Group Show ‘Good Printing’, curated by Yasmina Reggad, Gallery Isabelle van den Eynde, Dubai 22.05 – 14.09.2017

:mentalKLINIK, Pauline Bastard, Rania Bellou, Eglé Budvytyté, William Engelen, Aisha Khalid, Ilan Manouach, Sreshta Rit Premnath, Haleh Redjaian, Hassan Sharif

Drawing on the group show Nice Drawing (2015), Gallery Isabelle van den Eynde presents Good Printing, a second iteration of a series of exhibitions that don’t need to emerge from a clever title or overarching concept, but rather presents works by 10 artists that have a quirky and humorous approach to a single medium.
Beware viewer! Don’t expect to find the walls of the gallery covered with works on paper, framed photographs, lithography, publications, and against the promises of the title of the exhibition, there won’t be perfect impressions! Artists haven’t necessarily spent long hours in the printing studio. Instead, they explore the process of printmaking and the potentials of the technology of the mechanical image creations and reproduction that ‘enables the original to meet the beholder halfway. […] And in permitting the reproduction to meet the beholder or listener in his own particular situation, it reactivates the object reproduced.’ (Walter Benjamin)

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THE HUMAN CONDITION SESSION II. HUMAN AND THE OTHERS: Love, Friendship, Suspicion, Aversion
Exhibition ‘Don’t You Think It’s Time for Love?’  MMOMA, Ermolaevsky Lane 17, Moscow, 02.11.2016 – 08.01.2017
Artistic Director: Viktor Misiano, Co-curator of the session: Elena Yaichnikova

The Moscow Museum of Modern Art presents the second session of an interdisciplinary and inter-institutional project The Human Condition. The session HUMAN AND THE OTHERS: Love, Friendship, Suspicion, Aversion will focus on a human being in the framework of emotional relationships and his interaction with the social environment.
The session encompasses an exhibition, research projects and discussions. Its starting point is the exhibition Don’t You Think It’s Time for Love?, the title of which following the referential logic of the project, refers to the work Everything Else Has Failed! Don’t You Think It’s Time for Love? by the American artist Sharon Hayes. On display are video works, installations, photographs and books by 23 artists from all over the world including Yoko Ono, Boris Mikhailov, Jonas Mekas, Sophie Calle, and Andy Warhol. Some of the works have been created especially for the show. The exhibition in the MMOMA building at Ermolaevsky Lane is divided into four semantic sections and explores the internal dialectics of, maybe, the most important human emotion – love.

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Solo Exhibition ‘The story like all stories is incomplete’, curated by Vali Mahlouji, Taymour Graghne Gallery, NY  11.01.2015 – 20.02.2015

With the devoted meticulousness and determined rigor of a biographer, Rania Bellou investigates and chronicles the details of a life. Whose life? In the present exhibition, it is that of a certain Mrs. Margaret Becker, resident of New York, circa 1940. The central personage and present protagonist of Bellou’s expansive work was a regular US citizen and a past resident of a small in the state of New York. Bellou picked up Becker’s unremarkable diary dated 1940 during a regular scouting expedition through second hand markets in London. Such found personal objects – literary or pictorial – have formed the bedrock of much of Bellou’s continuous imaginative epistolary and biographical adventures to date. Obsessively centering her creative practice on other people’s, random people’s, memories and recollections Bellou has created extraordinarily delicate and yet powerful bodies of work.
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Solo Exhibition ‘Forty Floating Moons’, Kalfayan Galleries, Athens 03.07.2015 – 27.09.2015

In the exhibition “Forty Floating Moons”, Rania Bellou elaborates upon and expands a favorite motif of her artistic practice: the mnemonic presence of the past through various unrelated photographs compiled in a highly personal way. She explores in depth the photographic and material trace of the past, the photograph itself, which is common to every home, an indirect memory, and perhaps the most characteristic example of a personal collection, the photograph album.

In the series titled “A short History or the short Story”, the artist isolates and regroups on paper human figures and words, urban landscapes and places drawn from photographs, letters and postcards, using the external form and inner structure of family photograph albums. If a single photograph remains opaque and inaccessible to the viewer who searches for a story behind the image, the collection of fragmentary, mnemonic photographic moments in the album reinstates the connection between the photograph and the subsequent narration. This relationship is particularly obvious in the first work of this series in which the correspondence between a couple is accompanied by images of ships, which could have transported their letters. In subsequent works, she shows us the image as a story and the story as an image.
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Solo Exhibition ‘Between I and Me’, 12 Star Gallery, European House, London 30.05.2012 – 15.06.2012

Going through the love correspondence of an unknown couple -that reveals a torrid tale or repressed love in 1930s Egypt and England- creates the impression that one invades a thorough personal sphere with only means the guidance of his instinct and experiential symbolisms.

Such an invasion requires the profound understanding of the relationship’s dynamics in order to be able to follow its lead. The restricted amount of information that the artist chose to provide, leads the audience’s imagination to reconstruct ideas and incidents by making assumptions and representations that he will never be able to crosscheck.

But is one person capable of understanding thoroughly the intentions and emotional mechanisms of another? Or is it that human nature really lacks empathy and just projects and identifies most experiences through the sense of self?
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Solo Exhibition ‘Living in a Cerebral Fortress’, curated by Dorothea Konteledzidou, Kalfayan Galleries, Thessaloniki 10.09.2009 – 30.10.2009

“Le présent du passé, c’est la mémoire; le présent du présent, c’est l’attention actuelle; le présent de

l’avenir, c’est son attente.” 1

Rania’s Bellou artwork is characterized by various aspects and subjects, by the reflection of the body in a trans-subjective space transforming the image, allowing it to build the experience of a present which exceeds itself and has as unique goal its development.

Photography, as the substantial artistic background, is for the artist a material-to-be offering the opportunity to highlight the relation between visible and invisible.

Besides, the invention of photography prevented the “present” from being drawn into the invisible side of history, didn’t it?

This story is produced by Rania Bellou, she made it available to time, but also to the performance of the other through the extension of the “Other”.
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