{"id":9379,"date":"2025-08-01T21:33:01","date_gmt":"2025-08-01T19:33:01","guid":{"rendered":"https:\/\/www.fraclorraine.org\/?post_type=exhibition&p=9379"},"modified":"2025-12-12T12:46:07","modified_gmt":"2025-12-12T11:46:07","slug":"","status":"publish","type":"exhibition","link":"https:\/\/www.fraclorraine.org\/en\/exhibition\/hamishi-farah-devant-la-douleur-des-autres\/","title":{"rendered":"Hamishi Farah. Regarding the Pain of Others","raw":"Hamishi Farah. Regarding the Pain of Others"},"content":{"rendered":"\n
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\u25cf Hamishi Farah’s practice materialises the political, representative  and philosophical contradictions that underpin contemporary artistic production. In this exhibition, the displayed works range from landscape paintings to portraits, associated to religious sculptures from the mus\u00e9e de La Cour d\u2019Or collections in Metz. Their juxtaposition reveals a genealogy linking morality, power, and punishment.<\/p>\n\n\n\n

Farah focuses for his exhibition on the position of the witness, embodied here in paintings depicting pillars of salt located near the Dead Sea. Known as \u2018Lot\u2019s wife\u2019, these formations refer to a biblical story: as she was fleeing from her city of Sodom with her family, she looked back one last time to witness its destruction\u2014and, as punishment, was transformed into a pillar of salt. Hamishi Farah underlines that in giving a human face to natural features a resonance is established between culture and nature, in the process \u2018naturalising\u2019 history.<\/p>\n\n\n\n

His exhibition juxtaposes the suffering of religious images with affects such as disgust, shame, guilt, or indifference, urging us to reckon with the contradictions that surround us. Farah indirectly addresses the issue of censorship and its double: self-censorship, as practised by cultural institutions and the media. Such inability to name reveals how the affirmation of a difference\u2014perceived as a threat to the status quo\u2014can quickly reach a tipping point. In such moments, language can no longer achieve consensus and the instruments of social cohesion\u2014punishment and recognition\u2014lose their power, making other ways of speaking and showing necessary.<\/p>\n<\/div>\n\n\n\n

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Hamishi Farah, Untitled (Portrait of J\u00fcrgen Habermas)<\/em>, 2025. Photo Stefan Korte. Courtesy of the artist, Arcadia Missa, London, and Maxwell Graham, New York<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Hamishi Farah, Untitled (Lot\u2019s Wife)<\/em>, 2025. Photo Stefan Korte. Courtesy of the artist, Arcadia Missa, London, and Maxwell Graham, New York<\/figcaption><\/figure>\n\n\n\n
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\u21b3 An invitation by Fanny Gonella, director, in dialogue with Sophie Potelon, head of exhibitions<\/p>\n\n\n\n

\u21b3 In partnership with the Mus\u00e9e de La Cour d\u2019Or \u2013 Eurom\u00e9tropole de Metz<\/p>\n\n\n\n

\u21b3 Media partnership: ICI Radio TV Digital – France 3 Lorraine<\/p>\n<\/div>\n\n\n\n

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<\/p>\n","protected":false,"raw":"\n

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\u25cf Hamishi Farah's practice materialises the political, representative  and philosophical contradictions that underpin contemporary artistic production. In this exhibition, the displayed works range from landscape paintings to portraits, associated to religious sculptures from the mus\u00e9e de La Cour d\u2019Or collections in Metz. Their juxtaposition reveals a genealogy linking morality, power, and punishment.<\/p>\n\n\n\n

Farah focuses for his exhibition on the position of the witness, embodied here in paintings depicting pillars of salt located near the Dead Sea. Known as \u2018Lot\u2019s wife\u2019, these formations refer to a biblical story: as she was fleeing from her city of Sodom with her family, she looked back one last time to witness its destruction\u2014and, as punishment, was transformed into a pillar of salt. Hamishi Farah underlines that in giving a human face to natural features a resonance is established between culture and nature, in the process \u2018naturalising\u2019 history.<\/p>\n\n\n\n

