Humanities Center Public Lecture Series: Walid Raad
Thursday, January 25, 2018
5 p.m.6 p.m.
Hawkins-Carlson Room, Rush Rhees Library
Hosted by the University of Rochester Humanities Center
Walid Raad is an artist and a Professor of Art in The Cooper Union (New York, USA). Raad’s works include The Atlas Group, a fifteen-year project between 1989 and 2004 about the contemporary history of Lebanon, and the ongoing projects Scratching on Things I Could Disavow and Sweet Talk: Commissions (Beirut). His books include Walkthrough, The Truth Will Be Known When The Last Witness Is Dead, My Neck Is Thinner Than A Hair, Let’s Be Honest The Weather Helped, and Scratching on Things I Could Disavow.
Raad’s solo exhibitions include the Louvre (Paris), The Museum of Modern Art (New York, USA), ICA (Boston, USA), Museo Jumex (Mexico City, Mexico), Kunsthalle Zurich (Zurich, Switzerland), The Whitechapel Art Gallery (London, UK), Festival d’Automne (Paris, France), Kunsten Festival des Arts (Brussels, Belgium), The Hamburger Bahnhof (Berlin, Germany). His works have also been shown in Documenta 11 and 13 (Kassel, Germany), The Venice Biennale (Venice, Italy), Whitney Bienniale 2000 and 2002 (New York, USA), Sao Paulo Bienale (Sao Paulo, Brazil), Istanbul Biennal (Istanbul, Turkey), Homeworks I and III (Beirut, Lebanon) and numerous other museums, biennales and venues in Europe, the Middle East, Asia, and the Americas.
Raad is also the recipient of the ICP Infinity Award (2016), the Hasselblad Award (2011), a Guggenheim Fellowship (2009), the Alpert Award in Visual Arts (2007), the Deutsche Börse Photography Prize (2007), the Camera Austria Award (2005), a Rockefeller Fellowship (2003), among other grants, prizes and awards.
In this Artist Talk, Walid Raad will introduce his two long-term ongoing art projects, The Atlas Group (1989-2004), and Scratching on things I could disavow (2007-). With The Atlas Group, Raad concentrates on documents, stories, and situations about the Lebanese wars of the past few decades. In Scratching on things I could disavow, his focus shifts to the history of art in the Arab world, with a focus on the emerging infrastructures for the arts throughout the Arab world.