The Ailing Objects are not indisposed with a particular disorder.
They are both sick and well; neither sick nor well.
Are they sick? How can you tell?
The Ailing Objects are impossible objects: the one fights - with its fictions, fantasies and hostilities - the other in the same body. The sickness of the one keeps it at a distance from the other, but the boundaries between them, corporeal (and venereal), are perpetually shifting.
Analogous to the hypochondriac’s relationship with the medical establishment, these objects have afflictions unapparent to society. They do not malinger. Hypochondria is not an illness. Likewise, these objects are not diseased; their condition gestures toward knowledge which exceeds the boundaries separating sickness from health. Similar to the mutual doubt shared by the doctor and the hypochondriac, the slippery liaison between self and other in The Ailing Objects exposes the epistemological limits of positivism in science and philosophy, and proposes its own remedies.
The twisted wing of the Airplane King
17 February - 18 March, 2017
14 February - 11 March, 2017
Text By Natasha Gasparian
Paradis Fleuri is a universe of whimsy: epigrammatic brushstrokes of beaming yellows, reds, whites, greens, and blues combine in paintings of landscapes. Landscapes of mountains and sea, gardens and walkways shape the artist’s domestic world and her periodic travels to realms of sparse population. Amyuni draws on the intimate spaces she shares with the few who inhabit them. When she travels beyond her vicinity, she imbues the spaces of her visits with a radiating warmth. Her landscapes do not play a descriptive role - they make synesthetic connections.
In Amyuni’s paintings, color takes precedence over line. Individual colors spill over and seep through lines - the boundaries which contain color - and allow for the viewer to see the fragrance of the geraniums and the calla lillies that surround the artist in her living space. This formal excess induces visual pleasure in the beholder. More compellingly, it points to the limits of language: color begins to exceed signification, and in turn produces a slight narcotic response in the viewing subject.
Having formally been trained in the fine and visual arts, Amyuni paints with a deliberate naivety. Not to be mistaken as cosmetic, the paintings’ magnetism lies in their childlike spontaneity. They reveal a conscious retreat from a world of representations that is anchored in a political reality. Instead, Amyuni’s landscapes are imagined. Though she tends toward the mimetic, her paintings are too spirited to have grounds in worldly atrocities. Out of her fiery colors, she creates a universe apart.
Rima Amyuni was born in Beirut in 1954. She has a degree in Fine Arts from the Byam Shaw School of Art (now part of the Central Saint Martins College of Arts and Design) in London and a degree in Visual Arts from Columbia University in New York City. She has had solo exhibitions in Beirut at Epreuve d’Artiste Gallery (1998), Alice Mogabgab Gallery in 2007, 2009, and most recently in 2011. In 2015, Agial Art Gallery hosted her contentious exhibition “A Tribute to a House Fairy” about the plight of domestic workers in Lebanon. She has taught at the Lebanese Academy of Arts (ALBA) and at the two secondary schools Louise Wegman and Jesus and Mary. In 1995, she won the first prize in painting at Sursock Museum’s Salon d’Automne. She lives and works in Yarzé, Lebanon - a place which inspires the subjects of her paintings.