Biog

 

Shezad Dawood (b. London 1974), is an artist/film-maker, who looks at the compiling, layering and editing of multiple narratives across his films, paintings and sculptural works. His collaborative film projects derive from extended periods of time investigating particular locales, involving their communities in fictions of place. These fictions often use genre as a fantastical prism by which to reflect on both lived and imagined ways of being, a kind of alter-documentary. Key themes in his work include performing cinema, the (an-)archive, and an inquiry into modes of perception and how they move across the spectrum of the alchemical and the digital, figuration and abstraction and what it means to make images and texts at this moment in time.

 

Recent solo exhibitions include : Pioneer Works, Brooklyn (2015) Fig.2 at the ICA studio, London (2015), Parasol Unit, London, Leeds Art Gallery and OCAT Xi’an, China (all 2014), Modern Art Oxford (2012). And group exhibitions include: Taipei Biennial (2014), Marrakech Biennial (2014), MACBA Barcelona (2014), Witte de With (2013), Busan Biennale (2010), Tate Britain (2009), and the Venice Biennale (2009). His recent feature film Piercing Brightness (2013), has been screened at the ICA, London, MoMA, New York and various international festivals and museums. Curatorial projects include the exhibition and publication: Black Sun, for the Devi Art Foundation, Delhi (2013/4). He currently lives and works in London, where he is Senior Research Fellow in Experimental Media at the University of Westminster.

 

Shezad Dawood CV

 

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Publications/Essays [Selection]

 

‘It was a time that was a time’, Edited by Gabriel Florenz and David Everitt Howe. Published by Pioneer Works, New York, 2015. ISBN 978-0-9905935-6-0

Essay by Sophie Cavoulacos, Future Past, pp. 17-25

Michael Vazquez in Conversation with Shezad Dawood, pp. 41-47

 

‘Subplots to a City. Ten Years of In Certain Places’, Edited by Charles Quick, Elaine Speight, and Gerry van Noord. Published by In Certain Places, Preston, 2014. ISBN 9780993049804

 

‘Blow Up, Antonioni's Classic Film and Photography’, Edited by Klaus Albrecht Schröder, Walter Moser. Text by Roland Fischer, Philippe Garner, Anna Hanreich, Gabriele Jutz, Astrid Mahler, Walter Moser, Thomas Seelig. Published by Hatje Cantz, 2014. ISBN-13: 978-3775737371

 

‘Shezad Dawood: Towards the Possible Film’, Ziba Ardalan (ed.), texts by Oliver Basciano and Sarah Brown, Parasol unit foundation for contemporary art, London, 2014. ISBN 9780957351820

Essay by Oliver Basciano, Certain bounds hold against chaos. Or what happens when art lets chaos through the cracks, pp. 74-78

 

‘Where are we now?’, Edited by Hicham Khalidi, Amanda Sarroff, Natasha Hoare, Marrakech Biennale and Jap Sam Books, 2014 ISBN 978-94-90322-46-5

 

‘Open Hearth Surgery’, Edited by Aya Mousawi & Simon Sakhai, The Moving Museum, London, 2013, pp. 215-224 ISBN 978-0-9575853-2-4

 

‘Black Sun. Edited by Gerrie van Noord; Texts by Shezad Dawood, Megha Ralapati and Tom Trevor, Ridinghouse 2013 in association with Devi Art Foundation and Arnolfini, ISBN 978-1-905464-845

 

‘Photography as a Performative Act. Shezad Dawood and Amelia Jones’, in Perform Repeat Record. Live Art in Hisotry, Eds. Amelia Jones & Adrian Heathfield, Intellect: Bristol, 2012, pp. 483-492, ISBN 978 1 84150 489 6

 

Piercing Brightness as an Exploration of the An-archic Imaginary (An Interview by Mark Bartlett) in 'Journal of Visual Culture', Vol. 12 No 3, December 2013, pp. 431-449

 

Piercing Brightness: Shezad Dawood, Ed. Gerrie van Noord, inc. texts by Sam Thorne, Abdellah Karroum, Shumon Basar, Mark Bartlett & Jean Fisher, Koenig Books, London, 2012, ISBN 978-3-86335-146-5.

Essay by Mark Bartlett, Synthesist Imaginary and Recyclage, pp. 59-87

 

Footnote to a Project*: The 2011 Abraaj Capital Art Prize, Exhibition catalogue, texts by Sharmini Pereira, Hamra Abbas, Jananne Al-Ani, Shezad Dawood, Nadia Kaabi-Linke & Timo Nasseri, Abraaj Capital Art Prize, Dubai, 2011, p.209-311, ISBN 978-0-9560704-5-6.

 

Altermodern, Ed. Nicolas Bourriaud, Tate Publishing, London, 2009, p.14, p.89, p.94-97, ISBN 978-1854378170.

 

Amelia Jones, Seeing Differently: From Antonioni’s Blow Up (1966) to Shezad Dawood’s Make It Big (2005), in 'Journal of Visual Culture', Vol. 7 No. 2, August 2008, p.181-203.

 

Feature: Reconstruction, Shezad Dawood, Bookworks, London, 2008, ISBN 978-1906012083.

