|
|
Walid Raad Biography
|
 |
 |
|
1967 |
|
Born in Chbanieh, Lebanon
|
|
1984 - 1985 |
|
Boston University
|
|
1985 - 1989 |
|
Rochester Institute of Technology, Undergraduate Education, Fine Arts (Photography), Rochester, NY
|
|
1993 |
|
University of Rochester, MA in Cultural and Visual Studies. Rochester, NY
|
|
1996 |
|
University of Rochester, Ph.D. in Cultural and Visual Studies. Rochester, NY
|
|
1997 |
|
Best Conceptual Innovation Award: New England Film and Video Festival, Boston, MA, USA
|
|
1998 |
|
Award of Accomplishment Experimental: Missouri Video Festival, St. Louis, MO, USA
|
|
1999 |
|
The Atlas Group was founded in New York, USA by Walid Raad as an imaginary foundation to research and document the contemporary history of Lebanon. The Atlas Group documents are organized and preserved in The Atlas Group Archive. The archive contains authored, found, and newly produced files.
|
|
1999 |
|
Award: 8th Biennial of the Moving Image, Switzerland (Grand Prize)
|
|
1999 |
|
Award: Beirut Film Festival, Beirut, Lebanon (Best Short Film and Best Scenario for a Short Film)
|
|
1999 |
|
Award: Black Maria Film and Video Festival, New Jersey (Director’s Citation)
|
|
2000 |
|
Award: San Francisco International Film Festival, SF, CA, USA (Certificate of Merit)
|
|
2000 |
|
5th Biennial of Arab Cinemas, Institut du Monde Arabe, Paris, France (Special Jury Prize)
|
|
2000 |
|
Award: Whitney Biennial, Whitney Museum of American Art, New York, USA
|
|
2000 |
|
Award: VideoEx, Zurich, Switzerland (First Prize)
|
|
2001 |
|
Award Video Ex, Zurich, Switzerland (First Prize)
|
|
2001 |
|
Oberhausen Film and VideoFest, Oberhausen, Germany (Rhineland Award)
|
|
2002 |
|
Award: Onion City Experimental Film and Video Festival (First Prize)
|
|
2002 |
|
Award: Vidarte 2002 Festival, Mexico City, Mexico (First Prize)
|
|
2002 |
|
Award: Oneiras Film and Video Festival, Lisboa, Portugal (First Prize)
|
|
2002 |
|
Media Arts Awards, ZKM, Karlsrhue, Germany (Special Prize)
|
|
2002 |
|
Award: Documenta 11, Kassel, Germany
|
|
2002 |
|
Award: Whitney Bienniale, Whitney Museum of American Art, New York, USA
|
|
2002 |
|
Black Maria Festival, 2002. (Juror Citation Award)
|
|
2006 |
|
Rencontres d’Arles, Lauréat d’Aide au projet (Help for a new project), Arles, France
|
|
2007 |
|
Award: Deutsche Börse Photography Prize (First Prize)
|
|
|
|
As a member of the Arab Image Foundation, Walid Raad has co-curated with Akram Zaatari the installation titled, “Mapping Sitting”.
