Your feedback is important to us!
We invite all our readers to share with us their views and comments about this article.
Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The Daily Star accepts no responsibility for the content of comment(s), including, without limitation, any error, omission or inaccuracy therein. Please note that your email address will NOT appear on the site.
Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (http://bit.ly/vDisqus)
There is scant evidence of crows at Sursock Museum these days. The bird – stuffed, decapitated or otherwise dismembered – is a not-uncommon presence in Ali Cherri's work, and ever allusive."A Taxonomy of Fallacies," Cherri's soupcon-sized show of recent work now up at Sursock's Twin Galleries, is comprised of two installations, one in each of the twins. Nora Razian's curatorial essay suggests Cherri acquired these more or less authentic artifacts at various auction houses.Sursock's shows at the Twin Galleries have tended not to be accompanied by full catalogues, but Razian's exhibition guide provides a suitable package for Cherri's work.As an independent, free-standing piece, Cherri's "Fragments" seems to be lacking something, aside from whatever discreet allusions it makes to the artist's earlier work.The exhibit's apparent function – to mimic the rather arid museological practice upon which Cherri is commenting – is only fully realized while watching its companion piece, the video installation "Petrified," 2016 . As the camera scrutinizes individual pieces, Cherri ruminates upon the several ironies entailed in preserving the ruined remains of dead civilizations.
‘Worldbuilding’ drives Home Works
Gazing back on a war, its recollection
From Tesco to occupied Palestine
FOLLOW THIS ARTICLE