• SANDMAND'S SAND
  • Navid Nuur
    15 April – 20 May 2017
  • Press release

    Dear Martin,

    As I told you recently when we spoke on the phone, ‘The Eyecodex of the Monochrome’
    comprises a series of works that deal with how we see monochromes with our eyes.
    The largest monochrome in the world is the one you see when you close your eyes.
    It surpasses the work of Anish Kapoor, James Turrell, Mark Rothko or Robert Ryman.
    It’s a work of art that everyone carries around with them. For years, I’ve tried to see how my
    eyes see; to view what my eyes see when I shut them: the ultra-monochrome. This form
    of viewing – in which you need to keep your thoughts under control, but not entirely – is
    where the real shimmering takes place. Or the darkness that resonates when you peer
    into a cave. You can feel and visualize the dimensions of the black volume in the depths.
    This tipping point, between viewing and imagining, is where form takes shape. We all see
    it – specifically when we aren’t looking. I also think painting what you can’t see is far
    more important than what we already know and see. A kind of static yet organic white
    noise that can engender images. It’s where the real process of viewing takes place –
    before the image makes way for imagination or, conversely, abstraction.
    For this exhibition, I have selected a number of works and studies made in recent years
    that came out of the aforementioned considerations. Oh, another important thing: I use
    non-existent colors. Colors that people have developed for functional rather than
    emotional purposes – like primer, chroma key and aluminium paint. I want to lend my
    paintings a certain ‘neutrality’, since our viewing of colors is culturally determined.

    Extract from an email sent by the artist.

    -

    Navid Nuur (1976, Iran/Netherlands) lives and works in the Hague. In 2011 Navid Nuur was granted the ‘Koninklijke
    Prijs voor Vrije Schilderkunst’ (Royal Price of Painting) for his Monochrome paintings series ‘Eyecodex of the Monochrome’.
    These paintings where also exhibited at the Venice Biennale that year.
    His past exhibitions include major institutions such as Dundee Contemporary Arts, Dundee (2014); Bonnefanten
    Museum, Maastricht (2014-2013); Centre Pompidou, Paris (2013); Parasol unit, London (2013), Kunst Halle Sankt Gallen
    (2011), Venice Biennale (2011), Museion, Bolzano (2011); Kunsthalle Fridericianum, Kassel (2009).
    His work can be found in public collections such as Stedelijk Museum, Amsterdam; S.M.A.K (Stedelijk Museum voor Actuele
    Kunst), Gent; Centre Pompidou, Paris; Bonnefantenmuseum, Maastricht; Louis Vuitton Foundation, Paris.
    Navid Nuur is represented by Max Hetzler, Plan-B and Martin van Zomeren.

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    City Silence 2, 2011-2017, color print on blue back poster, paper on hard board, tie wraps, attached to metal fence, dimensions variable

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    'Sandmandsand', 1984-2017, chalk marker on window, dimensions variable

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    'Untitled', 2017, 3d print, army camouflage paint, lead menie, hand life cast, polyurethane, resin, wood, white paint for wood, 130 x 90 cm (incl. pedestal)

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    'Untitled', 2017, 3d print, army camouflage paint, lead menie, hand life cast, polyurethane, resin, wood, white paint for wood, 130 x 90 cm (incl. pedestal)

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    'I' as in: 'we', 1984-2017, A4 paper, apple, dimensions variable

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    GRAND/QUESTION, 2012, offset eye-codex print, metal box, sandpapered perspex, hand traced text, 160 x 112 x 20 cm

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    Study 110-62 (The Eye-Codex of the Monochrome), 1984-2017, line marker on wooden panel, 71,6 x 51,8 cm

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    'The meeting', black mdf, plexiglass, primer and digital print, 36,6 x 29,6 x 5,6 cm

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    'Aladin', 2010-2017, colored emergency flares, medium canvas. incl. smoker: wood, ceramic, spriral tubes, dimensions variable

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    The Eye-Codex of the Monochrome, (STUDY), 2011-2017, envelopes, chalk paper

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    Study 68-30 (The Eye-Codex of the monochrome), 1984-2017, aluminum, and zinc primer, retouch marker on wooden panel, 37 x 26,1 x 2,2 cm

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    Study 42-64 (The Eye-Codex of the monochrome), 1984-2017, aluminum rooftop primer, grout marker on wooden panel, 40 x 29,5 x 2,2 cm

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    The Eye-Codex of the Monochrome, Study, 1988-2017, red and blue pencil on paper, duo pencil, 62,5 x 47,3 x 4 cm

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    'Untitled', sandpaper and graphite on paper, 36,5 x 47,5 x 4 cm

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    'The passage', digital print on emergency blanket, 111,5 x 92,5 x 4 cm

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    'These are the days', 2004-2017, mixed media, set of 3, dimensions variable, approx. 14 x 15 cm (each)

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    'These are the days', 2004-2017, mixed media, set of 3, dimensions variable, approx. 14 x 15 cm (each)

    Installation view, SANDMAND'S SAND, Martin van Zomeren, 2017
    'These are the days', 2004-2017, mixed media, set of 3, dimensions variable, approx. 14 x 15 cm (each)

    'Untitled' 2017, A5 postcard, full color offset print on silverstar paper