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Canadian artist
Hajra Waheed is a Montréal-based artist.
[1]
[2] Her multimedia practice includes works on paper, collage, sound, video, sculpture and installation.
[3] Waheed uses news accounts, extensive research and personal histories to critically examine multiple issues including: covert power,
mass surveillance , cultural distortion and the traumas of displacement caused by
colonialism and
mass migration .
[4]
Waheed was born in 1980 in Canada.
[5] She has complex ties and relationships to North America, the Middle East and South Asia. She grew up within the gated compound of
Saudi ARAMCO in
Dhahran .
[1] She studied at the
Art Institute of Chicago where she received her BFA in advanced painting and art history, in 2002.
[6] She moved to Montréal in 2005 and completed her MA at
McGill University in 2007.
[3] At 34, Waheed received the
Victor Martyn Lynch-Staunton Award for Outstanding Achievement as a Canadian Mid-Career Visual Artist.
[7] She was shortlisted for the
Sobey Art Award in 2016.
[1]
[8]
Waheed's works are in the collections of the
Museum of Modern Art ,
[9] the
British Museum , the Devi Art Foundation,
Samdani Art Foundation , the
Musée d'art contemporain de Montréal and the
National Gallery of Canada .
[3]
[10]
(In) The First Circle ,
Antoni Tàpies Foundation , Barcelona (2012)
[11]
Lines of Control,
Herbert F. Johnson Museum of Art , Ithaca, (2012)
[12]
Field Notes and Other Backstories ,
Art Gallery of Windsor , Windsor, (2013)
[13]
Collages: Gesture and Fragments ,
Musée d'art contemporain de Montréal , Montréal, (2014)
[14]
Lines of Control,
The Nasher Museum of Art ,
Duke University , (2014)
[15]
La Biennale de Montréal , Musée d'art contemporain de Montréal, Montréal, (2014)
[16]
Asylum in the Sea ,
Fonderie Darling , Montréal, 2015
[17]
Still Against the Sky ,
KW Institute for Contemporary Art , London, (2015)
[18]
The Missing One ,
Dhaka Art Summit , Dhaka, (2016)
[19]
Sobey Art Award Exhibition ,
National Gallery of Canada , Ottawa, (2016)
[20]
The Eighth Climate (What Does Art Do?) ,
11th Gwangju Biennale , Gwangju, (2016)
[21]
Sea Change - Chapter 1, Character 1: In the Rough , Mosaic Rooms, London (2016)
[3]
The Cyphers ,
BALTIC Centre for Contemporary Art , Gateshead, (2016)
[3]
[22]
Farewell Photography , Biennale für aktuelle Fotografie, Kunstverein Ludwigshafen,
Ludwigshafen , (2017)
[23]
Turbulent Landings: NGC Canadian Biennial ,
Art Gallery of Alberta , Edmonton, (2017)
[24]
Viva Arte Viva ,
Venice Biennale , Venice, (2017)
[25]
The Video Installation Project , Musée d'art contemporain de Montréal, Montréal, (2017)
[26]
Hold Everything Dear ,
The Power Plant , Toronto, (2019)
[27]
^
a
b
c Travis, Rebecca (February 2017).
"Interview with Hajra Waheed" . The White Review . Retrieved 26 February 2018 .
^ Proctor, Rebecca Anne (September–October 2014).
"Finding Fragments" (PDF) . Harper's Bazaar . Archived from
the original (PDF) on 24 August 2016. Retrieved 26 February 2018 .
^
a
b
c
d
e Bailey, Stephanie (31 March 2017).
"Systems of Fragments" . Ibraaz . Retrieved 26 February 2018 .
^ Spence, Rachel (5 April 2016).
"Hajra Waheed Interview: "I am Interested in the Space of Not Knowing" " (PDF) . Financial Times : 13. Archived from
the original (PDF) on 21 December 2016. Retrieved 27 February 2018 .
^ Martin, Richard (6 April 2016).
"Surveillance and secrecy in Gateshead and London" . Apollo . Retrieved 26 February 2018 .
^ Morgan-Feir, Caoimhe (11 May 2017).
"Montreal Artist Hajra Waheed Traces a Rising Tide in Venice" . Canadian Art . Retrieved 26 February 2018 .
^
"Asylum In the Sea" . Fonderie Darling. Retrieved 10 July 2021 .
^
"Quebec - Hajra Waheed" . CBC Radio . 7 November 2016. Retrieved 26 February 2018 .
^
"Hajra Waheed" . The Museum of Modern Art. Retrieved 5 January 2020 .
^
"The Cyphers 1-18" . National Gallery of Canada. 2016. Retrieved 5 January 2020 .
^
"In the First Circle. A Project by Imogen Stidworthy" . Fundació Antoni Tàpies. Archived from
the original on 18 February 2012. Retrieved 26 February 2018 .
^
"Lines of Control" . Herbert F. Johnson Museum of Art. Retrieved 26 February 2018 .
^ Mitra, Srimoyee (2013). Looking and Seeing with Hajra Waheed . The Art Gallery of Windsor.
^
"Collages" . Musée d'art contemporain de Montréal. Retrieved 26 February 2018 .
^
"Lines of Control: Partition as a Productive Space" . Nasher Museum of Art at Duke University. Retrieved 26 February 2018 .
^
"La Biennale de Montréal 2014" (in French). Musée d'art contemporain de Montréal. Retrieved 26 February 2018 .
^ Moser, Gabrielle (2015).
"Watermarks: Hajra Waheed's Asylum in the Sea" (PDF) . Asylum in the Sea . Fonderie Darling. Retrieved 26 February 2018 .
^
"Hajra Waheed. Still against the sky" . KW Institute for Contemporary Art. 11 October 2015. Retrieved 26 February 2018 .
^
"The Missing One" . Samdani Art Foundation. 2016. Archived from
the original on 11 December 2019. Retrieved 26 February 2018 .
^
"Traditional Practices and Alternate Realities: The 2016 Sobey Art Award Exhibition" . National Gallery of Canada. Retrieved 26 February 2018 .
^
"The Eighth Climate (What does art do?)" . 11th Gwangju Biennale 2016. Retrieved 26 February 2018 .
^ Pritchard, David (2 February 2016).
"Review: Hajra Waheed, BALTIC Centre for Contemporary Art" . Corridor8 . Retrieved 26 February 2018 .
^
"Biennale für aktuelle Fotografie" (in German). Biennale für aktuelle Fotografie. Archived from
the original on 5 April 2019. Retrieved 26 February 2018 .
^
"Turbulent Landings" . National Gallery of Canada. Retrieved 26 February 2018 .
^
"Artisti" (in Italian). La Biennale di Venezia. 30 March 2017. Retrieved 26 February 2018 .
^
"The Video Installation Project 1-10" . Musée d'art contemporain de Montréal. Retrieved 26 February 2018 .
^
"Hold Everything Dear" . The Power Plant. Retrieved 24 July 2019 . - Wilkinson, Jayne.
"Constellations" . Canadian Art . Retrieved 5 January 2020 .
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