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Joyce Scott
Kendell Geers
Koen Vanmechelen
Massimo Lunardon
Ursula von Rydingsvard
Zhang Huan
Abir Karmakar
Andrea Salvador
Antonio Riello
Atelier Van Lieshout
Chafa Ghaddar
Charbel-Joseph H. Boutros
Chitra Ganesh
Chittrovanu Mazumdar
Daniele Genadry
El Ultimo Grito
Fred Wilson
Gigi Scaria
Hema Upadhyay
Hye Rim Lee
Jaber Alwan
Jaime Hayon
Jan Fabre
Jaume Plensa
Javier Pérez
Joost van Bleiswijk
Josepha Gasch-Muche
Justin Ponmany
Karen Kalou
Kiki van Eijk
Luke Jerram
Manjunath Kamath
Marta Klonowska
Marya Kazoun
Michael Joo
Mithu Sen
N Pushpamala
Nabil Nahas
Nathalie Harb
Navin Thomas
Omar Fakhoury
Parul Thacker
Pascal Hachem
Pieke Bergmans
Poonam Jain
Prabhakar Pachpute
Raed Yassine
Ravinder Reddy
Rima Maroun
Sakshi Gupta
Sergio Bovenga
Shibu Natesan
Silvano Rubino
Sirine Fattouh
Soyeon Cho
Stéphanie Saade
Sudarshan Shetty
Thomas Schütte
Thukral & Tagra
Tomáš Libertíny

Paul Guiragossian

Born to Armenian parents survivors of the Armenian Genocide, Paul Guiragossian experienced exile since a very tender age. His talent was first noticed during his early school years in Jerusalem. He would soon start making portraits in order to support his mother. In the 1940s he enrolled at the Yarkon Studio of art in Jaffa. Around 1948, the Guiragossians were evacuated from Jerusalem by the British and were sent on ships to Lebanon; the country where Paul would eventually rise to become one of the most prominent artists of his generation. His first-hand knowledge of the work of several modernists through close friendships with Mustapha Farroukh and Cesar Gemayyel allowed him to take tradition by the hand. However, he would soon discard the academicism still adopted by many of his peers to develop the abstract compositions for which he would become known. Through years of self-education, trial and error, and scholarships to theAccademia di Belle ArtidiFirenzein 1957 and Les Ateliers des Maîtres de l'École de Paris in 1962, Guiragossian would receive acclaim both in Lebanon and beyond. Over the following two decades Guiragossian would gradually liberate himself from the confines of the discernable human figure. Yet, no matter how far his interrogation of the possibilities of painting reached, Guiragossian could never entirely sever himself from an obsession with the infinite manifestations of the human condition. Perhaps this had to do with the fact that he was from and for the people: the exile, the immigrant, the laborer and outsider. On Paul Guiragossian’s canvases, woman, child and man would become faceless imprints delineated by a vibrant brushstroke; their psychological loneliness and corporeal isolation portrayed though patches of color that are adjacent but never overlapping.

No exhibitions for this year
No exhibitions for this year

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