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Idris Khan
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Working in photography, video and sculpture, Idris Khan layers appropriated images taken from literature, religious texts, music scores, and other art works to create ghostly visual interpretations of these materials that evoke considerations of time, authorship and image-making. In one body of work, Kahn reproduced the iconic photographs of gas holders, water towers and other industrial structures taken by Bernd and Hilla Becher during the 1960s, repeatedly layering each photo to create a composite image that resembles a crosshatched drawing or blurry film still. In another work Struggling to Hear…After Ludwig van Beethoven Sonatas, 2005 an image of Beethoven’s music score is layered until it is almost completely black, in part illustrating the composer’s deafness. Kahn also incorporates this style of superimposed images for his film work, using multiple camera angles, multiple video channels or other forms of layering such as in A Memory…After Bach’s Cello Suites, 2006 where excerpts of a solo cello player’s performance of Bach’s Six Suites are played on top of each other.
Khan has had solo exhibitions internationally at the Museum of Contemporary Canadian Art, Toronto, K20, Dusseldorf and the Gothenburg Konsthall, and has participated in several group exhibitions including at the Solomon …
Working in photography, video and sculpture, Idris Khan layers appropriated images taken from literature, religious texts, music scores, and other art works to create ghostly visual interpretations of these materials that evoke considerations of time, authorship and image-making. In one body of work, Kahn reproduced the iconic photographs of gas holders, water towers and other industrial structures taken by Bernd and Hilla Becher during the 1960s, repeatedly layering each photo to create a composite image that resembles a crosshatched drawing or blurry film still. In another work Struggling to Hear…After Ludwig van Beethoven Sonatas, 2005 an image of Beethoven’s music score is layered until it is almost completely black, in part illustrating the composer’s deafness. Kahn also incorporates this style of superimposed images for his film work, using multiple camera angles, multiple video channels or other forms of layering such as in A Memory…After Bach’s Cello Suites, 2006 where excerpts of a solo cello player’s performance of Bach’s Six Suites are played on top of each other.
Khan has had solo exhibitions internationally at the Museum of Contemporary Canadian Art, Toronto, K20, Dusseldorf and the Gothenburg Konsthall, and has participated in several group exhibitions including at the Solomon R. Guggenheim Museum, New York, Tate Britain, London, Hayward Gallery London and the San Francisco Museum of Modern Art, among others. He currently lives and works in London.
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