Wafaa Bilal

ARES, GOD OF WAR, 2015
Cold cast resin, enamel paint, nail polish and crude oil
14 ¼ x 4 ¾ x 4 ¾ inches

SOLD

  • ARES, GOD OF WAR, 2015
    Cold cast resin, enamel paint, nail polish and crude oil
    14 ¼ x 4 ¾ x 4 ¾ inches

    SOLD

  • THE ASHES SERIES: CHAIR, 2003-13

    Archival inkjet photograph, 40 x 50 inches

     

  • THE ASHES SERIES: MARKET, 2003-13

    Archival inkjet photograph, 40 x 50 inches

  • DOMESTIC TENSION #4, 2007

    Archival inkjet photograph, 40 x 30 inches, Edition of 5; 20 x 24 inches, Edition of 5

  • THE THINGS I COULD TELL..., 2015

    Hand-cast crystal,

    4 ⅛ x 3 ¼ x 1 ¾ inches each

    Set of 7; Edition of 5

    (Photo credit: Mark Menjivar)

biography

Wafaa Bilal is renowned for provoking dialogue about international politics and internal dynamics through high profile, technologically-driven art projects that employ the use of robotics, the internet, and photographic mobile mapping. His work is constantly informed by the experience of fleeing his homeland of Iraq and existing simultaneously in two worlds – his home in the “comfort zone” of the United States and his consciousness of the “conflict zone” in Iraq. Aware of the disconnect that occurs when we inhabit a comfort zone far from the trauma of a conflict zone, Bilal forces his audiences to become active participants in his reality based on these first-hand experiences. In this way, Bilal’s work is more of a lens than a confrontation, as the artist presents us with his story so that it may be retold, discussed, distributed, and brought into the awareness of a culture that has become disengaged with, and de-sensitized to, the violence and reality of war.

Bilal’s projects have served to create interactive platforms that critique both formal and informal spaces, ranging from the gallery setting, to his own body, to the internet chat room. His critically-acclaimed projects include: the 3RD I (2010-11), when Bilal had a camera surgically implanted on the back of his head to spontaneously transmit images to the web 24 hours a day; …AND COUNTING (2010), when Bilal’s back was tattooed with a map of Iraq and over 100,000 dots for every Iraqi and US casualty of war; and DOMESTIC TENSION (2007), when Bilal spent a month in a Chicago gallery with a paintball gun that people could shoot at him remotely from over the internet. DOMESTIC TENSION was called “one of the sharpest works of political art to be seen in a long time” by The Chicago Tribune, which also named him 2008 Artist of the Year.

Bilal’s work is represented in major public collections, including Mathaf: Arab Museum of Modern Art, Qatar; Museum of Contemporary Photography, Chicago; Milwaukee Art Museum; and the Los Angeles County Museum of Art, California. He has exhibited extensively in galleries and institutions throughout the world, including the US, Thailand, Iraq, the UK, Dubai, Lebanon, France, and Germany, and he has served on the panels of over twenty major global universities and institutions, including the Tate Modern, UK; Harvard University; Stanford University; Museum of Art and Design; the Global Art Forum, Qatar; and the Inter-Society for the Electronic Arts,Turkey. His work has been reviewed in major publications, including ARTnews¸ Art in America, The New York Times, The Wall Street Journal, and Newsweek, and he is the author of the critically-acclaimed 2008 publication Shoot an Iraqi: Arts, Life and Resistance Under the Gun.

Bilal graduated from the University of New Mexico and then obtained an MFA at the School of the Art Institute of Chicago. He currently lives and works in New York as an Associate Arts Professor at New York University’s Tisch School of the Arts. 

exhibitions
collections
Mathaf: Arab Museum of Modern Art, Qatar
Museum of Contemporary Photography, Chicago
Milwaukee Art Museum, WI
Los Angeles County Museum of Art, California
publications
press
Wafaa Bilal in artnet news
Wafaa Bilal in the Washington Post
Wafaa Bilal in the Financial Times
Wafaa Bilal's new representation with the gallery in Modern Painters Magazine
Wafaa Bilal in Entertainment Weekly
"Contained Conflict" reviewed in ARTnews Magazine
"Contained Conflict" in ArteFuse
Wafaa Bilal in Canvas
Wafaa Bilal in The Providence Phoenix
Wafaa Bilal in The Boston Globe
Wafaa Bilal in Khaleej Times
Wafaa Bilal in The New York Times Magazine
Wafaa Bilal in Harper's Bazaar ART
Wafaa Bilal in Conversation with Sara Razaa
Wafaa Bilal in ArtAsiaPacific Magazine
news
Wafaa Bilal at the 56th Venice Biennale
March 19, 2015

Wafaa Bilal will be included in “The Great Game: Iran, India, Pakistan, Afghanistan, Kurdistan, Iraq, Central-Asian Republics: Art, artists, and culture from the heart of the world” presented at the Iranian Pavilion.

“The Great Game”
The Iranian Pavilion at the 56th Venice Biennale
May 9 - November 22, 2015
www.labiennale.org

Award Winner
December 14, 2014

2014 Evelyn Shakir Non-Fiction Award
Arab American Museum

We Are Iraqis: Aesthetics and Politics in a Time of War has been awarded the 2014 Evelyn Shakir Non-Fiction Award by the Arab American Museum, which includes a chapter by Wafaa Bilal entitled “Invisible Mirror, Aggression and the Thumb-Generation Response.”

 

On View
Los Angeles County Museum of Art
December 14, 2014

Beginning January 31, 2015

The recently-acquired Wafaa Bilal works will be included in the forthcoming LACMA exhibition, Islamic Art Now: Contemporary Art of the Middle East, which marks the museum’s first major installation of contemporary art of the Middle East.

Exhibition information

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