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| Miniguides | Laden Sie das Ausstellungsheft herunter und erfahren Sie mehr |
| Curators | Bettina Steinbrügge, mit Sarah Beaumont, Clément Minighetti und Joel Valabrega |
| With the support of | Banque Degroof Petercam Luxembourg |
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| Dokumente |
Rayyane Tabet. Trilogy
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Introducing A Model, Rayyane Tabet (b. 1983, Ashqout, Lebanon) was invited to conceive a site-specific project for the Henry J. and Erna D. Leir Pavilion. An architect by training, the artist attaches great importance to the context in which his projects are embedded. His installations consider the historical framework of the architecture of the museum, revealing its particularities alongside its contradictions.
Tabet’s body of work builds upon the analysis of sociocultural contexts, combining historical and subjective memory to offer an alternative reading to the official narrative of his object of study and open it up to new meanings. For the pavilion, the artist devised Trilogy, an installation that unfolds around pivotal moments of contemporary and Luxembourg history in dialogue with his personal memory.
This installation includes Sanatorium Paimio (bedroom furniture), a central work of the Mudam Collection conceived by architect Alvar Aalto between 1930 and 1933. Emblematic of functionalist research and humanist thinking, Aalto designed the bedroom furniture to contribute to well- being and recovery.
Transforming the pavilion’s walkway, Tabet installs translucent curtains originating from his grandparents’ 1950s apartment in Beirut. The artist highlights the signature architectural style of its architect Ieoh Ming Pei, characterised by glass-paned surfaces, as symbolic of openness and an era marked by progress and prosperity by inserting personal memory into Mudam’s building. In contrast, the pavilion’s glass roof panels are covered with a blue film in reference to the camouflage techniques used by residents of Beirut during the 1967 Six-Day War. Rendering Mudam’s interior invisible from above, the artist sets Sanatorium Paimio (bedroom furniture) in an infinite twilight.
Lastly, in the lower floor of the pavilion the artist references the 2020 Beirut explosion, exhibiting a series of jugs made from glass fragments retrieved onsite following the blast, envisioning a symbolic repair.
Der Künstler
Rayyane Tabet (1983, Ashqout, Libanon) hatte Einzelausstellungen im Walker Art Center, Minneapolis (2021), der Sharjah Art Foundation (2021), Storefront for Art and Architecture, New York (2020), Parasol Unit Foundation of Contemporary Art, London (2019), The Metropolitan Museum of Art, New York (2019), Musée du Louvre, Paris (2019), Carré d’Art – Musée d’Art Contemporain, Nîmes (2018) und im Kunstverein Hamburg (2017). Er hat an zahlreichen internationalen Gruppenausstellungen teilgenommen, darunter In the Heart of Another Country: The Diasporic Imagination Rises bei der Sharjah Art Foundation in Sharjah, UAE (2023), Machinations im Museo Nacional Centro de Arte Reina Sofía in Madrid, Spanien, die Whitney Biennale (2022), die 7. Yokohama Triennale (2020), die 2. Lahore Biennale (2020), die 21. Sydney Biennale (2018), Manifesta 12 (2018), die 15. Istanbul Biennale (2017), die 32. São Paolo Biennale (2016) und die 10. und 12. Sharjah Biennale (2011, 2015). Rayyane Tabet lebt und arbeitet in Beirut und San Francisco.
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