_9":1120,"_11":1121,"_13":1122,"_17":1123,"_24":1124},"cmci2uwjw004rp6wmlvms4vzl",["D",1751226190379],["D",1751226190379],"dimensions-variable."," dimensions variable.",[1126],{"_9":100,"_11":1127,"_13":1128,"_17":103,"_24":104},["D",1751226190345],["D",1751226190345],[],{"_9":1101,"_11":1131,"_13":1132,"_17":1133,"_24":1134},["D",1751226190379],["D",1751226190379],"Iris-and-B.-Gerald-Cantor-Gallery-5th-Floor-Brooklyn-Museum","Iris and B. 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Moving through the fifth section of the installation of the same name, he frantically points to details in “Appendix XVIII: Plates 22–257,” a work composed of 54 framed images, many of them monochromatic, occupying the greater portion of one of the massive walls in MoMA’s atrium. As Raad darts from image to image, his voice grows breathless and troubled. 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\"Contra Diction: Speech Against Itself is a live audio essay employing a series of sonic manipulations and pre-recorded samples to explore the concept and practice of Taqiya. This is a form of communication and political practice forged at remote altitudes, at the fringes of failed states, in buffer zones and on ceasefire lines. Focusing on the stories of alleged mass conversions of the Druze minority in northern Syria by Wahhabi groups Abu Hamdan investigates how such minor speech acts can help us re-appraise the precision of speaking, the multiple ways of remaining silent and the inherently unfaithful nature of ones voice.

Contra Diction (speech against itself) (2015) realises the performance as a two channel video installation in which one of the screens is a teleprompter, the speech apparatus from which the political lie often originates, and formally as a video playback device it symbolizes both duplicity and transparency. Wissam (2016) is a model of a vernacular technique that uses obsolete audio-cassette tape to ward off the birds and stop them eating fruit on the trees. Wissam is both a character in Abu Hamdan’s performance and a diagram for the concept of taqiyya.\" (Maureen Paley, 2016).

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\"The works of Lawrence Abu Hamdan (*1985 in Amman/JOR, lives and works in London and Beirut) often explore the contemporary politics of listening and have taken the form of audiovisual installations, performances, graphic works, photography, islamic sermons, cassette tape compositions, texts, forensic audio analysis, advocacy, expert testimony, and most recently potato chip packets.

In his largest solo exhibition so far «ﮫﯿﻘﺗ (Taqiyya) – The Right to Duplicity» at Kunst Halle Sankt Gallen, Lawrence Abu Hamdan examines the voice as a fundamental political instrument, the ways in which it constitutes truth and the place of lying in todays all hearing all speaking world. A new two channel video installation Contra Diction (Speech Against Itself) becomes the centre piece of this show and uses the theological, legal, linguistic and philosophical concept of Taqiyya as the thread that ties together the diverse range of works presented here. Taqiyya is an obscure component of Islamic jurisprudence practised by esoteric Islamic minorities and particularly by the religious community of the Druze in Palestine, Syria and Israel. The principle of Taqiyya, which is approximately comparable to the western concept of diplomatic immunity, allows members of a community to deny their faith or even to commit other illegal acts while subject to persecution or statelessness. Statements made under Taqiyya find themselves within and outside the law at the same time. Between truth and falsehood Taqiyya thus installs itself as the legal principle that allows to inhabit those spaces inbetween.

Abu Hamdan’s work shown in his St. Gallen exhibition incorporates a wider range of strategies to lay bare the fact, that although freedom of speech may persist, the conventions of listening have certainly shifted. The all-hearing state apparatus, which forms the basis of Abu Hamdan’s deliberations, promotes a policy of total transparency which perceives secrecy as the greatest threat to democracy. While radical freedom of speech has come to be a guarantee of a just society, individuals seem to be permanently urged to confess themselves and to bear witness. Between the right to speak and claim for silence Abu Hamdan examines a policy of audibility which increasingly demands new concepts of speech.

