Rasheed Araeen, Chakras, 1969-1970, 24 circular discs and 24 colored photographs, 61cm diameter each. Dimensions variable, image courtesy of Sharjah Art Foundation
Rasheed Araeen, In front of Shurbati, Forty Years On, 19732013, Wood and house paint, 3 pieces, 175x70x17cm. Image courtesy of Sharjah Art Foundation
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standing. As is the mode of sculpture today, none are on plinths, and some were even conceived to be rearranged by visitors. They may seem to have some classic minimalistic traits but on close inspection they are questioning Western hierarchies, inviting interaction, made from painted wood rather than with the industrial precision of his American contemporaries. First
Structure, 1966-1967, sits here, a cubic prototype whose faces bisect to create triangles that change depending on your perspective. Araeen’s triangles suggest vertical movement through Rang Baranga, and Lal Kona (Red Corner) from 1969. It was around this time that Araeen was knocking on the doors of the Eurocentric art establishment, to no avail. This disillusionment led to his
involvement with the Black Panthers and ultimately the birth of Third Text. Documentation from performative pieces that challenge the separation of art and life round off Before and After Minimalism: Disco Sailing, 1970-1974 and Chakras, 1969-1970. This year it was solely Araeen’s work at Grosvenor Gallery’s booth at Art Dubai Modern, and he
was awarded the Lifetime Achievement Award from ArtNow Pakistan. If art pushed Rasheed Araeen into it, it’s also responsible for the merit he has received since then.
Rasheed Araeen: Before and After Minimalism continues at Sharjah Art Foundation until 13th June 2014