|
|
|
|
Lives in Beirut and New York
|
|
|
| Selected Exhibitions |
|
|
|
2011
|
|
Kunsthalle Zürich, Switzerland (solo)
|
|
2011
|
|
10. Sharjah Biennial, United Arab Emirates
|
|
2011
|
|
The Luminous Interval: The D. Daskalopoulos Collection, Guggenheim Bilbao, Bilbao
|
|
2011
|
|
Antiphotojournalism, FOAM, Amsterdam
|
|
2010 - 2011
|
|
Miraculous Beginnings, Whitechapel Gallery, London; Bildmuseet, Umea; Kunsthalle, Zürich, Switzerland (solo)
|
|
2010 - 2011
|
|
Told-Retold-Untold, Qatar
|
|
2010
|
|
Zukunft der Tradition – Tradition der Zukunft, Haus der Kunst, Munich, Germany
|
|
2010
|
|
Festival d’Automne, Paris, France
|
|
2010
|
|
Camera Austria, Graz
|
|
2010
|
|
Walid Raad, Camera Austria, Austria (solo)
|
|
2010
|
|
Haunted: Contemporary Photography, Video, Performance, Guggenheim Bilbao, Bilbao
|
|
2010
|
|
Márgenes de Silencio, Foundation Helga de Alvear, Madrid
|
|
2010
|
|
Antiphotojournalism, La Virreina Centre de la Imatge, Barcelona
|
|
2010
|
|
Media City Seoul 2010 (The 6th Seoul International Media Art Biennale): Trust, Seoul Museum of Art, Seoul, South Korea
|
|
2010
|
|
Art of War, curated by Sean Donaher, CEPA Gallery, Buffalo, NY
|
|
2010
|
|
Pictures & Statues, Country Club, Cincinnati, OH
|
|
2010
|
|
Vernacular of Violence, curated by Lisa Kirk, Invisible-Exports, New York, NY
|
|
2010
|
|
Contemplating the Void: Interventions in the Guggenheim Museum (An Anniversary Benefit Exhibition), The Solomon R. Guggenheim Museum, New York, NY
|
|
2010
|
|
Sweet Talk: Commissions (Beirut), Camera Austria, Graz, Austria (solo)
|
|
2009
|
|
Scratching on Things I Could Disavow: A History of Art in the Arab World, Galerie Sfeir-Semler, Hamburg, Germany (solo)
|
|
2009
|
|
Scratching on Things I Could Disavow: A history of art in the Arab world _ Part I _Volume 1 _ Chapter 1:Beirut (1992-2005), Paula Cooper Gallery,New York, NY (solo)
|
|
2009
|
|
Scratching on Things I Could Disavow: A History of Modern and Contemporary Art in the Arab World, part 1 volume 1_chapter 1: Beirut (1992-2005), Spazio San Francesco, Italy (solo)
|
|
2009
|
|
Scratching on Things I Could Disavow: A History of Modern and Contemporary Art in the Arab World. REDCAT, Los Angeles, CA (solo)
|
|
2009
|
|
Taswir – Pictorial Mappings of Islam and Modernity, organized by the Berliner Festspiele, Martin Gropius Bau, Berlin, Germany
|
|
2009
|
|
International Festival for Arts and Media Yokohama, Shinko Pier Exhibition Hall and BankART Studio NYK, Yokohama, Japan
|
|
2009
|
|
Darkside II – Fotografische Macht und fotografierte Gewalt, Krankheit und Tod, Fotomuseum Winterthur, Winterthur, Switzerland
|
|
2009
|
|
Commentary, Paula Cooper Gallery, New York, NY
|
|
2009
|
|
Walid Raad, Scratching on Things I Could Disavow, 25 September – 31 October 2009 at Anthony Reynolds Gallery, London (solo)
|
|
2009
|
|
1_Chapter 1, Beirut 1992-2005, a project by Walid Raad, RedCat, Los Angeles (solo)
|
|
2009
|
|
The Atlas Group (1989- 2004). Un Proyecto de Walid Raad, Reina Sofia, Madrid (solo)
|
|
2009
|
|
Scratching on Things I Could Disavow, A History of Art in the Arab World,Part 1_Volume (solo)
|
|
2009
|
|
1_Chapter 1, Beirut 1992-2005, a project by Walid Raad, Fondazione Antonio Ratti, Como Walid Raad, Paula Cooper, New York (solo)
|
|
2007 - 2009
|
|
Brave New Worlds, Walker Art Center, Minneapolis, MN (solo)
