Lara Tabet in collaboration with Michelle Daher, The Reeds, 2015

September 16 – October 3, 2016
OPENING RECEPTION: September 15, 6 – 8 p.m.

Marwa Arsanios
Mirene Arsanios
Chaghig Arzoumanian
Roy Dib
Chafa Ghaddar
Sirine Fattouh
Rachel Higgins
David Johnson
Helene Kazan
Dages Juvelier Keates
Lara Tabet
Elizabeth Tubergen
Jody Wood

Curated by Natasha Marie Llorens

“City and City” takes as its point of origin the idea that perception is central to the organization of the city. This derives from an insight lucidly articulated in the murder-mystery novel by China Miéville. The City and The City is about two imaginary cities that are intertwined, Beszel and Ul Qoma. Although they occupy the same geographical space, their respective citizens are bound by law to perceive only those buildings, people, activities, etc. taking place in their own city. The breach between Beszel and Ul Qoma is therefore primarily ideological, as it depends on each city’s willingness to systematically un-see all aspects of life pertaining to the other city. Miéville’s novel revolves around the myriad acts of de-recognition necessary to maintain the illusion of two cities, Beszel and Ul Qoma, an illusion upon which their common civil order is founded.

In this exhibition Beirut is the City and New York is the City. Together they are the City and the City. They are bound to one another here because each is being destroyed, or “killed” in Henri Lefebvre’s dramatic description of capitalism’s structural violence. To kill a city is make its space homogenous, or to drain it of irreconcilable difference. The works in “City and City”—which include installation, sculpture, photography, video—obliquely posit real estate development and its avatars as a form of violence against the city when such development makes the city’s history hard to see, easy to un-see.

The show is loosely split between artists based in New York and artists based in Beirut, although like many of their generation these artists’ association to a place is ambiguous and layered. Elizabeth Tubergen’s sculpture, commissioned for this exhibition, pictures the interval between the gallery and the street as—literally—a reflective space for the visitor to sit and watch 5th Avenue. Marwa Arsanios’s animation depicts a modernist resort’s tentative transformation into refugee housing. Helene Kazan’s sound installation tries to produce in the viewer an awareness of the invisible, perpetual risk of catastrophe that the contemporary city of glass and glossy advertising is at great pains to obscure. Lara Tabet’s eerie photographs picture nocturnal gay cruising in Beirut on the waterfront land that is in the process of being privatized for commercial development. In each artist’s work there is some specific articulation of the City’s violent homogenization by Capital, but there is also a poetic openness to some common loss. These works are bound together by their attention to the effects of structural violence and to minute acts of perception as resistance.

Sunday, September 18th, 5 – 7pm
Dages Juvelier Keates and Helene Kazan

Friday, September 30th, 6:30 – 8:30pm
Roy Dib, Chaghig Arzoumanian, and Mirene Arsanios

In the Arnold and Sheila Aronson Galleries and the Anna-Maria and Stephen Kellen Auditorium, next to the gallery
66 Fifth Avenue at 13th Street

Gallery Hours
Open daily 12:00 noon - 6:00 p.m. and late Thursday evenings until 8:00 p.m.; closed on all major holidays and holiday eves.
Admission is free.

Natasha Marie Llorens is an independent curator and writer based between New York and Marseille, France. She is currently working on a series of public programs at Skowhegan in Manhattan, "Mine are 'true' love stories..." about Ellen Cantor's work and feminist legacy. Recent past projects include "Syntagma" in the Skybridge Art Space at Eugene Lang and "vois-tu pas…que je brûle? (do you not see…" at the Essex Street Market, both in New York. She is a graduate of the Center for Curatorial Studies at Bard College and a Ph.D. candidate in art history at Columbia University. Her academic research is focused on violence and representation in Algerian national cinema from the 1960s and 1970s.