anri sala
1974, Tirana, Albania
Anri Sala employs moving images and their soundtracks to investigate historical ruptures and failures of language. Using a variety of platforms including video installation, sculpture, photography, performance and movie scores, he explores non-verbal modes of expression through narratives or ideas. His work opens to a multiplicity of perspectives and interpretations by distancing the viewer from a “logical,” direct or language-based understanding. In contrast to traditional cinema, Sala's distinctive use of film challenges the supremacy of the image, instead allowing sound to serve as an important narrative cue. The music speaks to history and memory, bringing the viewer’s past, present and future into a single filmic experience. This “continuous present” found in Sala’s work has the effect of grounding the audience in a specific moment rather than projecting them into the illusion of what they see. His videos are presented in a wide range of immersive spaces that must be experienced with the whole body: modified environments with careful lighting and sound design that stimulate a visceral experience of the surrounding architecture. By creating this state of awareness, Sala proposes an exercise in civil resistance with political implications; his work allows us to reconsider the relationship of our own space and time to the location and historical moment depicted in the films.
Sala studied at the University of Arts (UART) in Tirana, Albania, after which he attended the École nationale supérieure des arts décoratifs in Paris. He completed his Postgraduate Studies in film directing at Le Fresnoy – Studio national des arts contemporains in Tourcoing, France. In 2001, he received the Young Artist Prize of the 49th Venice Biennial, and was recipient of the Absolut Art Award 2011 and Prix Gilles-Dusein (2000). He was also shortlisted for the Hugo Boss Prize (2002) and Pries der Nationalgalerie für junge Kunst (2005).
Lives and works in Paris and Berlin.
the last resort, 2018
sound and sculpture installation
variable dimensions
installation view at garage mca, moscow, 2018
the last resort, 2018
sound and sculpture installation
variable dimensions
installation view at garage mca, moscow, 2018
if and only if (modern times), 2018
film still milled on wood textile printing stamp
0.83 x 14.76 x 2.36 in.
if and only if (modern times), 2018
film still milled on wood textile printing stamp
0.83 x 14.76 x 2.36 in.
untitled (muraena ophis/england), 2018
set of two works on paper
one vintage hand-coloured etching on paper
one ink and rust drawing on paper
paper size: 17.32 x 10.75 in.
paper size: 18.31 x 12.09 in.
ravelravelinterval, 2017
two-channel hd video projection on two transparent screens and fourteen-channel sound installation, color
157.48 x 88.58 in.
installation view at museo tamayo, mexico city, 2017
ravelravelinterval, 2017
two-channel hd video projection on two transparent screens and fourteen-channel sound installation, color
157.48 x 88.58 in.
installation view at museo tamayo, mexico city, 2017
take over (internationale), 2017
hd video projection, color, stereo sound
7 min 56 sec
take over (marseillaise), 2017
hd video projection, color, stereo sound
7 min 56 sec
bridges in the doldrums, 2016
7 channel sound installation including 4 altered snare drums, loudspeaker parts, snare stands, drumsticks, 2 speakers and a subwoofer
23 min 10 sec
bridges in the doldrums, 2016
7 channel sound installation including 4 altered snare drums, loudspeaker parts, snare stands, drumsticks, 2 speakers and a subwoofer
23 min 10 sec
ravel ravel, 2013
