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Rahman Hak-Hagir

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RAHMAN HAK-HAGIR (May 15, 1972) is an Austrian-born Vienna-based half-afghan conceptual and performance artist who began his career in 1990. Active for two decades in varied fields of art, his work is recently focussing on the conflicting priorities between individual and social environment. He is one of the founding members of the international artist collective known as „The Other Society“.

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artist shot
tom trap
ICE CREAM (2014)
THIS WAY (2013)
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Maryna Hrushetska / Art Advisor, Los Angeles (USA) 

One of my favorite archetypes in literature is the Trickster – a court jester, a master of disguise and a keen observer of social landscapes. Half Austrian, half Afghani artist Rahman Hak-Hagir questions conventional thinking in his conceptual performances, documented in photos and video. In literature, the Trickster serves as a catalyst to move the plot forward. 

Rahman’s cleverly constructed performances seek to promote new ways of thinking on the socio-political issues of our time by offering up a mirror. Rahman, who is the central figure in most of his theatrical performances, displays a sharp ability to distill complex narratives into simple visuals. Yet, like any good trickster, he challenges status quo with an intellectual wink and an excellent compositional eye. 

A socially conscious artist, Rahman’s recent works comment on conflicting needs between the individual and the collective. He is also a founding member of the international artist collective “The Other Society”. Rahman’s photographs range from the absurd, to the tragic to the curious. Priced in the $2,500 – $5,000 range. I enthusiastically encourage you to become an early collector of this thinker/trickster.

Dirk Bernhard Schmitz / Art Collector, Hamburg (Germany)

The conceptual and performance artist Rahman Hak-Hagir plays with our expectations and our views, which are firmly burnt into our consciousness. His performances hit my art nerve, because they are full of humor on the one hand, but are filled with serious sense, not intended for pleasing on the other hand.

I would characterize his works as “the black humor in the art world”. Each of his works challenges me to decipher the artist´s metaphors and to read his mind. The longer I need for this, the more fun I take out of the work. Each work forces me to detect something new in it or that it gives you every day new answers to the questions that look at it more than once. That is a good base for art collecting. When you choose an art work, you want to have the feeling that you will always love to look at it and to move you in life.” 

Quoted from “Pure Art & Poor Art. A Collector´s Views.” by Dee Bee Smith ©

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Harriette van Houtum / ART and More Media (Netherlands)

Rahman Hak-Hagir the Pioneer for the Future.

Is it possible trough Art for human kind to reach a higher level? Well, if only enough people could get familiar with the work of mister Rahman Hak-Hagir, it sure would be a possibility is my humble opinion.

It’s been almost a year ago that I saw some of his work for the first time and he hasn’t stopped to amaze me since. I´ve never came across a person, so rooted in awareness together with so much creativity. Rather than being stock in your own mindset and therefore being a sort of prisoner from the past, Rahman creates through his work an instant awareness.

He’s able to capture you in such a way that one can’t avoid being in the moment and therefore having immediate attention for the subject at hand. And he brings all that with such humor, sometimes humor with an edge, but always with respect for humanity and all the while being concerned for its wellbeing.

Someone who´s capable to make people aware of other realities is a true pioneer for the future. Rahman doesn’t even know me, but I want him to know that he certainly inspired and positively influenced my life and that of all of us at ART and More Magazine I might say for that matter.

So a huge THANK YOU to You Mister Rahman Hak-Hagir from all of us: You really rock!

Sophie Van Vlierberghe, Bienpublic – Art contemporain (France)

Martyrs et citoyens en armes

Mêlant photographie numérique et vidéo, le travail présenté par cet artiste afghano-autrichien relève le plus souvent de l’autoportrait : figure centrale de ses compositions, Rahman Hak-Hagir peut se mettre en scène seul ou encore face à un groupe hostile. Quoi qu’il en soit, il s’agit toujours d’aborder la question de l’individu face au collectif ou face à l’altérité.

Dans la lignée des autoportraits en solo, un cliché situé entre absurde et tragique permet, via la retouche numérique, de montrer un sujet qui s’automutile, la main sacrifiée étant également le bourreau ; ailleurs, une suite de photographies se voit présentée selon l’approche chronologique propre à la narration : sujet esseulé et sans défense au début de la série, l’artiste se munit progressivement d’armes, qu’il superposera et agencera de façon à évoquer le Christ en croix.