 

Artist’s Studio, Shezad Dawood, Culture Shock Media, London, 2007, ISBN 0- 9546999-5-5

 

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Articles [Selection]

 

Art Forum, January 2017. 'Kalimpong' Timothy Taylor, London

 

Frieze, October 2016.'Kalimpong' Timothy Taylor, London

 

Financial Times, September 2016. 'Kalimpong' Timothy Taylor, London

 

Wired, September 2016. 'Kalimpong' Timothy Taylor, London

 

White Hot Magazine, October 2015. 'It was a time that was a time', Pioneer works by Isabella Ellaheh Hughes

 

Art Forum, Critics Picks, October 2015. 'It was a time that was a time', Pioneer Works, by Anna Wallace-Thompson

 

Frieze, January 2015, ‘Taipei Biennial’, text by Tom Morton

 

Flash Art Italia, September 2014, text by Lavinia Filippi

 

e-flux, December 2013, Journal 50. Towards the Possible Film (A Script with Some Notable Interruptions)

 

The Art Newspaper, January 2013, ‘Cross-cultural ruses. Shezad Dawood’s multimedia works reveal hidden worlds’, by Stephen Clarke, p. 55

 

ArtSlant, 3 June 2013, ‘Shezad Dawood Rackroom’ by Philippa Snow

http://www.artslant.com/global/artists/rackroom/39116-shezad-dawood

 

Harpers Bazaar Arabia, Art, Issue 3, Summer 2012, ‘Bright Narrow Spaces’, text by Sara Raza,
Front cover and p.84-93

 

Art Review, Issue 60, Summer 2012, ‘Dormant cultural histories, a pencil moustache, Pakistani
models, hoodies on bikes, Acid Mothers Temple, Beat droupouts, Rothko, District 9, a Dream
Machine, bursts of colour’, text by JJ Charlesworth, p. 120-123

 

Dazed & Confused, Vol. III, 10 June 2012, ‘UFOs, Mormons and aliens that think they’re human’,

text by Simon Jablonski, p.142-143

 

i-D, Issue No. 319, May 2012, ‘I Want To Believe’, text by Felix Nash, p.265

 

Ibraaz.org, 24 February 2012, ‘Un-Thinking Systems: Shezad Dawood In Conversation with Sarah
Raza,

 

Wasafiri: International Contemporary Writing, Volume 26, No.1, March 2011, ‘Shezad Dawood:
Narrative, Myth and Translation’, text by Sally Miller, p.33-39.

 

Metropolis, No.6, December 2010 – January 2011, ‘Een Wereld Van Koopmannen En Denkers’,
text by Grant Watson, p.56-63.

 

Beaux Arts, 2010, ‘Slumbertown: Special Paris, Le Courant Altermoderne’, text by Stephanie
Moisdon, p.80-83.

 

Tank Magazine, 2009, Volume 5, Issue 6, 'Culture's Last Stand', text by Ana Finel Honigman, p.30- 31

 

Aesthetica, 27 March 2009, ‘Tate Triennal: The End of Post-Modernism’, text by Niamh Coghin,
p.32-35.

 

The Independent , 6 February 2009, ‘No Sharks here, but Plenty to Bite On’, text by Alice Jones,
p.6

 

Journal of Visual Culture, Vol. 7 No. 2, August 2008, ‘Seeing Difference Differently’, text by Amelia
Jones, p.181-203.

 

Art  in_America April 2008, April 2008, text by Matthias Harder, p.176-177.

 

Art Review March 08, Issue 20, March 2008, text by Richard Dyer, p.150.

 

The Times, Monday, June 9 2008, text by Iain Aitch, p. 21.

 

Miser & Now, No. 11, 2007, text by Brook McGowan, p.7 -11.

 

Dazed Confused, Vol. 2 Issue 55. January 2007, text by Isabel Stevens, p.44-48.

 

Time Out London, No. 2007, 28 October – 3 November 2010, ‘The Jewels of Aptor: Shezad
Dawood’, text by JJ Charlesworth, p.59 , p.63.

 

Arts Asia Pacific, Volume 2, August 2007, p.199.

 

Arts Asia Pacific, Spring 2005, No 44, text by Sara Raza, p.54-61.

 

Independent on Sunday, 19 June 2005, ‘Welcome to Paradise’, text by C. Grimshaw, p.45-47.
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Articles on Films

 

 

The Wire, September 2013, ‘Piercing Brightness’, text by Joseph Stannard

 

The Quietus, 6 June 2013, ‘Piercing Brightness Screening at the ICA’, text by Matt Colegate

 

Blouin Art Info, 7 June 2013, ‘Piercing Brightness Director Shezad Dawood Boldly Goes to
Preston’ by Marshall Julius

 

Screen Daily, 4 October 2011, ‘AND Festival: Apes, pig bladders and aliens, oh my!’, text by Wendy
Mitchell,

 

Jotta.com, 28 September 2011, ‘Abandon Normal Devices: Shezad Dawood's Preston’, text by Millie
Ross,

 

BFI Sight & Sound, September-October 2011, ‘Abandon Normal Devices: Near chaos and a happy
ending’, text by David Sorfa,

 

The National, Arts & Life, 27 July 2011, ‘Shezad Dawood’s latest work proves a piercing vision’, text
by Christopher Lord, p.3