exhibitions

current

22.jpg 15.11.2017 - 07.01.2018

Babi Badalov Kogda ya um.ru, ko mne dostupa ne budet

Babi Badalov was born in 1959 in Lerik, Azerbaijan. He has lived and worked in Paris since 2008. 
In the 1980s, he moved to Leningrad where he discovered an alternative Russian art scene. In 1990, he participated in the exhibition “New St. Petersburg artists” at gallery M┼▒csarnok (Budapest), and the following year he held his first solo exhibition in Oregon. Travelling and a migrant status in the United States of America and the United Kingdom became one of the themes of his artistic practice. 

Babi Badalov’s “Visual Poetry” was presented at 11th Gwangju biennial (2016), at the Moscow Biennial of Contemporary Art (2015), at Manifesta 8 (2010). His solo exhibitions include such projects as To Make Art To Take Clothes Off at MUSAC – museum cont. art Leon, Spain (2017), For the Wall For the World at Palais de Tokyo, Paris (2016), Partisanism at Tensta Konsthall, Stokholm (2016), MIGRANT POETRY at La Station, Nice, France (2015). His works are in the collections of the Russian Museum in Saint Petersburg (Russia), the Museum of Contemporary Art MuHKA in Antwerp (Belgium), the Zimmerli Art Museum (New Jersey, USA).
Using the individual method, Babi Badalov in his practice explores language as a medium and creates linguistic poetry built on visual, semantic and conceptual similarity.

Babi Badalov will create an in-situ work in mixed media technique and will also make an installation of the works on fabric made specifically for this project. The exposition will also introduce a series of collages made specifically for this exhibition. 

Azad Asifovich

*«When I die, there will be no access to me»
Important to notice that in russian language the dot between "um" and "ru" transformes the whole sense of the word "umru" - "I will die" into "um", which means "knowledge". ".ru" is a domain name for webpages hosted in Russia.


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Babi Badalov
Born 1959, Lerik, Azerbaijan, live in Paris

As a visual artist, poet he expresses his ideas through visual poetry, art objects, installations and live performances. He also experiments with words and writes obscure poetry, mixing languages and images of different cultures. Babi Badalov’s work often is dedicated to linguistic explorations researching the limits of language and the borders it imposes upon its users and based on his personal experience of linguistic inconveniences while travelling. In foreign countries, we often come across words written in the same alphabet as ours, but with different meaning, sound or pronunciation. His visual poetry often takes the form of a diary, created every day through a combination of his own linguistic research of manipulated pictorial material, mainly with political content. The nomad life of an artist (or traveler, migrant, refugee) does not only cause him or her a struggling adaptation period of cultural integration, but can primarily turn him or her into a prisoner of language. Badalov’s projects play with this kind of linguistic notions in order to emphasize larger geo-political questions.

past

15.12.2016 - 11.01.2017

Maria Arendt, Catherine Charreyre Ailleurs, nulle part

Artists not necessarily give just a comment on ongoing social and political changes or situations, how important all that may be or not. That is daily business for politicians, analysts, journalists, commentators, but these comments surround us day for day more and more make deaden our true human feelings. In away on the opposite is standing the artist being touched by what is going on in the world and reflecting it in his or her work. 
Art does not need catchy headlines, loud colors, vulgar depiction of misery to make us think, to touch us and to understand. Artistic means make us see and understand not only by our eyes, but with our hearts and souls.
This is what I was thinking when I first time got acquainted with the works of Catherine and Maria on the topic of migrants I was thinking exactly this and their work, as different these two artists are as perfectly these two group of works work together, not only in formal ways but because of their way to approach the topic of migration. 
Maria Arendt´s embroidered maps could be populated, they make the impression that something would happen now and the maps that normally would be expected to be from paper and have no personages find their counterpart in the work of Catherine Charreyre whose fabric shirts make the spectator feel the fragility of human being and especially the one who had to leave behind everything.
The whole exhibition is held in white, a color that stands for a lot and for different. It stands for innocence as it stands for immortality, respectively life and it also can stand for grief and so white is very interesting color to work on the topic the artists have chosen. 
With this exhibition we want to create a space without a point to focus, there should not be any fix-place and no direction, like the little people drawn onto glass plates. 
Gallery Iragui hosting this exhibition makes sense - I know the gallery as the one and only gallery specialized on graphic art in Russia, the for sure most international in Moscow, delicate and thoughtful, characteristics that give the artists of this exhibition the best possible environment to present their project. 