|
|
2008
|
|
Heidelberg Kunstverein, Heidelberg (solo)
|
|
2008
|
|
List Art Center, Brown University, Providence, RI
|
|
2008
|
|
MFA, Houston, TX (solo)
|
|
2008
|
|
Archive Fever, International Center of Photography, New York, NY
|
|
2008
|
|
Quadrennial for Contemporary Art, Copenhagen
|
|
2008
|
|
Montpellier Festival, Montpellier
|
|
2008
|
|
A History of Modern and Contemporary Arab Art: Part I_Chapter 1: Beirut (1992-2005), Sfeir-Semler, Beirut (solo)
|
|
2008
|
|
Not Quite How I Remember It, Power Plant, Toronto
|
|
2008
|
|
Deadpan: Photography and History, James Gallery, CUNY Graduate Centre, New York
|
|
2008
|
|
Selected Works by Gallery Artists, Anthony Reynolds Gallery, London
|
|
2008
|
|
2Move: Irland, Belfast Exposed Photography and Solstice Art Centre, Belfast- Navan
|
|
2008
|
|
Curating Architecture, The Showroom, London
|
|
2007
|
|
Sfeir-Semler, Hamburg (solo)
|
|
2007
|
|
Sfeir-Semler, Beirut (solo)
|
|
2007
|
|
The Atlas Group (1989-2004), a project by Walid Raad, touring exhibition, Museo Tamayo Arte Contemporaneo, Mexico (solo)
|
|
2007
|
|
The Atlas Group (1989-2004), a project by Walid Raad, touring exhibition,Culturgest, Lisbon (solo)
|
|
2007
|
|
cross-Border:Photography and Video Art from the MUMOK Vienna, Kunstmuseum, Stuttgart (solo)
|
|
2007
|
|
Sfeir-Semler Gallery, Beirut (solo)
|
|
2007
|
|
In The Poem About Love You Don`t Write The World Love, Overgaden Institute of Contemporary Art, Copenhagen
|
|
2007
|
|
Deutsche Börse Photography Prize 2007 (The Atlas Group Project), touring exhibition, Photographers Gallery, London
|
|
2007
|
|
Deutsche Börse Photography Prize 2007 (The Atlas Group Project), touring exhibition, Deutsche Börse Group’s headquarters, Frankfurt
|
|
2007
|
|
Re-Thinking Beirut, aMAZE cultural lab, Milan
|
|
2007
|
|
6th Mercosur Biennial, (I Only Wish That I Could Weep), Porto Alegre, Brazil
|
|
2007
|
|
Deutsche Börse Photography Prize 2007 (The Atlas Group Project), touring exhibition, C/O Gallery, Berlin
|
|
2007
|
|
No place, Cheekwood Museum, Nashville, Tennessee
|
|
2007
|
|
(We Decided to Let Them Say “We Are Convinced” Twice. It Was More Convincing This Way.) A Project by Walid Raad, Paula Cooper Gallery, New York
|
|
2007
|
|
AfterShock – Conflict, Violence, and Resolution in Contemporary Art, touring exhibition, University of Hertfordshire Galleries, Hatfield
|
|
2007
|
|
The Screen eye or The New Image, Casino Luxembourg Forum d'Art Contemporain, Luxembourg
|
|
2007
|
|
AfterShock – Conflict, Violence, and Resolution in Contemporary Art, touring exhibition, Sainsbury Centre for Visual Arts
|
|
2007
|
|
3rd Auckland Triennial, Auckland
|
|
2007
|
|
Her(his)tory, N.P. Goulandris Foundation - Museum of Cycladic Art, Athens
|
|
2007
|
|
Documents, the Memory of the Future, touring exhibition, Museo de Arte Contemporaneo de Vigo, Spain
|
|
2007
|
|
Documents, the Memory of the Future, touring exhibition, Koldo Mitxelena Kulturunea, San Sebastian, Spain
|
|
2007
|
|
Ah, les belles images!, in Situ-Fabienne Leclerc, Paris
|
|
2007
|
|
Distorted Fabric, De Appel Museum, Amsterdam
|
|
2007
|
|
CLUB VOYEUR: CORCORAN, Strategies of Confinement in the Age of Biopolitics
|
|
2007
|
|
Montevideo Time Based Arts, Amsterdam
|
|
2007
|
|
(We Decided to Let Them Say “We Are Convinced” Twice. It Was More Convincing This Way.)