His exhibition juxtaposes the suffering of religious images with affects such as disgust, shame, guilt, or indifference, urging us to reckon with the contradictions that surround us. Farah indirectly addresses the issue of censorship and its double: self-censorship, as practised by cultural institutions and the media. Such inability to name reveals how the affirmation of a difference\u2014perceived as a threat to the status quo\u2014can quickly reach a tipping point. In such moments, language can no longer achieve consensus and the instruments of social cohesion\u2014punishment and recognition\u2014lose their power, making other ways of speaking and showing necessary.<\/p>\n<\/div>\n\n\n\n

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Hamishi Farah, Untitled (Portrait of J\u00fcrgen Habermas)<\/em>, 2025. Photo Stefan Korte. Courtesy of the artist, Arcadia Missa, London, and Maxwell Graham, New York<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Hamishi Farah, Untitled (Lot\u2019s Wife)<\/em>, 2025. Photo Stefan Korte. Courtesy of the artist, Arcadia Missa, London, and Maxwell Graham, New York<\/figcaption><\/figure>\n\n\n\n
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\u21b3 An invitation by Fanny Gonella, director, in dialogue with Sophie Potelon, head of exhibitions<\/p>\n\n\n\n

\u21b3 In partnership with the Mus\u00e9e de La Cour d\u2019Or \u2013 Eurom\u00e9tropole de Metz<\/p>\n\n\n\n

\u21b3 Media partnership: ICI Radio TV Digital - France 3 Lorraine<\/p>\n<\/div>\n\n\n\n

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<\/p>\n"},"template":"","meta":{"inline_featured_image":false,"_fr_post_content":"\n

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\u25cf Pour sa premi\u00e8re exposition en France, l\u2019artiste australien Hamishi Farah explore l\u2019influence persistante de l\u2019histoire chr\u00e9tienne et son imagerie. En pr\u00e9sentant des \u0153uvres qui vont de la peinture de paysage au portrait, associ\u00e9es \u00e0 des sculptures religieuses des collections du Mus\u00e9e de la Cour d\u2019Or de Metz, l\u2019artiste s\u2019int\u00e9resse \u00e0 une g\u00e9n\u00e9alogie qui relie morale, pouvoir et punition.<\/p>\n\n\n\n

Hamishi Farah a d\u00e9velopp\u00e9 au fil de sa pratique une r\u00e9flexion autour du genre du portrait qui se mat\u00e9rialise aussi bien dans ses peintures d\u2019objets que de personnes ou de paysages. Au 49 Nord 6 Est, il s\u2019est concentr\u00e9 sur l\u2019\u00e9cart de traitement (visuel ou social) entre, d\u2019un c\u00f4t\u00e9, le t\u00e9moignage de la souffrance donnant naissance \u00e0 une punition et, de l\u2019autre, une mise en sc\u00e8ne de la souffrance qui l\u2019\u00e9l\u00e8ve, parfois en l\u2019\u00e9rotisant, \u00e0 une exp\u00e9rience d\u00e9sirable.<\/p>\n\n\n\n

En s\u2019appuyant sur des canons visuels r\u00e9pondant \u00e0 des textes bibliques, cet artiste autodidacte s\u2019est int\u00e9ress\u00e9 notamment \u00e0 la figure du t\u00e9moin. Elle s\u2019incarne dans une s\u00e9rie de peintures de piliers de sel situ\u00e9s pr\u00e8s de la Mer Morte et d\u00e9nomm\u00e9s \u00ab\u2009femme de Loth\u2009\u00bb \u2013 personnage biblique transform\u00e9 en statue de sel pour s\u2019\u00eatre retourn\u00e9 afin de voir l\u2019an\u00e9antissement de sa ville, Sodome, qu\u2019elle fuyait avec sa famille. Hamishi Farah souligne indirectement la mani\u00e8re dont, en pr\u00eatant un visage humain \u00e0 des formes naturelles, il s\u2019\u00e9tablit une r\u00e9sonance entre culture et nature qui a pour effet d\u2019inscrire dans cette derni\u00e8re une histoire \u2013 ici la punition divine.<\/p>\n\n\n\n

