White Leaves One and Two on Their Place was Haleh Redjaian's third solo exhibition with Gallery Isabelle van den Eynde, and featured works on paper, woven textiles, and a new series of experimentations based on pattern singing.
White Leaves One and Two on Their Place featured works on paper, woven textiles, and a new series of experimentations based on pattern singing in Iran called Naqshe Khani, a type of work song guiding the workers through their day in rhythmic instruction.
Redjaian spotlights the work of carpet weavers—shedding light on the labour and creativity generated around the historic practice. There is a power of attraction in the works of Redjaian that tug us into the bars of lines she draws on graph paper and the threads she stitches into the woven carpets made by her collaborators, carpet weavers in Iran.
She first creates the pattern for the weavers, marking the rhythm on paper. Interpreting the artist’s draft, the weavers work within their own set of guided measures. Once the handwoven textile is returned to Redjaian, she applies the final stitches of lines and luminous lithograph imprints, completing her collaborative experiment developed within potential disorder.
The exhibition shed further light on the work of the carpet weavers by screening the documentary, The Woven Sounds by the musician, composer and researcher Mehdi Aminian. The film explores Naqshe Khani, and how the melodies propel and influence the weaving process. A kind of call and response that guides the weavers in their collaborative labour.
For White Leaves One and Two on Their Place OVR, click here.
About Gallery Isabelle van den Eynde
One of a handful of pioneers who shaped the UAE’s early commercial art scene, Isabelle van den Eynde opened her first gallery, B21, in 2006 in Dubai’s Al Quoz industrial district. At a time when contemporary art galleries were just beginning to stake their place in the local cultural landscape, she exhibited challenging artists whose names still figure on her roster today—Rokni and Ramin Haerizadeh and Hesam Rahmanian, Mohammed Kazem, and the late Hassan Sharif, considered a trailblazer of contemporary art in the UAE.
In 2010, van den Eynde founded her eponymous space in Alserkal Avenue. As the gallery grew, what the roster gained in artists, the program garnered in daring. Alongside her long-time co-conspirators came new artists from the Middle East and North Africa and beyond.
In addition to a robust exhibition program and art fair participation, the gallery’s reach extends beyond physical spaces into publishing ventures, online activities and international projects with curators and collectors.
About Haleh Redjaian
Haleh Redjaian (b. 1971, Frankfurt) is a Berlin-based artist who works in a variety of mediums, predominantly paper, textiles, murals and spatial installations referencing architecture. Grounded in geometry, she uses its rules to reshape and retrace the order of angles and lines. Her compositions subtly belie their own errors and form what she calls a ‘natural abstract language’.
She has had solo exhibitions in Germany including Munich’s Federkiel Foundation and Museum for Konkrete Kunst, Ingolstadt (both in 2016) as well as group exhibitions in Städtische Galerie, Bietigheim-Bissingen (2018) and Alte Feuerwache Projektraum, Berlin (2019).
Her works are held in the BIC Collection (France), and has been exhibited at Le Centquatre, Paris (2018) as partof the collection’s exhibition, the Progressive Art Collection, Cleveland (USA) and Marli Hopper-Ritter collection, among others.
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