Daniele Genadry

2024 Artist-in-Residence

May 30

Daniele Genadry works with painting, photography and print, to examine conditions and contemporary forms of seeing, particularly those present in postwar Lebanon. Her practice considers the potential of an image to generate its own temporality (light), and to create a mediated field of vision that sensitizes our consciousness. Often based on landscape motifs, the paintings seek, through their material surface, to act physically on the viewers' eyes, requiring a time of focus and adjustment, in order to apprehend the (painted) image. Their aim is to give a heightened and intense view - and an image form to a particular quality and force - of presence, fragility and disappearance.

Genadry studied at Dartmouth College, NH (BA 2002) and at the Slade School of Art, London (MFA 2008). She has participated in residencies at the Cite Internationale des Arts (Paris), Bronx Museum, Anderson Ranch Art Center (USA), Fondazione Ratti (Italy), and Frans Masereel Centrum (Belgium), and was the Abbey Scholar at the British School at Rome (2013-14), a fellow at the Bogliasco Foundation (IT, 2019) and at the Camargo Foundation (2021). Recent exhibitions include: Artist Rooms at Jameel Arts Center, Beirut Art Center, Centre Intermondes, Sharjah Biennial 13, Biennial del Sur, MUCEM, Sursock Museum, SMBA, Bronx Museum and Fondazione Pastificio Cerere. She is a recipient of the 2024 Munn Artist fellowship award in Giverny, FR. Genadry lives and works in Paris, France and Beirut, Lebanon.

Installation view, *Daylight,* 2024. Image courtesy of In Situ Gallery. Photo by Aurelian Mole

Artist Statement

My recent work has started from the premise that in order to reclaim sight (and site), the eye has to be brought to an awareness of its own physical movements: squinting, adjusting, dilating- in order to trigger a conscious way of looking and an awareness of the local conditions of that sight. My works -paintings, drawings, prints- propose landscape images as glimpses that are seen all at once, but rather than as a quick flash, the paintings are quite tenuous, often with a fading effect embedded in the image itself. They try to incite a specific way of looking, a heightened or apparitional vision, where you can notice what is in the process of disappearing. For me, what is being lost, in addition to an equilibrium with/in nature, is an ability to see fully and directly. My work aims at creating a surface/situation where durational (slow, long) looking can occur, and where a visual encounter with a natural motif can serve to place or ground one in time and space (in a conscious present).

At Tusen Takk

Daniele will spend time at Tusen Takk on a new body of work that engages directly with the surrounding landscape (Lake Michigan) and expands her ongoing research of light movements and the animation of sight. She plans to work on paintings, drawings, and prints examining light through a sustained and repeated view of the lake. Studying qualities of light in relation to bodies of water has consistently attracted artists (modern painting included), and she is interested in both a direct experience with and a reflection on these specific conditions in relation to painting. This practice considers works of certain modern artists (Monet, Signac, Bonnard) whose paintings’ proposed new ways of seeing and capturing nature in their time, as well as more contemporary works, such as paintings by David Hockney, Lois Dodd, Alex Katz among others, in order to reflect on how current visual modalities and technologies affect our way of looking at and engaging with the world.