Figures christiques et références classiques

Les armes sont par ailleurs un élément récurrent de l’exposition, intervenant notamment dans les clichés de groupe : des citoyens a priori inoffensifs — femmes, vieillards —, vêtus de tenues traditionnelles, pointent leur fusil sur l’artiste, qui adopte une posture de martyr consentant.

La dimension christique de ces scènes, associée à la thématique générale de la condamnation à mort, fait bien sûr référence à des pièces issues de l’art classique. Deux exemples sont même disposés sous un des clichés, pour mieux souligner le caractère intemporel de la thématique à l’œuvre.

Sur le plan de la composition de l’image, on observe une alliance de simplicité et d’efficacité, dans les plans larges comme dans les plans rapprochés, mais aussi un jeu intéressant autour de la forme et de la couleur, notamment dans une vue d’un jardin où les silhouettes humaines vertes se mêlent aux bosquets. D’autres clichés sont également visibles via un diaporama sur ordinateur et des vidéos sont projetées sur ordinateur et sur toile.

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上一篇 作者:Lo 来源:周末画报 [826期 F38] 更新日期:2014-10-16 下一篇

不在重大事件现场,只能沉醉于社交网络生活,一厢情愿地以为世界很美好。一如概念及行为艺术家 Rahman Hak-Hagir上月在维也纳美泉宫新作《棕榈温室》,看似天地人明媚和谐,副题以英法意中和阿拉伯文写:“若春天能永远结束 ”,布卡罩袍下却暗藏激进主义和“阿拉伯之春 ”,当下世态其实不很绿。

Rahman的自我介绍是“关注个体与社会境况之间的冲突”。生于维也纳,母亲是奥地利人,父亲来自阿富汗喀布尔,血脉早混杂地缘政治的矛盾。他在电邮采 访中说,以前他的护照会注明“伊斯兰教徒”,后来这字眼不再“时髦”。8月底哥本哈根的CHART,Rahman和“奥地利—巴基斯坦”混血艺术家 Asad Khan手执扩音器上演《不要向我们发号施令,我们会呼召你》,以GoPro运动摄像机拍摄,剪辑后在Vimeo和Facebook发布。一小时演出关乎 权力和沟通可能性,以及社交网络年代观众如何影响艺术生涯?去年911的《处决艺术家》系列,护士、鞋匠、工人、裁缝、医生、秘书等平民,有的穿奥地利和 阿富汗传统装束,各执长枪指向Rahman,发动“下一场内战”,灵感来自受马奈名作启发的高氏兄弟《射杀基督》,三作共通点是,有一人没参与暴行。“艺 术生命被终结有各种原因,如经济市场、社会认受性以至文化禁忌。”
谈到祖国及中东“神权恐怖国度”,Rahman说,宗教被贪婪权力滥用,伊斯兰教徒被伪伊斯兰教军队杀害。塔利班或所谓的ISIS若真信奉先知的“审判 日”,岂敢擅自执行“神的旨令”?“动听的西方民主背后隐藏丑恶资本主义,战争就是盘大生意。历史却不断重演,一如远东。”从超级大国身份沦亡的奥地利经 验所得,他不无反讽地建议,无论什么党派主义,该向美国学习,分左右两翼轮替上台,最后其实都是同一班既得利益者。他期望阿富汗新总统上任后,局势稍为平 稳,那边的中国工厂可继续生产,那么不久将来,这边的中国人可参与更具创意的工作如互联网心理师、智能手机教练、猫狗发型师、舞后艺术家。Rahman够 黑色幽默,《定义艺术家》借荣格影子理论,自嘲为无能“Nobody”。于是他和友人在互联网创立跨国共同体“The Other Society”,呼召各地Nobody向现实世界发出警示讯号。

Lo Yin Shan for Modern Weekly, Beijing (China)

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Pages: 42, full color
Dimensions: 210 mm × 297 mm
Weight: 200 g
Binding: softcover /magazine (A4)
Languages: English

Edition: free online version, print on demand
Published: Oct 2015


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Rahman Hak-Hagir - LA GUERRE (2014)

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Rahman Hak-Hagir –

Rahman Hak-Hagir –

Rahman Hak-Hagir & Asad Khan –
Interviewed by Lotte Løvholm (2014)

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