|
|
2007
|
|
A Project by Walid Raad, Henry Art Gallery, Seattle (solo)
|
|
2007
|
|
Under the Same Sky, Det Nationale Fotomuseum, Copenhagen
|
|
2006
|
|
Video: an Art, a History, Miami Art Central (MAC), Miami
|
|
2006
|
|
Grey Flags, touring exhibition, Capc-Musée d'Art Contemporain de Bordeaux, Bordeaux
|
|
2006
|
|
Grey Flags, touring exhibition, Sculpture Center, Long Island City, NY
|
|
2006
|
|
Ghost in the Machine, SF Camerawork, San Francisco
|
|
2006
|
|
Raw, Olot, Barcelona
|
|
2006
|
|
Video Sequence 2, Maison des Arts, Malakoff
|
|
2006
|
|
Faith, Real Art Ways, Hartford, Connecticut
|
|
2006
|
|
While we were sleeping, Platform Garanti Contemporary Art Center, Istambul
|
|
2006
|
|
Une vision du monde - la collection video d' Jean-Conrad et Isabel Lemaitre, La Maison Rouge, Paris (cat.)
|
|
2006
|
|
Out of Beirut, Museum of Modern Art Oxford
|
|
2006
|
|
Word into Art – Artists from the Modern Middle East, British Museum, London
|
|
2006
|
|
100 Tag =100 Videos, Heidelberger Kunstverein e.V., Heidelberg
|
|
2006
|
|
Migros Museum, Zurich (solo)
|
|
2006
|
|
National Galerie im Hamburger Bahnhof, Berlin (solo)
|
|
2006
|
|
Concordia Art Gallery, Kingston, Canada (solo)
|
|
2006
|
|
The Kitchen, New York (solo)
|
|
2006
|
|
Seventeen days of Looking, MOMA, New York
|
|
2005
|
|
Flight 405, Galerie Sfeir-Semler, Hamburg
|
|
2005
|
|
Flight 405, Sfeir-Semler Gallery, Beirut
|
|
2005
|
|
Contemporary Feature and The Davies Foundation Galleries
|
|
2005
|
|
Art Gallery of York University, Toronto
|
|
2005
|
|
Museum for Contemporary Art, Montreal (solo)
|
|
2005
|
|
Gallery Reynolds, London (solo)
|
|
2005
|
|
Fact, Liverpool, Great Britain (solo)
|
|
2005
|
|
The Kitchen, New York (solo)
|
|
2005
|
|
Sfeir-Semler Gallery, Beirut Lebanon (solo)
|
|
2005
|
|
Le Magasin, Grenoble
|
|
2005
|
|
In the Poem about Love you don't write the word Love, CCA, Glasgow
|
|
2005
|
|
Information/Transformation, Extra City Center for Contemporary Art, Antwerp
|
|
2005
|
|
Mirage, Alexander and Bonin, New York
|
|
2005
|
|
Flight 405, Galerie Sfeir-Semler, Beirut
|
|
2005
|
|
Funny How Thin This Line Is: Documents from The Atlas Group Archive, FACT, Liverpool (solo)
|
|
2005
|
|
Contemporary Arts Center, Cincinnati, Ohio (solo)
|
|
2005
|
|
Queen’s University, Kingston, Ontario (solo)
|
|
2005
|
|
Mapping Sitting, Grey Art Gallery, New York (with the Arab Image Foundation) (solo)
|
|
2005
|
|
Borrowed Time, Pratt Manhattan Gallery, New York
|
|
2004
|
|
House of World Culture, Berlin. I/P
|
|
2004
|
|
Palais de Tokyo, Paris. I/P
|
|
2004
|
|
Kunsten Festival des Arts, Brussels. I/P
|
|
2004
|
|
Ashkal Alwan, Beirut. I and premiere of new project
|
|
2004
|
|
Beyond East and West: Seven Transnational Artists (with Rovner, Amer, Kami, Sikander, Al-Ani, Hatoum), touring to Hood Museum Dartmouth College, Williams College)
|
|
2004
|
|
University of Illinois Krannert Art Museum, Illinois. I
|
|
2004
|
|
Sfeir Semmler, Hamburg. I
|
|
2003
|
|
Portland Institute of Contemporary Art, Oregon
|
|
2003
|
|
Hanover Kunstverein, Hanover. I
