Taymour Grahne
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Group showEXPO Chicago, booth 525

Project space
17.09.15 – 20.09.15
Taymour Grahne Projects
01 / 04

Group showEXPO Chicago, booth 525

Project space
17.09.15 – 20.09.15
Taymour Grahne Projects
01 / 04

Group showEXPO Chicago, booth 525

Project space
17.09.15 – 20.09.15
Taymour Grahne Projects
01 / 04

Group showEXPO Chicago, booth 525

Project space
17.09.15 – 20.09.15
Taymour Grahne Projects
01 / 04

Group showEXPO Chicago, booth 525

Taymour Grahne Gallery is pleased to announce its participation in this year’s EXPO Chicago, from September 17 - 20, located at booth 525. For the fair’s fourth edition, the gallery presents a two-person booth in the fair’s main section dedicated to new works by Nicky Nodjoumi and Nadia Ayari; two generations of artists who use allegory to paint politically open-ended narratives that question dominant systems of power.

Nicky Nodjoumi

The protocol must be taken into account

2015

Ink and wash on paper

216 x 320 cm. / 85 x 126 in.

01 / 11

Nicky Nodjoumi

Surprise Series No. 1

2014

Ink and wash on paper

216 x 106.7 cm. / 85 x 42 in.

01 / 11

Nadia Ayari

Balcony

2011

Oil on canvas

208.3 x 190.5 cm. / 82 x 75 in.

01 / 11

Nadia Ayari

Three

2015

Oil on Belgian linen

45.7 x 50.8 cm. / 18 x 20 in.

01 / 11

Nadia Ayari

Face

2015

Oil on linen

45.7 x 50.8 cm. / 18 x 20 in.

01 / 11

Nadia Ayari

Leaf

2015

Ink on paper

60 x 60 cm. / 22 x 22 in.

01 / 11

Nicky Nodjoumi

In the programmatic fashion

2015

Oil on canvas

78.7 x 78.7 cm. / 31 x 31 in.

01 / 11

Nicky Nodjoumi

Drunken man

2015

Oil on canvas

71 x 50.8 cm. / 28 x 20 in.

01 / 11

Nicky Nodjoumi

Untitled

2012

Ink on paper

72.4 x 57 cm. / 28 1/2 x 22 1/2 in.

01 / 11

Nicky Nodjoumi

Squid

2009

Ink, gesso, and crayon on paper

72.4 x 57 cm. / 28 1/2 x 22 1/2 in.

01 / 11

Nicky Nodjoumi

Untitled

2010

Ink on paper

72.4 x 57 cm. / 28 1/2 x 22 1/2 in.

01 / 11

Nicky Nodjoumi’s nuanced figurative paintings engage in political, satirical discourse; layering personal heritage and first handed experiences in Iran and the U.S. into scenes that resonate beyond specific historical contexts or geographical boundaries. His work articulates a geography tainted by politics, history and culture.

Nadia Ayari’s work focuses on political landscapes. Using recurring sets of protagonists, her paintings relate conceptual narratives from surrounding structures. For the fig, the character at the center of her compositions, the way through said structures is sanguine. Her recent explorations in fresco add a sculptural dimension to her richly dense surfaces and question dominant historical armatures.