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BAYRI, SALIM printed matter

SALIM BAYRI, Moving Archive, 2021 [text in museum hall]

SALIM BAYRI, Moving Archive – text in museum hall, 2021
21 x 29,7 cm
digital print with drawings by Salim Bayri
issued in white, brown and fawn
published by Coda, Apeldoorn, Netherlands
inv.SBay 1126_1128

 

Categories
BAYRI, SALIM printed matter

SALIM BAYRI, Museum Salim, 2021 [flyer]

SALIM BAYRI, Museum Salim, 2021
21 x 29,7 cm
photo copy on pink paper
edition unknown; very few distributed in exhibition hall of Coda Museum
published by the artist on behalf of his solo exhibition at Coda Museum, Apeldoorn, Netherlands in 2021
inv.SBay 1129

Categories
BAYRI, SALIM prints

SALIM BAYRI, Let the blue in, 2018 [screen print + AR app for Android]

SALIM BAYRI, Let the blue in, 2018
64, 5 x 37 cm
screen print, blue frame + link to AR app for Android
signed, dated, numbered
edition 8
€ 500,- plus € 32,- Track & Trace EU registered mail

 

When an AR app belonging to this work is held in front of the framed screen print another image appears, though similar in atmosphere. Salim Bayri tells the following about this print:

LET THE BLUE IN (REJECTED), print on paper and AR app, 2018.

I applied to an open call by Spaces. (A company that offers coworking spaces around the world). They wanted to celebrate their 10th anniversary picking 10 existing works by 10 artists to make 10 editions of each that will go to 10 different coworking spaces. It was called ‘Power of 10’.

At that time, I visited the kitchen at ‘Ons Lieve Heer op Solder’ one of the remaining secret churches from the 17th century. I was intrigued by the blue tiles and started to wonder why they were blue.

Blue like the famous deep blue from Essaouira and Touareg garments. Could that be from there?

I made an image out of the figures found in the tiles, mostly about children’s games and made it look as if I really printed and framed it thanks to 3D computer simulations.

They liked it and I was asked to produce 10 copies of the image.

Every morning in my squat house in Van Schendelstraat in Groningen I would look at the image and change little details. I couldn’t leave it like it was after a night of sleep seeing little children playing the ball in my head.

By the time I sent the image to the printers, it was quite different, although I thought it was still in the same spirit.

The day they received it and hung it; I received a call from the organisers surprised by the modified image. “It’s not what we saw and It’s too late to reprint it, the opening is today!”

Urgently, I go see Kees van Gelder to seek some comfort. An hour before the opening we have the idea of using some tech magic with an AR app I made before. When the camera is pointed to the new rejected print, the first approved one shows up instead. I thought they would find it funny enough to accept the new image. But something approved apparently should stay like it is, and I had to reprint and replace everything as it was agreed in the first place.

But well, at least there’s a side of the story where the rejected and approved, old and new, altered and original are together. You have it.

SB

Categories
BAYRI, SALIM multiples

SALIM BAYRI, Sad Ali, 2021 [3D print]

SALIM BAYRI, Sad Ali, 2021
12 x 10 x 8 cm
3D print of bamboo dust and glue
edition 6
signed, dated, numbered

Categories
ATLAGAN, ÖZGÜR BAYRI, SALIM PAGE, IAN prints

SALIM BAYRI, IAN PAGE and ÖZGÜR ATLAGAN, Wet rent wrong, 2020 [version A]

SALIM BAYRI, IAN PAGE and ÖZGÜR ATLAGAN, Wet rent wrong, 2020
21 x 29,7 cm
print op paper, 90 g/m2 (version A)
signed by all artists
edition 6
published by Galerie van Gelder Editions, Amsterdam
€ 45,-

 
verso:

 

Version B available on 180 g/m2

Categories
BAYRI, SALIM multiples

SALIM BAYRI, Close, 2018 [electric door bell]

SALIM BAYRI, Close, 2018
9.5 x 6.5 x 4 cm / 8 x 3 x 2 cm
plastic plug-in door bell, laser engraving, remote device
edition 10 + 2 AP
signed, numbered, dated
€ 260,-

 

Basically the work of Salim Bayri is about letting the eye jump over from one pictorial stone to another. In case an attraction occurs it is a matter of ‘scanning, holding and making’, as he states. In that sense his art is a compilation of objects and narratives that in several titles is described as ‘storage’. His work named “Close” originates from his home country where it is common practice to pass by unannounced at one’s door. Speaking through the intercom one says: ‘Close’, a shortening for ‘I am a close friend’ (or relative) and the door would be opened. Here in Europe the opposite result is easily created if one would ring the door bell introducing himself by saying “Close”. Most likely the door would stay closed.

Categories
BAYRI, SALIM multiples

SALIM BAYRI, Running Time, 2018

SALIM BAYRI, Running Time, 2018
ca 20 x 20 x 4 cm
clock, batteries, text on paper
signed, numbered, dated

Categories
BAYRI, SALIM multiples prints

SALIM BAYRI, Sad Ali, 2017 [small version]

SALIM BAYRI, Sad Ali, 2017 [small version]
16,2 x 4,9 cm
print, lasered sky leather
signed, numbered, dated
edition 4
€ 250,-

 

Salim Bayri surrounds himself with an alter ego that he calls Sad Ali, a shortening of “sad alien”. This figure has no organs, undertakes no actions and opposite to a cartoon personality he doesn’t talk. As a kind of ambulant search machine he runs around checking out situations and things.
Salim Bayri: ‘I mostly use computer generated images, sound, footage and short actions because of their speed and fluidity.’

Salim Bayri is nominated for the Nationale Nederlanden Group Award 2018. The other nominees:
Pauline Curnier Jardin
Sam Samiee
Rafaël Rozendaal