Program: Thursday, April 18, 2013 -

Khalil Rabah: Pages 7, 8, 9

Thursday, April 18, 2013

Khalil Rabah: Pages 7, 8, 9

Khalil Rabah, In this Issue, 2006–2012 (Act III: Molding, Neon, 120 × 400 cm). Photo by George Haddad.

e-flux presents Khalil Rabah: Pages 7, 8, 9, an oblique survey of Khalil Rabah’s work from the last ten years, and the artist’s first solo exhibition in the US.

Khalil Rabah’s Palestinian Museum of Natural History and Humankind (2003–ongoing) is an elusive national museum that was established, in the words of its newsletter, “to inspire wonder, encourage discovery, and promote knowledge.” With departments spanning fields such as botany, geology, and paleontology, the Museum through its newsletter assumes a cheerful naturalism as it describes botanical research encountering territorial obstacles in the field, or considers the legal rights of trees and other natural objects. As a playful reading of the political reality of Palestine that also implicates the blissfully remote framing mechanisms of the natural history museum, we encounter a complex geological and geopolitical wink when its Earth and Solar System Department announces its fascination with how our world is “constantly being remolded by powerful forces beyond our control.”

For his exhibition at e-flux, Rabah presents the Summer 2011 issue of the Museum’s newsletter, which takes on three new forms: a printed copy of the twenty-four-page document stacked on the exhibition floor for visitors to take; a glaring red neon sign of the cover’s headline, In this issue: Statement concerning the institutional history of the museum, installed nearby as a stand-in exhibition title; and a new series of paintings based on pages of the Museum’s most recent newsletter, suspended in sliding archival racks. Here Rabah explores ways of both spatializing and personifying the Museum and the ideas it represents at an important moment of institutional reflection. Staging the display of these highly abstracted physical forms in a schematic representation of an art institution’s gallery and storage space, Rabah enacts a warped, cyclical process of materialization and dematerialization, ultimately implying the impossibility of an idea becoming form in the first place.

In a gallery adjacent to this storage space pages 7, 8, and 9 of the twenty-four page Summer 2011 newsletter have been extracted from the Museum archives to become a series of paintings, giving them and their content prominence over the remaining twenty-one pages. The three pages on display report on the Botanical Section’s recent international conference in Palestine, Conservation in the 21st Century: A New Geo-Political Science, which feature a debate on the intertwined destinies of architecture, education, and politics; and the Education Section’s news of victory in the Swiss Federal Supreme Court for five olive trees that had been refused recognition and citizenship by both the United Nations and the Canton of Geneva. In discussing contemporary issues of exile, naturalization, and the rights of stateless beings, the paintings paradoxically articulate the Museum’s own resolutions on these topics. In order to ask what the form of a territory or subject of study must be, the Museum inverts the question: What is it not?

Khalil Rabah was born in 1961 in Jerusalem and studied architecture and fine arts at the University of Texas. Rabah is a co-founder of Al Ma’mal Foundation for Contemporary Art in Jerusalem in 1998 and of the Riwaq Biennial in 2005, and is also the founder of The Palestinian Museum of Natural History and Humankind. He is also a member since 2010 of the curriculum committee of Home Workspace Program, a pioneering educational initiative in Lebanon launched by Ashkal Alwan. Rabah has participated in several biennials including the Istanbul (2005), Liverpool (2008), Venice (2009) and Sharjah (2010) biennials; as well as group exhibitions, most recently at the Queens Museum of Art, Brooklyn (2009); Mathaf Museum of Modern Art, Doha (2011); Arnolfini, Bristol (2011–12); Museum of Contemporary Art (MAC) Marseille (2012); and the Mori Art Museum, Tokyo (2012). His solo exhibitions include Review, Beirut Art Center (2012), The Third Annual Wall Zone Sale, Khalil Sakakini Cultural Center, Ramallah (2004); 50,320 Names, Brunei Gallery, London (2007); United States of Palestine Airlines, Home Works, Beirut (2007); and Art Exhibition, Ready Made Representations, Sfeir-Semler Gallery, Hamburg (2012).

Khalil Rabah would like to thank: Omar Abdoui, Josh Altman, Suad Amiry, Julieta Aranda, Laura Barlow, Kelman Duran, Reem Fadda, Foundation for Arts Initiative, Jimmy Johnson, Prudence Katze, Brian Kuan Wood, Lilly Lewis, Lutz Meyer, Rana Nasser Eddin, Rasha Salti, Stephen Squibb, Andrée Sfeir-Semler, and Anton Vidokle.

For further information please contact laura @

“Khalil Rabah: ‘Pages, 7, 8, 9’”, The New York Times
by Holland Cotter

A decade ago, Khalil Rabah, a Palestinian artist born in 1961 in Jerusalem, founded the fictional Palestinian Museum of Natural History and Humankind . It was, and remains, an ambitious institution, with departments of geology, paleontology, anthropology and botany, all overseen, in a notable feat of disciplinary multitasking, by Mr. Rabah.... Read more.

“Page Turner”, V Magazine
by Jennifer Piejko

Many artists attempt to rewrite history, but it’s safe to say that few have done so as successfully as Khalil Rabah: not simply rewriting, but writing from scratch, a history of a nation and culture, filling in the pages the books left blank (or scribbled hastily in pencil). The Palestinian Museum of Natural History and Humankind , currently in... Read more.

“MAKING UNIVERSES, Khalil Rabah: Pages 7, 8, 9”, Ibraaz
by Fawz Kabra

On 2nd February 2013, e-flux ‘s exhibition space on Manhattan’s East Broadway hosted Khalil Rabah’s first solo exhibition in the United States. Khalil Rabah: Pages 7, 8, 9 presented the artist’s work from the last ten years in a very curious manner. The exhibition was contextualized by a symposium entitled ‘Some Thoughts Regarding the Erection of the... Read more.

“The Lookout: A Weekly Guide to Shows You Won't Want to Miss”, Art in America

With an ever-growing number of galleries scattered around New York, it’s easy to feel overwhelmed. Where to begin? Here at  A.i.A. , we are always on the hunt for thought-provoking, clever and memorable shows that stand out in a crowded field. Below is a selection of current shows our team of editors can’t stop talking about. Khalil Rabah at... Read more.

View of Khalil Rabah: Pages 7, 8, 9, e-flux, New York, 2013. © e-flux.
View of Khalil Rabah: Pages 7, 8, 9, e-flux, New York, 2013. © e-flux.
View of Khalil Rabah: Pages 7, 8, 9, e-flux, New York, 2013. © e-flux.
View of Khalil Rabah: Pages 7, 8, 9, e-flux, New York, 2013. © e-flux.
View of Khalil Rabah: Pages 7, 8, 9, e-flux, New York, 2013. © e-flux.
View of Khalil Rabah: Pages 7, 8, 9, e-flux, New York, 2013. © e-flux.
Khalil Rabah: Pages 7, 8, 9
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