Frieze New York

Frieze New York

Street 6, Al Quoz 3Dubai, United Arab Emirates Friday, May 9, 2014Monday, May 12, 2014
city girl 4 by shirin aliabadi

Shirin Aliabadi

City Girl 4, 2010

Price on Request

the mechanism of facial expression by amir h. fallah

Amir H. Fallah

The Mechanism of Facial Expression, 2014

Price on Request

k files_735 by tarek al ghoussein

Tarek Al Ghoussein

K Files_735, 2013

Price on Request

zezo tamsamani by hassan hajjaj

Hassan Hajjaj

Zezo Tamsamani, 2010

Price on Request

kawliya 3 by hayv kahraman

Hayv Kahraman

Kawliya 3, 2014


self-portrait with the sunset, rio de janeiro by youssef nabil

Youssef Nabil

Self-portrait With The Sunset, Rio de Janeiro, 2005

Price on Request

Street 6, Al Quoz 3
Dubai, United Arab Emirates
Friday, May 9, 2014Monday, May 12, 2014

The Third Line // Booth D20

The Third Line is pleased to be returning to Frieze New York, exhibiting works by Amir H. Fallah, Hayv Kahraman, Hassan Hajjaj, Shirin Aliabadi, Slavs and Tatars, Tarek Al- Ghoussein and Youssef Nabil. The works are presented thematically around an alternative narrative of portraiture in contemporary art.

Frieze New York, now in its third year, will include over 190 of the world’s leading galleries. The Third Line is presenting a selection of its artists that explore the multiple notions of portraiture – with works ranging in media across photography, painting, collage, and sculpture.

In a time of vanity and self-absorption, the individual has become obsessed with their representation. With more than 130 million people using Instagram to show the public a curated view of their life – and other social media showing similar numbers and demography – it seems as if representation has been solely taken over by individual selfperceptions, shunning outside perspectives.

The booth displays a return to the notion of portraiture, though not entirely in the traditional sense either, which also prioritised the patron’s vision. The works selected look at representation and identification through the artists’ rendition – where the subject adds to the desired portrayal but does not dictate it; some take liberty with it to weave fictitious narrative around renowned personalities, while others illustrate social and cultural uniqueness.

With a pop-up studio that he erects on the streets of Morocco, London, Paris and Kuwait, Hassan Hajjaj creates a revival of African photography from the 60s and 70s, immortalizing his friends from around the world and transforming them into larger-than-life characters. Amir H. Fallah questions the tradition of classic portraiture and the influence of sitters, gaining greater control over the portrayal of his subjects’ identities. Youssef Nabil looks at modern day society’s fascination with celebrity culture and presents his account of the extraordinary characters of his models, artists, actors, singers and friends. Hayv Kahraman uses the female body as a subject, and herself as the model, displaying an ongoing exploration in spatiality, hybridity, socially coded modes of thought and behaviour, and gender based issues found in diasporic cultures. Shirin Aliabadi presents a series of orchestrated studio shots of hip young Iranian girls posing with props, wearing colored contact lenses, platinum blond hair and vibrant chadors – aiming at capturing the aesthetic nuances that reshape and reinvent the identity of the new Iranian girl. Slavs and Tatars examine the role of oral identity, through features and physical organs associated with speech and communication. Tarek Al-Ghoussein, a Kuwaiti of Palestinian origin, deals with how his identity is shaped in a context of inaccessibility and loss and explores the boundaries between landscape photography, self-portraiture and performance art.