Simon Mraz

assistant to curator: Maria Pavlova

10.11.2016 - 10.12.2016

Olga Bozhko A different culture

 

Olga Bozhko's new project A different culture is a total installation created from a series of easel paintings, based on the mixture and interpenetration of two visual traditions – of  Central Asia and Western Europe. The unifying element here is carton door mats that will not allow to break the museum cleanliness of the gallery as a product of western democracy. Tracing the external manifestations of the labor migration process in post-Soviet countries, the artist by all means supports the popular post-colonial discourse but remains true to her own ascetical ban on direct (and thus so uninteresting) political statements. She also manages to move away from Orientalism, the main danger of politicized art practices within the framework of this rather difficult subject – and she does it expertly, literally at the last moment, being on the edge. In her works, Olga definitely shows how the carriers and actors of bright authentic visual environment have to adapt when they find themselves in a civilizationally different design spaces and objects, and what kind of chimeras are born out of these unions. The artist creates the museum works, appealing to the history of art and Russian avant-garde in her “Skullcap” and to boisterous design of metropolitan boulevards and squares in “Hydra”, and to patriotic poster surge in “Go, Russia!”, and to the Soviet visuality of landscape sculptures in “A girl with a shovel”. The video from “Cheburek forever” literally becomes the anthem of the exhibition, representing the different culture as the psychoanalytic Different dissolved in the environment, but this does not make it less frightening, which only indicates the psychological trauma of the those who are frightened. The saddest work of the exhibition is apocalyptic “Island”, a material that would look appropriate in the construction market or in the anthropological museum of the future.

 

download the invitation card
03.10.2016 - 14.10.2015

Nikita Alexeev Fishing and Bubbles Part I Philosophical Fishing

PHILOSOPHICAL FISHING
I spent several months in Montenegro (its national motto is “let the impossible be”), deep in the interior, squeezed between the mountains and the narrow Kotor Bay. Every day, giant cruise liners would arrive, and the tiny town of Kotor would fill up with thousands of tourists. Then these oceanic giants would sound out their deafening horns and carry the visitors off to distant realms. Kotor would be left deserted. 

I sat on the shore, gazing at the liners, at the sea, and thinking: according to the laws of probability, among the hordes arriving on The Euro Dam or The Princess of the Oceans, there were bound to be some who in terms of their intellectual abilities were on a par with Aristotle, Hegel and Wittgenstein. But I, sitting on the shore, didn't meet them, didn't get to know their thoughts; they boarded their vessels and, like the passengers of the “philosophers' ship”*, disappeared into the distance. I remained sitting on the shore. 

All I could do was try and fish out from the sea those thinkers whose illuminations I was at least to some extent familiar with. But what should you use to catch Aristotle, especially there, where they believe in the possibility of the impossible? Brick, maybe? Which bait is most likely to catch Husserl's attention? Is it not a piece of cheese?


Nikita Alexeev

06.09.2016 - 01.10.2016

Carlos Noronha Feio as you do on earth...

Galerie Iragui and narrative projects, London are pleased to announce first solo exhibition in Moscow by Carlos Noronha Feio (born 1981, Lisbon, lives and works in London). Noronha Feio has a diverse practice that includes actions, performance, video, drawing, painting, photography, rug works and multi media installation. He consumes, manipulates, juxtaposes and performs or re-sites media as research into cultural, local and global identity.