2 channel hd video projection with sound
21:00 min each
unravel, 2013
2 channel hd video projection, sound: discrete 5.0
21:00 min each
unravel, 2013
2 channel hd video projection, sound: discrete 5.0
21:00 min each
unravel, 2013
2 channel hd video projection, sound: discrete 5.0
21:00 min each
installation view at museo tamayo, mexico city, 2017
1395 days without red, 2011
in collaboration with liria begeja
from a project by sejla kameric and anri sala in collaboration with ari benjamin meyershd
hd colour video, surround sound 5.0
43:45 min
1395 days without red, 2011
in collaboration with liria begeja
from a project by sejla kameric and anri sala in collaboration with ari benjamin meyershd
hd colour video, surround sound 5.0
43:45 min
1395 days without red, 2011
in collaboration with liria begeja
from a project by sejla kameric and anri sala in collaboration with ari benjamin meyershd
hd colour video, surround sound 5.0
43:45 min
installation view at centre pompidou, paris, 2012
no window no cry (juan o'gorman, biblioteca central de la unam), 2011
glass window and music box
window: 38.19 x 44.09 in; music box: 3.15 x 10.24 x 3.15 in
no window no cry (juan o'gorman, biblioteca central de la unam), 2011
glass window and music box
window: 38.19 x 44.09 in; music box: 3.15 x 10.24 x 3.15 in
tlatelolco clash, 2011
hd video projection, dolby digital 5.1
11:49 min
tlatelolco clash, 2011
hd video projection, dolby digital 5.1
11:49 min
tlatelolco clash, 2011
hd video projection, dolby digital 5.1
11:49 min
installation view at serpentine galeries, london, 2011
untitled (cactus), 2010
digital print
29.3 x 39.3 in
le clash, 2010
hd video, dolby surround sound 5.1
8:31 min
le clash, 2010
hd video, dolby surround sound 5.1
8:31 min
le clash, 2010
hd video, dolby surround sound 5.1
8:31 min
installation view at serpentine galeries, london, 2011
inversion—creating space where there appears to be none, 2010
in collaboration with edi rama
colored pencil and crayon on paper/japanese paper (set of six), four channel sound installation
variable dimensions
doldrums, 2008
10 altered brady snare drums, loudspeaker parts, snare stands, drumsticks
variable dimensions
title suspended, 2008
resin, nitrile and electric motor
26.37 x 43.30 x 14,17 in
answer me, 2008
hd video, dolby surround sound 5.1
4:51 min
answer me, 2008
hd video, dolby surround sound 5.1
4:51 min
installation view at serpentine galeries, london, 2011
answer me, 2008
hd video, dolby surround sound 5.1
4:51 min
installation view at serpentine galeries, london, 2011
flutterby, 2007
digital print mounted on reynoboard
43.3 x 57.75 in
bulevardi zhan d’ark, 2006
4 black & white photographs on baryte paper
15.3 x 19.11 in each
air cushioned ride, 2006
video, stereo sound
6:04 min
untitled (airport), 2005
color photograph
62.99 x 43.30 in
dammi i colori, 2003
video, stereo sound
15:25 min
dammi i colori, 2003
video projection, colour
sound: discrete 2.0
15 min 25 sec
no barragan no cry, 2002
color photograph
24.80 x 30.70 in
house with horizon, 2002
color photograph
43.1 x 61.3 in
casa zoo I, 2001
color photograph mounted on aluminium
43.5 x 64.61 in
casa zoo IV, 2001
color photograph mounted on aluminium
43.5 x 64.61 in
missing landscape, 2001
video, stereo sound
14:55 min
intervista, 1998
video, stereo sound
26:00 min
intervista, 1998
video, stereo sound
26 min
