Sameer Farooq /

mail@sameerfarooq.com


2021

A Heap of Random Sweepings

The Koffler Centre of the Arts, Toronto, ON, Canada.

Curated by: Mona Filip
Installation Poetry: Jared Stanley
Sound Composition: Gabie Strong
Artwork and installation assistance: Nedda Baba, Phu Bui, Corinne Carlson, Pamela Dodds, Forest Kelley, Ante Benedikt Kurilić, Smokestack Studio, Superframe, Lawrence Switzky, Adam Williams, the Koffler Centre of the Arts staff, the Canada Council for the Arts and Ontario Arts Council

Sameer Farooq’s major solo exhibition tackles the fraught and violent histories of anthropological and encyclopaedic museum collections, their colonial origins, structures and impulses.

Raising questions about provenance and repatriation, the sculptures, photographs and prints assembled in this installation articulate new visions for repurposing the emptied spaces of museums devoid of their spoils. Mining the possibilities offered by sustained engagement, Farooq invites us to envision what the museum might become through the mechanics of restitution, what it may shift to collect and document, and what kind of experiences it could nurture.

The installation elicits prolonged attention, asking us to look intently and to spend time with the objects’ presence as well as the absences they evoke. Benches placed throughout the space encourage moments of extended contemplation. The audio environment composed by Farooq’s collaborator Gabie Strong (Los Angeles, CA) creates a walking meditation, designed to guide the visitor to spend six minutes at each vantage point. A bell sound marks the intervals. The artworks offer themselves as tools for contemplation and openings to ponder an intrinsic potential that transcends their aesthetic value. Lyrical captions contributed by poet Jared Stanley (Reno, NV) unsettle the rigid format of institutional labels and imagine the objects’ own voices. (Mona Filip)

Please click here to view a video walkthrough of the exhibition.

Please click here to download the exhibition essay.

Installation view, A Heap of Random Sweepings. Photo: Toni Hafkenscheid Installation view, A Heap of Random Sweepings. Photo: Toni Hafkenscheid Installation view, A Heap of Random Sweepings. Photo: Toni Hafkenscheid Installation view, A Heap of Random Sweepings. Photo: Toni Hafkenscheid Installation view, A Heap of Random Sweepings. Photo: Toni Hafkenscheid Restitution Series (Buddha Heads), Plaster, fibreglass, burlap, custom metal stands, 31” x 51” x 6”. Photo: Toni Hafkenscheid Restitution Series (Buddha Heads)(detail), Plaster, fibreglass, burlap, custom metal stands, 31” x 51” x 6”. Photo: Toni Hafkenscheid Restitution Series (Buddha Heads)(detail), Plaster, fibreglass, burlap, custom metal stands, 31” x 51” x 6”. Photo: Toni Hafkenscheid Installation view, A Heap of Random Sweepings. Photo: Toni Hafkenscheid Restitution Series (Pottery), Plaster, fibreglass, burlap, custom metal stands, 39” x 27" x 6”. Photo: Toni Hafkenscheid Restitution Series (Pottery)(detail), Plaster, fibreglass, burlap, custom metal stands, 39” x 27" x 6”. Photo: Toni Hafkenscheid Restitution Series (Pottery)(detail), Plaster, fibreglass, burlap, custom metal stands, 39” x 27" x 6”. Photo: Toni Hafkenscheid Restitution Series (Pottery and Weapons), Plaster, fibreglass, burlap, custom metal stands, 26.5” x 39” x 6”. Photo: Toni Hafkenscheid Restitution Series (Bones & Swords ad Daggers), Ink jet prints on Hahnemühle Photo Gloss 260, Dibond mounted, 26” x 40”. Photo: Toni Hafkenscheid
Restitution Series (Masks), Ink jet print on Hahnemühle Photo Gloss 260, Dibond mounted, 26” x 40”. Restitution Series (Stone Heads), Ink jet print on Hahnemühle Photo Gloss 260, Dibond mounted, 26” x 40”. Restitution Series (Tablets), Ink jet print on Hahnemühle Photo Gloss 260, Dibond mounted, 26” x 40”.
Restitution Series (Banco de Chefe), Ink jet print on Hahnemühle Photo Gloss 260, Dibond mounted, 26” x 40”. Restitution Series (Buddhas), Ink jet print on Hahnemühle Photo Gloss 260, Dibond mounted, 26” x 40”. If it were possible to collect all navels of the world on the steps to ASCENSION, fired clay, stepped display. Photo: Toni Hafkenscheid If it were possible to collect all navels of the world on the steps to ASCENSION (detail), fired clay, stepped display. Photo: Toni Hafkenscheid If it were possible to collect all navels of the world on the steps to ASCENSION (detail), fired clay, stepped display. Photo: Toni Hafkenscheid Installation view, A Heap of Random Sweepings. Photo: Toni Hafkenscheid 24 Affections, monoprints mounted in concrete and glass displays (after Lina Bo Bardi). Photo: Toni Hafkenscheid 24 Affections (detail), monoprint, 22" x 30". 24 Affections (detail), monoprint, 22" x 30". 24 Affections (detail), monoprint, 22" x 30". 24 Affections (detail), letterpress, 22" x 30" (Jared Stanley). 24 Affections (detail), letterpress, 22" x 30" (Jared Stanley). 24 Affections (detail), letterpress, 22" x 30" (Jared Stanley). 24 Affections (detail), letterpress, 22" x 30" (Jared Stanley).


1/23

Next project: → Terma, Images from the Ear or Groin or Somewhere

Previous project: ← Beijing, Beijing

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