Farah Atassi

Resting Dancers


Exhibition Opening: July 15, 2022, from 5 pm to 7 pm.
RSVP: contact.shanghai@alminerech.com

For the safety of our visitors and staff, masks must be worn by all visitors upon entrance, and negative PCR test result within 72 hours is required while entering.

Inquire about the exhibition:

The gallery is open from 11 am until 7 pm.

  • , Sleeping Dancer 3, 2021
    Glycero and oil on canvas
    160 x 200 cm
    63 x 78 1/2 in
  • , Dancer on Stage 2, 2021
    Glycero and oil on canvas
    200 x 160 cm
    78 1/2 x 63 in
  • , After the Show, 2021
    Glycero and oil on canvas
    200 x 160 cm
    78 1/2 x 63 in
  • , The Acrobat Dancer, 2021
    Oil and glycero on canvas
    250 x 180 cm
    98 1/2 x 71 in
  • , Dancer with Bouquet, 2021
    Oil and glycero on canvas
    180 x 250 cm
    71 x 98 1/2 in
  • , The Red Shoes, 2021
    Oil and glycero on canvas
    130 x 97 cm
    51 1/2 x 38 1/2 in
  • , Resting Dancer in Black Interior, 2021
    Oil and glycero on canvas
    162 x 130 cm
    64 x 51 1/2 in
  • , Sleeping Bather, 2021
    Oil and glycero on canvas
    145 x 180 cm
    57 1/2 x 71 in

Press release

Almine Rech Shanghai is pleased to present Farah Atassi's third solo exhibition, on view from July 16 to July 23, 2022. 

The society of the spectacle. The performance is over, or perhaps it is yet to begin. Farah Atassi's dancers are at rest, sometimes even asleep, on a stage with a half-open curtain, not for some ballet but for other art forms. Indeed, in the center of a space lined entirely with an impeccable grid that plays almost hypnotically with the reclining dancer's striped costume, striped paintings emerge from the decor, while on the ground a frame seems to be waiting to become an abstraction. These intersecting lines in Sleeping dancer 3 reveal other crossings, other encounters — those of painting, dance, and theater. This singular dialogue occurs again on the stage of Dancer on stage 2: next to some striped paintings strewn on the floor, the dancer, revealing her intimacy — she only wears a blouse and some slippers — lounges in the stage area, exposing an abstract, undulating decor that merges with the stage curtains. The same ripples appear in some of the colorful abstractions of the Swiss painter Verena Loewensberg (1912-1986), the only woman in the group of "Zurich concretes" (Max Bill, Camille Graeser, and Richard Paul Lohse) whose project, similar to other historical avant-gardes, had the ambition to produce an abstract plastic which would become a universal language applying to all artistic forms and fields of society, blurring the boundary between art and life. Before becoming a painter, Loewensberg was a dancer in Zurich, trained by the choreographer Trudi Schoop. In Shanghai, in front of Farah Atassi's paintings of dancers — among them perhaps a Loewensberg — the memory of the Swiss painter's abstractions awakens, as much because of the geometry of the decor as the use of many art forms (theater, music, ceramics, dance...). All of this leads to an image of painting which is not defined by its pure pictorial specificity but by its fertile grounding in other art history movements.

- Marjolaine Lévy, art critic and curator