Rossi & Rossi are delighted to be presenting new works by Rasheed Araeen, one of the foremost avante-garde artists of our time, at this year’s Art Basel Hong Kong. Recognised as the father of minimalist sculpture in Britain, where he has been based since 1964, Araeen has also distinguished himself as a pioneering writer and editor of dissenting and revisionist discourse on art history, a champion of Afro-Asian artists vis-à-vis Eurocentrism, a vision ary and passionate ideologue, and a groundbreaking performance artist. In short, his work has permanently reshaped the prevailing ideology of global art history.
Four large-scale post-minimalist sculptures, all completed in 2015, will be on display, including Bahar Ayie Khushyaan Lyie (Spring Come Happiness Come). The works take the form of his wall-mounted wooden sculptures of the late 60s to early 70s, with the use of lattice displaying a clear connection to the artist’s background in engineering, but also referencing forms found in twentieth century Modernist art, especially Russian Constructivism, and the utopian ideologies that accompanied the movements.
Also on display is Rainbow (2015), an interactive installation of seven cubes in primary colours. The work invokes the artist’s theme of social equality and mobility, fluidity amongst people. The work is similar to his seminal work Zero to Infinity, conceived in 1968 and constructed and performed at the Tate Modern, London, in 2012, which comprises of 100 blue lattice cubes positioned in a gallery for the audience to move around. The idea behind the work was to challenge the British Modernist approach to sculpture that it is a fixed object created by a single person. Like Zero to Infinity, Rainbow (2015) is modular and the audience at ABHK are invited to dismantle and rearrange the elements into new formations during the fair. A new artist’s monography, GOING EAST, will be published to coincide with the solo presentation at ABHK, and includes a foreward by renowned curator David Elliott.