Alessandro Balteo-Yazbeck,UNstabile-Mobile, from the series Modern Entanglements, U.S. Interventions, 2006 Installation detail at Met Breuer, New York. Photo: Amy Rosenblum-Martín
Bringing together 17 artists and collectives from the region and beyond, Crude explores oil as an agent of social, cultural and economic transformation across the Middle East and North Africa, as well as a driver of geo-political upheaval. Oil has been a trigger for misguided colonial adventures, wars and coups; a catalyst for nation building, modernisation and development; and a cause of terrible ecological disasters. Oil, and its attendant industries and economies, has produced a spectrum of representations—architectures and infrastructures, documents and records, plans and photographs, and image and artifacts—that bring alive these complex histories. Much of the historical material lies buried in various national, corporate and media archives.
This exhibition features the works of contemporary artists that engage with the oil industry’s murky archives and histories, narrating an alternate and episodic material history of modernity in [...]
Alessandro Balteo-Yazbeck & Media Farzin, R.S.V.P, 1939 (C-print version). From the series Cultural Diplomacy: An Art We Neglect, 2007-2009
For the last fifty years, artists have explored the hidden operations of power and the symbiotic suspicion between the government and its citizens that haunts Western democracies. Everything Is Connected: Art and Conspiracy will be the first major exhibition to tackle this perennially provocative topic. It will trace the simultaneous development of two kinds of art about conspiracy.
The first half of the exhibition will comprise works by artists who hew strictly to the public record, uncovering hidden webs of deceit—from the shell corporations of a New York slumlord to vast, interconnected networks encompassing politicians, businessmen, and arms dealers. In the second part, other artists will dive headlong into the fever dreams of the disaffected, creating fantastical works that nevertheless uncover uncomfortable truths in an age of information overload and weakened trust in institutions.
Featuring seventy works by thirty artists in media ranging from [...]
Alessandro Balteo-Yazbeck, Corrupted file from page 14, [v1], 2006-2008
Featuring artists from twelve different countries, this exhibition presents a wide range of creative responses to photography as an artistic medium and a communicative tool uniquely suited to modern media landscapes and globalized economies. The artists in this exhibition resist the impulse to “document” or “photograph anew” the world immediately around them. Instead, they employ a wide range of materials – from prints and drawings to photocopies and audio installations – to highlight the ways in which photography shapes our understanding of history as well as current events.
This text is a tool, but we should never focus on its role as a tool. That would make it too obvious, even for a press release.
Here comes the spin phrase, for pride and continuity: Green Art Gallery is proud to announce its second solo show of Venezuelan-Italian-Lebanese-artist Alessandro Balteo-Yazbeck in Dubai. You’ll need to know that he is based in Berlin, commandeering a career: it amplifies the international dimension of his opportunistically framed multi-cultural identity.
This text has a voice beyond the gallery. It is a higher voice, one of greater authority. It does not matter that the gallery commissioned an equally multi-cultural, globetrotting polyglot writer to craft the text. When it is activated, uploaded, printed, distributed, a weighty power grips it. You, the reader, will look to it for explanation, for enlightenment. This text unlocks the artwork’s meaning, even if you never make it to the inner sanctum of the gallery’s white [...]