Monologist (Study for 2014), 2014
Pain (Study for 2018), 2018
Sideways (Study for 2018), 2018
Market (Study for 2018), 2018
Comrade (Study for 2018), 2018
Iman Issa presents a small portion from Lexicon, an extensive series in her oeuvre. Each item in Lexicon is a study for which Issa has made a contemporary remake of an existing work of visual art from the 20th century. A text describes the original work of art without showing an image of it and the object that is placed next to the text is a remake of the work by Issa herself. As an artist, Issa is very aware that each work of art has been influenced by the specific moment in time it was made in, as well as the society it was produced in. Not only is the form influenced by a coming and going of styles, the meaning of certain words also changes over time as social developments take place, and circumstances in society change.
In Lexicon, Issa tries to find the essential, timeless information of the works; the feeling it tries to convey considering the specific Zeitgeist. She strips the works off the distractive material and the embellishments, and she aims to make new forms that communicate her interpretation of what the titles might have referred to at that moment in time. Her reflections about forms and their impossibility to stay up to date extend to monuments in public space. While we tend to have a firm belief that monuments and what they convey are closely linked together, meaning and form impossible to separate, there is little attention for the fact that the society around monuments constantly changes. As markers of a certain moment and spirit, it is a logical consequence that monuments change in relevance and meaning, while their shape remains unchanged.
Iman Issa recently had solo exhibitions at Spike Island, Bristol, United Kingdom (2018), the Bielefelder Kunstverein, Bielefeld, Germany (2017) and MACBA, Barcelona, Spain (2015). She has also participated in group exhibitions including Stories of Almost Everyone, Hammer Museum, Los Angeles, United States (2018), Tamawuj, Sharjah Biennial, Sharjah, United Arab Emirates (2017), Extra Citizen, Extra City, Antwerp (2017) and won the 2017 National Gallery Prize in Berlin, Germany (2017). In 2017 she received the Vilcek Prize for Creative Promise.
Galerie Welnis, tourism office Oostduinkerke-bad, Astridplein 6, Oostduinkerke
Opening hours: every day from 13.30 h. - 17.00 h. In holidays and long weekends open extra from 10.00 h. - 12.00 h.
- Tram stop: Oostduinkerke Bad
- Cycling node: 88
- Walking node: 65 (Koksijde)