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rachela abbate

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installations

rachela abbate graffio-2006-b-300x198 installations

Bina

2006, saw cuts in the wall filled with pigment, 342 x 295 cm ©Rachela Abbate; photography ©Marco Baldassari
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No.2

2006, plaster in powder with white pigments, 320 x 250 cm ©Rachela Abbate; photography ©Marco Baldassari
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No.2

plaster in powder with white pigments, 320 x 250 cm ©Rachela Abbate; photography ©Marco Baldassari
rachela abbate lettobuio-5-part-copia-200x300 installations

No.2

2006, plaster in powder with white pigments, 320 x 250 cm ©Rachela Abbate; photography ©Marco Baldassari 2006,
rachela abbate giallo-1-300x200 installations

No.1

2006, plaster with yellow pigment, 188 x 260 x 0,5 cm©Rachela Abbate; photography ©Marco Baldassari
rachela abbate giallo-2-300x200 installations

No.1

2006, plaster with yellow pigment, 188 x 260 x 0,5 cm©Rachela Abbate; photography ©Marco Baldassari
rachela abbate angoloner_1-300x201 installations

Columns

2006, Indian ink on walls ©Rachela Abbate; photography ©Marco Baldassari
rachela abbate angolonero-201x300 installations

Columns

2006, Indian ink on walls ©Rachela Abbate; photography ©Marco Baldassari
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Pentagram

installation view, 2005, 462 drawing papers each 29,7 x 21 cm, Indian ink ©Rachela AbbateThe base of this work is the combination possibilities of 11 lines of which 5 are visible in black. 462 combinations are possible. As a result, the work consists of 462 papers, on each is freehand drawn with Indian ink one combination of the 5 black lines. The sequence of installing the drawings depends on the space. In the following installation was chosen a non-hierachical combination as the room is easily perceived like the inside of a cube.
rachela abbate img011-300x202 installations

Pentagram

installation view, 2005, 462 drawing papers each 29,7 x 21 cm, Indian ink ©Rachela AbbateThe base of this work is the combination possibilities of 11 lines of which 5 are visible in black. 462 combinations are possible. As a result, the work consists of 462 papers, on each is freehand drawn with Indian ink one combination of the 5 black lines. The sequence of installing the drawings depends on the space. In the following installation was chosen a non-hierachical combination as the room is easily perceived like the inside of a cube.
rachela abbate img012-200x300 installations

Pentagram

installation view, 2005, 462 drawing papers each 29,7 x 21 cm, Indian ink ©Rachela Abbate
rachela abbate img013-300x205 installations

Pentagram

installation view, 2005, 462 drawing papers each 29,7 x 21 cm, Indian ink ©Rachela Abbate
rachela abbate pigmento003-187x300 installations

Emptfullness

2009, pigment and MDF board, 280 x 100 cm ©Rachela Abbate

DAAR (Decolonizing Architecture Art Residency)

is an architectural studio and art residency programme based in Beit Sahour, Palestine. DAAR’s work combines conceptual speculations and pragmatic spatial interventions, discourse and collective learning. DAAR explores possibilities for the reuse, subversion and profanation of actual structures of domination: from evacuated military bases to the transformation of refugee camps, from uncompleted governmental structures to the remains of destroyed villages. DAAR projects have been shown showed in various biennales and museums, among them Venice Biennale, Home Works in Beirut, the Istanbul Biennial, the Bozar in Brussels, NGBK in Berlin, the Architecture Biennale Rotterdam, Architekturforum Tirol in Innsbruk, the Tate in London, the Oslo Triennial, the Centre Pompidou in Paris and many other places. DAAR’s members have taught lectured and published internationally. DAAR was awarded with the Price Claus Prize for Architecture, nominated for the Curry Stone Design Price, the Anni and Heinrich Sussmann Artist Award, the New School’s Vera List Center Prize for Art and Politics, the Chernikhov Prize.

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Contribution to Turbine Bagh

Turbine Bagh_samosa packets_11©Rachela Abbate.JPG

 

 

 

 

 

 

 

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