Nadia Kaabi-Linke b. 1978

Overview

The art of Nadia Kaabi-Linke is related to places and their histories; it is as time-specific as it is site-specific. The installations and objects, as well as her pictorial works, are anchored in constellations of cultural and historical, social and political contexts and refer to a certain place or to coincidental events. Making use of many different media, artefacts, symbolisms and codes, her work is intertwined with socio-psychological topics: perception, memory, and geographically and politically constructed identities.

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Works

Tunisian Americans, 2012
A Short Story of Salt and Sun, 2013
All Along the Watchtower, 2014
Stretched Perm, 2014
Walk the Line, 2015
Altarpiece, 2015
Bicycle, 2015
Kula: Bonfire , 2017
Spic and Span in June and July, 2017
Kula: Common Fuel, 2017
Gekochte Erde (Cooked Soil), 2017
Parkverbot (Köpenick), 2017
Jins Al Latif, 2018
Pale Geranium Lake and Scarlet (remastered) , 2018
Mistake-Out Friedrichstadt, 2018
Spic and Span in June and July, 2019
Under Standing Over Views, 2009
Rue El Azafine, 2009-10
Flying Carpets, 2011
Butcher Bliss (Fleischerei Gluck), 2010

Biography

Kaabi-Linke was born in Tunis in 1978, and studied at the Academy of Fine Arts in Tunis, and later at the Sorbonne University in Paris.

Recent solo exhibitions include A Matter of Resilience, Darat Al Funun, Amman, 2020; Impossible Ordinary, Lawrie Shabibi, Dubai, 2018-19; VersiegelteZeit [Sealed Time], Kunstmuseum, 2017-2018; Lost and Found, Experimenter, Kolkata, 2016; Walk the Line, Dallas Contemporary, Dallas; 2015; FAHRENHEIT311: Seven Legends of Machismo, Lawrie Shabibi, Dubai, 2015; No Frills, Cristina Guerra Contemporary Art, Lisbon, 2015; The Future Rewound and The Cabinet of Souls, The Mosaic Rooms, London; Stranded – Preso por fios, Centro de Arte Moderna da Fundação Calouste Gulbenkian, Lisbon 2014; No One Harms Me, Experimenter, Kolkata, 2013 and Black is the New White, Lawrie Shabibi, Dubai, 2012.

Select group exhibitions include A Bottomless Silence, Wallach Art Gallery, Columbia University, 2020;Walking Through Walls, Gropius Bau, Berlin 2019; The Sensation of Space, The Warehouse, Dallas, 2019; How To See (What Isn't There), Langen Foundation, Neuss, 2018; Body Ego, Dallas Museum of Art; Lahore Biennale, 2018; Inhabiting Territories, MOVIMENTA Biennale, Nice, 2017; Witness, Karachi Biennale, 2017; Borders of Visibility, 25^th Slavonian Biennale, 2016; Songlines for a New Atlas, Kalmar konstmuseum, Sweden, 2016; Social Calligraphies: East ̶ West, Zachęta National Gallery of Art, Warsaw, 2016; Between Structure and Matter: Other Minimal Futures, Curated by Prajit Dutta and Murtaza Vali, Aicon Gallery, New York, 2016; But a Storm is Blowing from Paradise: Contemporary Art of the Middle East and North Africa, Curated by Sara Raza, Solomon R. Guggenheim Museum, New York, 2016; Pushing the Boundaries –Connecting the World, VIII Tashkent Biennale of Contemporary Art, Tashkent, 2016; Magic and Power - Of Magic Carpets and Drones, Marta Herford Museum, 2016; What is Home?, Pump House Gallery, London, 2015; All the World’s a Mosque, JOAU Tunis, 2015; Wir sind alle Berliner: 1884-2014, Savvy Contemporary, Berlin, 2014; Entre nosotros / Between Us. Video Art from the Middle East and North Africa in a Global World, Etopia Center for Art and Technology, Zaragoza, 2014; Memory, Place, Desire: Contemporary Art of the Maghreb and the Maghrebi Diaspora, Cantor Fitzgerald Gallery, Haverford College 2014; Arab Contemporary, Lousiana Museum of Modern Art, Denmark, 2014; Women Commentators, Center for Contemporary Art Ujazdowski Castle, Warsaw, 2013; Dysraphic City, Projektraum Kunstraum Kreuzberg/Bethanien, Berlin; Nouvelles vagues – Looking for video, Claudine Papillon Gallery, Paris, 2013; Abstract Generation: Now in Print, The Museum of Modern Art, New York 2013; Tireless Refrain, Nam June Paik Art Center, Gyeonggi-do, Seoul, 2013; Kochi-Muziris Biennale, 2012; Drifting, Haus der Kulturen der Welt, Berlin, 2012; The Unexpected Guest, Liverpool Biennial, Liverpool, 2012; Chkoun Ahna – On the Track of History, Carthage Contemporary Project, National Museum of Carthage, 2012; Languages of Revolution, Kleine Humboldt Galerie, Berlin, Germany, 2012; Social States: Baptiste Coelho and Nadia Kaabi-Linke, Pump House Gallery, London, 2012; Lines of Control - Partitions as a Productive Space, Herbert F Johnson Museum, Cornell University, 2012; The Future of a Promise, 54^th Venice Biennale; Based in Berlin, Kunst-Werke Institute for Contemporary Art, Berlin,2011; Different Abstractions, Green Cardamom-Project, London, UK, 2011 1 Year in Berlin, Christian Hosp Galerie, Berlin, Germany, 2010; Aftermath, 25^th Alexandria Biennale for Mediterranean Countries, Alexandria, Egypt, 2009; and Provisions for the Future, 9^th Sharjah Biennial, Sharjah, UAE, 2009.

Her works are part of several public and private collections including the Centre Pompidou, Paris; Solomon R. Guggenheim , New York; The Museum of Modern Art (MoMA), New York; Dallas Museum of Art, Dallas; M+ Museum, Hong Kong; Sharjah Art Foundation; Samdani Art Foundation, Dhaka; Burger Collection, Hong Kong; Jameel Art Collection; Fondation Villa Datris pour la Sculpture Contemporaine, France; Barjeel Art Foundation, Sharjah; ARTER Vehbi Koç Foundation, Istanbul; JP Morgan Chase Art Collection, New York; The Ramzi and Saeda Dalloul Art Foundation, Lebanon; Kamel Lazaar Collection, Tunis and Ministère de la Culture et de la Sauvegarde du Patrimoine, Tunis.

She has received a number of awards including New Discoveries Prize at Art Basel Hong Kong 2014; the Abraaj Capital Art Prize, 2011, First prize in UmbauStadt art and Urban Architecture Competition, Berlin, Germany 2010, and the Jury Prize at the Alexandria Biennale, 2009.

Kaabi-Linke currently lives and works in Berlin.

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Exhibitions