Avec cette exposition, le Frac Lorraine poursuit son exploration des g\u00e9n\u00e9alogies artistiques ainsi que leur r\u00f4le dans la consolidation, ou la d\u00e9stabilisation, de syst\u00e8mes de valeur \u00e9tablis.<\/p>\n<\/div>\n\n\n\n

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Hamishi Farah, Untitled (Portrait of J\u00fcrgen Habermas)<\/em>, 2025. Photo Stefan Korte. Courtesy de l\u2019artiste, Arcadia Missa, Londres et Maxwell Graham, New York<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Hamishi Farah, Untitled (Loth\u2019s Wife)<\/em>, 2025. Photo Stefan Korte. Courtesy de l\u2019artiste, Arcadia Missa, Londres et Maxwell Graham, New York<\/figcaption><\/figure>\n\n\n\n
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\u21b3 Sur une invitation de Fanny Gonella, directrice du Frac Lorraine, en coop\u00e9ration avec Sophie Potelon, coordinatrice de la programmation<\/p>\n\n\n\n

\u21b3 En partenariat avec le mus\u00e9e de La Cour d\u2019Or \u2013 Eurom\u00e9tropole de Metz<\/p>\n\n\n\n

\u21b3 Partenaire m\u00e9dia : ICI TV Radio Digital - France 3 Lorraine<\/p>\n<\/div>\n<\/div>\n","_fr_post_name":"hamishi-farah-devant-la-douleur-des-autres","_fr_post_excerpt":"","_fr_post_title":"Hamishi Farah. Devant la douleur des autres","_en_post_content":"\n

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\u25cf Hamishi Farah's practice materialises the political, representative  and philosophical contradictions that underpin contemporary artistic production. In this exhibition, the displayed works range from landscape paintings to portraits, associated to religious sculptures from the mus\u00e9e de La Cour d\u2019Or collections in Metz. Their juxtaposition reveals a genealogy linking morality, power, and punishment.<\/p>\n\n\n\n

Farah focuses for his exhibition on the position of the witness, embodied here in paintings depicting pillars of salt located near the Dead Sea. Known as \u2018Lot\u2019s wife\u2019, these formations refer to a biblical story: as she was fleeing from her city of Sodom with her family, she looked back one last time to witness its destruction\u2014and, as punishment, was transformed into a pillar of salt. Hamishi Farah underlines that in giving a human face to natural features a resonance is established between culture and nature, in the process \u2018naturalising\u2019 history.<\/p>\n\n\n\n

His exhibition juxtaposes the suffering of religious images with affects such as disgust, shame, guilt, or indifference, urging us to reckon with the contradictions that surround us. Farah indirectly addresses the issue of censorship and its double: self-censorship, as practised by cultural institutions and the media. Such inability to name reveals how the affirmation of a difference\u2014perceived as a threat to the status quo\u2014can quickly reach a tipping point. In such moments, language can no longer achieve consensus and the instruments of social cohesion\u2014punishment and recognition\u2014lose their power, making other ways of speaking and showing necessary.<\/p>\n<\/div>\n\n\n\n

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\n
\"\"
Hamishi Farah, Untitled (Portrait of J\u00fcrgen Habermas)<\/em>, 2025. Photo Stefan Korte. Courtesy of the artist, Arcadia Missa, London, and Maxwell Graham, New York<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Hamishi Farah, Untitled (Lot\u2019s Wife)<\/em>, 2025. Photo Stefan Korte. Courtesy of the artist, Arcadia Missa, London, and Maxwell Graham, New York<\/figcaption><\/figure>\n\n\n\n
\n
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\u21b3 An invitation by Fanny Gonella, director, in dialogue with Sophie Potelon, head of exhibitions<\/p>\n\n\n\n

\u21b3 In partnership with the Mus\u00e9e de La Cour d\u2019Or \u2013 Eurom\u00e9tropole de Metz<\/p>\n\n\n\n

\u21b3 Media partnership: ICI Radio TV Digital - France 3 Lorraine<\/p>\n<\/div>\n\n\n\n

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