|
|
2003
|
|
Mousonturm, Frankfurt. P
|
|
2003
|
|
La Gallerie Noisy le Sec. I
|
|
2003
|
|
Spiel Art, Munich. P
|
|
2003
|
|
Whitechapel Art Gallery, London. P
|
|
2003
|
|
Anthony Reynolds Gallery, London. I
|
|
2003
|
|
Global Priority, University of Massachussetts, Mass. I
|
|
2003
|
|
Experimenta 03, Cardiff. P
|
|
2003
|
|
Musee Niepce, Chalon sur Soane. P_Mapping Sitting (Arab Image Foundation)
|
|
2003
|
|
Video Brasil, Sao Paolo. P/ I Mapping Sitting (Arab Image Foundation)
|
|
2003
|
|
Kampnagel, Hamburg. P
|
|
2003
|
|
Belluard Theater Festival, Fribourg. P
|
|
2003
|
|
50 Biennale di Venezia, Venice. I/V
|
|
2003
|
|
Disorientation, House of World Cultures, Berlin. P / I_Mapping Sitting (Arab Image Foundation)
|
|
2003
|
|
Kunstnernes Hus, Oslo. I_Mapping Sitting (Arab Image Foundation)
|
|
2003
|
|
New York University, New York. P
|
|
2003
|
|
Carnegie Mellon University, Pittsburgh. P
|
|
2003
|
|
Columbia University, New York. P
|
|
2003
|
|
Witness, Barbican Centre, London. V
|
|
2003
|
|
In Transit, House of World Cultures, Berlin. P
|
|
2002
|
|
Real Art Ways, Hartford, Connecticut. V/P
|
|
2002
|
|
Documenta11, Kassel. I/P
|
|
2002
|
|
Witte de With, Rotterdam. I
|
|
2002
|
|
Palais des Beaux Arts, Brussels. I_Mapping Sitting (Arab Image Foundation)
|
|
2002
|
|
MEMEAC, CUNY Graduate Center, New York. P
|
|
2002
|
|
Watson Insitute for International Studies, Providence, Rhode Island. I
|
|
2002
|
|
Princeton University Art Museum, Princeton, NJ. I
|
|
2002
|
|
Mousonturm, Frankfurt. P
|
|
2002
|
|
Fondacio Antoni Tapies, Barcelona. I/P
|
|
2002
|
|
Migros Museum for Contemporary Arts, Zurich. V/P
|
|
2002
|
|
Eurokaz Festival, Zagreb. P
|
|
2002
|
|
2002 Whitney Biennale, Whitney Museum of American Art, New York. P
|
|
2002
|
|
What, A Tale of Images, Memling Museum, Brugge. I
|
|
2002
|
|
Saratoga Springs Public Library, Saratoga Springs, New York. P
|
|
2002
|
|
Atlanta Center for the Arts, Atlanta. I
|
|
2002
|
|
Akademie Schloss Solitude, Stuttgart. P
|
|
2002
|
|
Foundation Cartier, Paris. P
|
|
2002
|
|
Rotterdam Film Festival, Rotterdam. V
|
|
2002
|
|
Negation and Consumption, Ocularis Cinema, Williamsburg, NY. V
|
|
|
|
|
|
|
| Literature |
|
 |
|
2011
|
|
Ben Davis, ‘Walid Raad on Why the Guggenheim Abu Dhabi Must Be Built On a Foundation of Workers’ Rights’, www.artinfo.com, 16 June
|
|
2010
|
|
21st Century: Art in the First Decade, catalogue, Queensland Art Gallery | Gallery of Modern Art
|
|
2010
|
|
Francis Hodgson, ‘Walid Raad, Whitechapel Gallery, London’, www.ft.com 13th December
|
|
2010
|
|
Marcus Verhagen, ‘Walid Raad: Miraculous Beginnings’, Art Monthly, Dec-Jan
|
|
2010
|
|
Ossian Ward , ‘Walid Raad’, Time Out (London), 25 November – 1 December
|
|
2010
|
|
Ed. Achim Borchardt-Hume, 'Miraculous Beginnings: Walid Raad', catalogue, Whitechapel Gallery Press
|
|
2010
|
|
‘Márgenes de Silencio’, Essay by José María Viñuela, Centro de Artes Visuales de Cáceres, June
|
|
2010
|
|
Alice Pfeiffer, ‘Paging Atlas Group’, Artinamerica.com, 4 November
|
|
2010
|
|