Lawrence Abu Hamdan unfolds the underlying concept of Taqiyya in a variety of contexts and aesthetic practises whether through the work Conflicted Phonemes (2012) – a cartography of accents that exposes the practices of asylum policies, that rely on the enunciation of a single syllable as proof of origin and citizenship – or by exhibiting a private collection of dissimulating colonial paintings in his installation Double-Take: Officer Leader of the Chasseurs Syrian Revolution Commanding a Charge (2014). Abu Hamdan seeks to disclose the inherently unfaithful nature of testimony and the impossibility of Western truth production.

Duplicity is the motif Lawrence Abu Hamdan brings us to see and hear in multifaceted ways between documentary and staging, between traditional speech acts and the most recent voice analysis technologies. In terms of Taqiyya he opens up a new understanding of speech, of the unfaithful nature of the voice and its relationship to truth – and in the process questions the fundamental conditions under which we speak, lie or remain silent.\"

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Maureen Paley is pleased to announce a solo project by Lawrence Abu Hamdan that will include the presentation of the live audio visual essay Contra Diction: Speech Against Itself on the opening evening. A new work in the series Wissam will be on view in the downstairs gallery. Following the performance the two channel video installation Contra Diction (speech against itself) (2015) will be shown in the upstairs gallery.

Lawrence Abu Hamdan is an artist and ‘private ear’ whose projects have taken the form of audiovisual installations, performances, graphic works, photography, Islamic sermons, cassette tape compositions, essays, and lectures. Abu Hamdan’s interest in sound and its intersection with politics originate from his background in DIY music. He is currently a fellow at the Vera List Center for Art and Politics at the New School, NYC. In 2013 Abu Hamdan’s audio documentary The Freedom of Speech Itself was submitted as evidence at the UK asylum tribunal where the artist himself was called to testify as an expert witness. He continues to make sonic analyses for legal investigations and advocacy – most recently his work was prominently part the No More Forgotten Lives campaign for Defence for Children International. The artist’s forensic audio investigations are conducted as part of his research for Forensic Architecture at Goldsmiths College London where he is also a PhD candidate and associate lecturer.

Contra Diction: Speech Against Itself is a live audio essay employing a series of sonic manipulations and pre-recorded samples to explore the concept and practice of Taqiya. This is a form of communication and political practice forged at remote altitudes, at the fringes of failed states, in buffer zones and on ceasefire lines. Focusing on the stories of alleged mass conversions of the Druze minority in northern Syria by Wahhabi groups Abu Hamdan investigates how such minor speech acts can help us re-appraise the precision of speaking, the multiple ways of remaining silent and the inherently unfaithful nature of ones voice.

A new monograph [inaudible] a politics of listening in Four acts by Lawrence Abu Hamdan will be published by Portikus and Kunst Halle Sankt Gallen later in 2016 and comprises a series of transcripts of live speech from sermons, monologues, testimonies and interviews made during the course of the last five years.

Lawrence Abu Hamdan was born in 1985 in Anman, Jordan. He lives and works in Beirut, Lebanon.

Selected solo exhibitions include Earshot, Portikus, Frankfurt, 2016; تقيه (taqiyya), Kunsthalle St Gallen, 2015; Tape Echo, Beirut in Cairo and Van AbbeMuseum, Eindhoven, 2013; The Freedom Of Speech Itself, The Showroom, London and The Whole Truth, Casco, Utrecht, 2012. Additionally his works have been exhibited and performed in The New Museum Triennial, 2015; The Shanghai Biennial, 2014; The Whitechapel Gallery, London; MACBA Barcelona; Tate Modern London; M HKA Antwerp; The Beirut Art Center and The Taipei Biennial, all 2012. Abu Hamdan’s writing can be found in Forensis Sternberg Press, Manifesta Journal and Cabinet Magazine.

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Lecture on the Weather

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