Biography

 

Shezad Dawood works across film, painting and sculpture to juxtapose discrete systems of image, language, site and multiple narratives, using the editing process as a method to explore meanings and forms between film and painting. His practice often involves collaboration, working with groups and individuals across different territories to physically and conceptually map far-reaching lines of enquiry. These networks map across different geographic locations and communities and are particularly concerned with acts of translation and restaging. For example, his collaborative film project, Feature (2008), relocated the action of a traditional western to the English countryside, slipping into other sub-genres such as the zombie-flick, and Wagnerian opera (and features cameos from artists Jimmie Durham and David Medalla), as well as South Asian godflick. Another recent video work, Towards the Possible Film (2014), shot on location in Sidi Ifni, Morocco, explores anthropological concepts of indigenousness through the genre of science fiction.

 

Dawood’s work has been exhibited internationally, including the Fondazione Querini Stampalia, Venice (2017); Museum of Modern Art, New York (2015); Taipei Biennial, Taiwan (2014); Marrakech Biennial, Morocco (2014); MACBA, Barcelona (2014); Witte de With, Centre for Contemporary Art, Rotterdam (2013); Modern Art Oxford (2012); Busan Biennale, South Korea (2010); Tate Britain, London (2009); and the 53rd Venice Biennale, Italy (2009). Most recently, Dawood has held solo exhibitions at Parasol Unit, London (2014); and OCAT Xi’an, China (2014). His feature film Piercing Brightness (2013) was exhibited widely at international festivals, is distributed by Soda Pictures on Blu-ray/DVD and iTunes, and was screened at the Museum of Modern Art, New York.

 

Dawood is a Jarman Award nominee (2012), and one of the winners of the Abraaj Capital Art Prize (2011).

 

Shezad Dawood was born in London in 1974 and trained at Central St Martin’s and the Royal College of Art before undertaking a PhD at Leeds Metropolitan University.

 

Dawood is a Research Fellow in Experimental Media at the University of Westminster. He lives and works in London.

 

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]

 

Fruit of the Forest, June 2017. 'About Leviathan Cycle, migrants, art and Nature. A conversation with Shezad Dawood' by Federica Tattoli

 

Exibart, June 2017. 'Leviathan' Venice by Irene Guida

 

The Guardian, May 2017. 'Leviathan' Venice

 

Art Tribune, May 2017. 'Leviathan' Venice

 

ATP, May 2017. 'Leviathan' Venice

 

The Art Newspaper, May 2017. 'Leviathan' Venice

 

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