Lou Forster, ‘Walid Raad, L’Archive en délai’, Art21, Autumn
|
|
2010
|
|
Sue Steward, ‘Obsessed by Lebanon’s Past’, Evening Standard, 22 October
|
|
2010
|
|
‘Walid Raad: Sweet Talk: Commisions (Beirut)’, Camera Austria, No 111
|
|
2010
|
|
JJ Charlesworth, ‘Walid Raad: Miraculous Beginnings’, Art Review, October
|
|
2010
|
|
Emma Crichton-Miller, ‘Chaos Theories’, Financial Times (Collecting Supplement), 9 October
|
|
2010
|
|
Kaelen Wilson – Goldie, ‘Walid Raad: Miraculous Beginnings’, Previews, Art Forum, September
|
|
2010
|
|
Alan Gilbert, ‘Walid Raad (Re)Invents The Archive, Aperture, Spring
|
|
2010
|
|
Kathy Battista, ‘A Look at The Hugo Boss Prize 2010’, Res, March
|
|
2010
|
|
Yulia Tikhonova, ‘Walid Raad’, Flash Art, March – April
|
|
2009
|
|
Kara L. Rooney, ‘ArtSeen: WALID RAAD: Scratching on Things I Could Disavow: A History of Art in the Arab World / Part 1_Volume
|
|
2009
|
|
1_ Chapter 1 (Beirut: 1992-2005)’, The Brooklyn Rail, December 2009
|
|
2009
|
|
‘The Atlas Group (1989-2004), a project by Walid Raad’, Art and Text, Black Dog publishing, London
|
|
2009
|
|
Ghalya Saadawi, ‘Necessary Fables’, Canvas, March/April
|
|
2009
|
|
Judith Souriau, ‘Un certain usage de la fiction dans l’art contemporain’, Art Presence, January
|
|
2009
|
|
Carrie Lambert-Beatty, Make-Believe: Parafiction and Plausibility, October Magazine, Summer 2009
|
|
2009
|
|
Vered Maimon, The Third Citizen: On Models of Criticality in Contemporary Art Practices, October Magazine, Summer
|
|
2009
|
|
Alessandra Pioselli, ‘Walid Raad’, www.artforum.com, 11 August
|
|
2009
|
|
Barbara Casavecchia, ‘Walid Raad, Fondazione Antonio Ratti, Como, Italy’, Frieze, July
|
|
2008
|
|
Anthony Lappe, ‘Menassat.com doges bullets, bombs and government censors, Tar Mag, premier issue
|
|
2008
|
|
Benjamin Carlson, ‘The Power Plant, Toronto, Canada’, Frieze, November/ December
|
|
2008
|
|
Architectur/Talk, ‘Curating Architecture’, www.kulturefalsh.net, 14 December
|
|
2008
|
|
Cristina de Marchi, ‘Beirut. Una questione privata’, Exibart.onpaper, November/December
|
|
2008
|
|
Therese St-Gelais (ed.), ‘The Undecidable – Gaps and Displacements of Contemporary Art’, Les editions esse.
|
|
2008
|
|
Julia Bryan-Wilson ‘Not Quite How I Remember It’, Artforum, May
|
|
2007
|
|
Ramsay Short, ‘With Lens Like These…’, Tank, Volume 4, Issue 9
|
|
2006
|
|
Christina Tilmann, ‘ Vampir Erinnerung’, Der Tagesspiegel, 22 September (ill.)
|
|
2006
|
|
Jarrod Rawlins, ‘2006 Biennale of Sidney: Zones of Contact’, Flash Art International, October (ill.)
|
|
2006
|
|
'Biennale of Sydney', The Sydney Morning Herald, July
|
|
2006
|
|
Nikoleta Szabados, 'Walid Raad, The Bachar Tapes, 2001', Artwrite, online: //blogs.cofa.unsw.edu.au/blog/artwrite, Issue 35, June
|
|
2006
|
|
Rosalie Higson, 'Welcome to the Contact Zone', The Australian, June
|
|
2006
|
|
Zara Stanhope, ‘An Affair to Remember’, Photofile, nr 78 Spring (ill)
|
|
2006
|
|
Tracey Clement, 'Bigger Than Christmas', Cover, Spring
|
|
2006
|
|
'Daring to Be Different', The Canvas Guide / The New Zealand Herald, Spring (ill.)
