Annabel Daou’s narrative proclivities find expression in a fragmented language communicated through wire, resin, repair tape, etc that form empty vessels. Hers is the manufacture of relics of today’s elusive culture.
She was reading a book about the black island written in 1964, when a tiny fly landed on the yellowed page. She meant to brush it away but its speck of a body got caught under her fingers, and when she moved her hand all that was left of the ephemeral creature was a faint, powdery, dark gray trace along the edge of the page—life itself.
What is left behind when a culture falls? Broken and empty containers. Like the jars found in museums, remnants of the many previous generations, the bottles and plastic bags that litter our streets and shores will one day document our passage through time.
This exhibition presents a new group of works dealing with surfaces and skeletal structures—preliminary and preparatory materials as residue.
Crude constructions occupy a space they can’t quite hold. Pieces of drywall are marked and sanded, primed, painted, and perforated. Empty jars constructed out of wire and resin barely contain a few words. Sheets of gridded sandpaper sewn together with silk thread are the ground for a drawing made with wall paint and watercolor. Capital Vices are our origin and our end.
What is this struggle to hold what is always fleeting or erasing itself?
Annabel Daou was born in Beirut, Lebanon and currently lives and works in New York, NY. Recent solo exhibitions include: Gallerie Tanja Wagner, Berlin (2018); Chou Hayda? audio project, Beirut Museum of Art (2017); Fortune, Leila Heller Gallery and 53 Orchard Street, New York (2017); I don’t care about your body, Galerie Tanja Wagner, Berlin (2016); Acts of Sedition, WhiteBox, New York (2016); Stages of Trust, Galerie Zimmerman Kratochwill, Graz (2016); White Cube…Literally. On Form and Convention of Display, Gallery Isabelle van den Eynde, Dubai (2016); a million times, Albertz Benda, New York (2015); your secret is safe with me, Galerie Tanja Wagner, Berlin (2014). Recent group exhibitions include: What We Call Love, Irish Museum of Modern Art, Dublin (2015); Territoire d’Affects, Beirut Exhibition Center, Beirut (2015); Art=Text=Art: Private Languages/Public Systems, UB Anderson Gallery, The University at Buffalo, New York (2014), Marking Language, The Drawing Room, London (2013) Art=Text=Art, The Hafnarfjordur Centre of Culture and Fine Art, Iceland (2013).