|
|
2006
|
|
Alan Giolbert, 'The Atlas Group/ Walid Raad' , Zones of Contact 2006 Biennale of Sidney (cat.) (ill)
|
|
2006
|
|
Martha Schwendener, Critics’ Picks, Gray Flags, Artforum, online:http://www.artforum.com, June
|
|
2006
|
|
Andreas Leventis, Home Truths, Modern Painters, May (ill.)
|
|
2006
|
|
Tirdad Zolghadr, City Report: Beirut, Frieze, May (ill.)
|
|
2006
|
|
Emilia Terracciano, On Now On Soon, Flash Art, May-June (ill.)
|
|
2006
|
|
Isabelle Dupuis, Reviews, Flash Art, May-June (ill.)
|
|
2006
|
|
Kaelen Wilson-Goldie, New Art For A New Middle East, Art and Auction, March (ill.)
|
|
2006
|
|
We Can Make Rain But No One Came To Ask: Documents from the Atlas Group Archive, Galerie Leonard & Bina Ellen, Montréal
|
|
2006
|
|
Mark Beasley, Back, Frieze, March (ill.)
|
|
2006
|
|
Roberta Smith, 'Mixing Fact And Fiction To Open Up Larger Reality', The New York Times, March (ill.)
|
|
2006
|
|
‘The Atlas Group / Walid Raad’, Une Vision du Monde la Collection Video d’Isabelle et Jean Conrad Lemaitre, February (cat.) (ill.)
|
|
2006
|
|
Andreas Leventis, The Atlas Group, Modern Painters, February
|
|
2006
|
|
Jerry Saltz, 'Interrogation Nation', Village Voice Art, February (ill.)
|
|
2006
|
|
Martha Schwendener, 'Walid Raad, "The Dead Weight of a Quarrel Hangs: Documents from The Atlas Group Archive"', February (ill.)
|
|
2006
|
|
T.J. Demos, ‘Out of Beirut’, Artforum, October (ill.)
|
|
2005
|
|
The Atlas Group and Walid Raad, Volume 2: My Neck Is Thinner Than A Hair, Buchhandlung Walther König, Köln
|
|
2005
|
|
Adrian Searle, 'True Lies', The Guardian, 06 December (ill.)
|
|
2005
|
|
Moira Jeffrey, ‘Love as a Model for Visual Art’, Glasgow Herald, November
|
|
2005
|
|
Sarah Kent, 'The Atlas Group', Time
|
|
2005
|
|
Chen Tamir, The Atlas Group and Walid Raad, Art Gallery of York University
|
|
2005
|
|
Vid Ingelevics, The Atlas Group and Walid Raad, AGYU at Prefix ICA, Torornto, CV ciel variable 66, Mai (ill.)
|
|
2004
|
|
“The Atlas Group”: Kaelen Wilson-Goldie, in: Bidoun, Fall 2004, Issue 02, Volume 01, p. 16-25
|
|
2004
|
|
“The Atlas group and Walid Raad”, Volume 1, The Truth Will Be Known When The Last Witness Is Dead, Verlag der Buchhandlung Walther König, 2004
|
|
2004
|
|
“Mapping Sitting”, Le Monde. 16.04.2004
|
|
2003
|
|
"A Secret History.", Saul Anton, Frieze. January/February 2003 (72): 68-69.
|
|
2003
|
|
"Missing in Action.", Lee Smith, Artforum. February 2003 (6): 124-129.
|
|
2003
|
|
"Mapping the disaster.", Deborah Root, Prefix Photo. May 2003 (7): 30-41.
|
|
2003
|
|
"Already Been in a Lake of Fire," Framework Forthcoming, Fall 2003.
|
|
2002
|
|
"Mapping Sitting" (Zaatari, Maasri, Bassil and Raad eds., The Arab Image Foundation, (Mind the Gap Publications: Beirut [Lebanon]), 2002
|
|
2002
|
|
"Walid Raad.", Alan Gilbert, Bomb. Fall 2002: 38-45.
|
|
2002
|
|
"Forging History, Performing Memory.", Sarah Rogers, Parachute. October 2002 (108): 68-79.
|
|
|
|
|
|