Past solo exhibitions include: Anri Sala: Time No Longer, Bourse de Commerce – Pinault Collection, Paris (2022); Anri Sala. Transfigured, Galleria d’Arte Moderna e Contemporanea di Bergamo (GAMeC), Italy (2022); Anri Sala, Kunsthaus Bregenz, Austria (2021); Tini: Fikret Atay and Anri Sala, Bilsart, Istanbul (2020); Le Temps coudé, Musée d’Art Moderne de Grand-Duc Jean (Mudam), Luxembourg (2019); Anri Sala. AS YOU GO, Castello di Rivoli Museo d’Arte Contemporanea, Turin, Italy (2019), traveled to Centro Botín, Fundación Botín, Santander, Spain (2019), Winsing Art Place, Taipei, Taiwan (2022); The Last Resort, Garage Museum of Contemporary Art, Moscow (2018); Anri Sala: o momento presente, Instituto Moreira Salles, São Paulo, Brazil (2017); Clocked Perspective, Museo Jumex, Mexico City (2017); Anri Sala, Museo Tamayo, Mexico City (2017); The Last Resort, Kaldor Public Art Projects, Sydney (2017); Anri Sala: Answer Me, New Museum, New York, NY (2016); No Names, No Title, Tel Aviv Museum, Israel (2015); The Present Moment (in D), Haus der Kunst, Munich, Germany (2014); Air Cushioned Ride, CAC Centro de Arte Contemporáneo de Málaga, Spain (2013); Anri Sala, Centre Pompidou, Paris (2012); Anri Sala, Louisiana Museum of Modern Art, Humlebæk, Denmark (2012); Anri Sala, Musée d’art contemporain de Montréal (MAC), Canada (2011); Anri Sala, Serpentine Galleries, London (2011); Anri Sala, National Museum of Art, Osaka, Japan (2011); Title Suspended, Museum für Moderne Kunst (MMK), Frankfurt, Germany (2010); Purchase Not by Moonlight, Museum of Contemporary Art North Miami (2009) and Contemporary Arts Center, Cincinnati, OH (2008); Thinking Architecture #1, Kunsthal Extra City, Antwerp, Belgium (2007); Dammi i Colori, Deutscher Akademischer Austauschdienst (DAAD), Berlin (2005); Entre chien et loup / When the Night Calls it a Day, Musée d’Art moderne de la Ville de Paris, and Deichtorhallen Hamburg, Germany (2004), among others.
Past group exhibitions include: KAFKA: 1924, Museum Villa Stuck, Münich (2023); En el jardín: Colección Isabel y Agustín Coppel in Marco, Monterrey (2023); Une seconde d’éternité, Bourse de Commerce – Pinault Collection, Paris (2022); TODOS JUNTOS (All Together), kurimanzutto, New York, NY (2022); CRAZY: Madness in Contemporary Art, Dart – Chiostro del Bramante, Rome (2022); all the lonely people, silent green Kulturquartier, Berlin (2021); The Paradox of Stillness: Art, Object, and Performance, Walker Art Center, Minneapolis, MN (2021); Al filo de la navaja, Museo Jumex, Mexico City (2020); Scènes dans une bulle de crystal – Seen in a cristal ball, Galerie Chantal Crousel, Paris (2020); Distance intime, MO.CO., Montpellier, France (2019); Deep Sounding – History as Muliple Narratives, Deutscher Akademischer Austauschdienst (DAAD), Berlin (2019); Strange Days: Memories of the Future, The Store X, London (2018); Par amour du jeu 1998-2018, Magasins généraux, Pantin, France (2018); Faith Love Hope, Kunsthaus Graz, Austria (2018); The Third Space (All That We Have In Common), The Museum of Contemporary Art Skopje, Republic of North Macedonia (2018); The Creative Act: Performance, Process, Presence, Guggenheim Abu Dhabi, United Arab Emirates (2017); Life Itself: on the question of what it essentially is; its materialities, its characteristics, Moderna Museet, Stockholm (2016); Prophetia, Fundació Joan Miró, Barcelona, Spain (2015); The Vincent Award 2014, Kunstmuseum Den Haag, The Hague, The Netherlands (2014); Reading Cinema, Finding Works: Art after Marcel Broodthaers, The National Museum of Modern Art, Kyoto, Japan (2013); One Sixth of the Earth. Ecologies of Image, Museo de Arte Contemporáneo de Castilla y León (MUSAC), Spain (2012); French Window: Looking at Contemporary Art through the Marcel Duchamp Prize, Mori Art Museum, Tokyo (2011); Haunted: Contemporary Photography/Video/Performance, Solomon R. Guggenheim Museum, New York, NY (2010); Holbein to Tillmans, Schaulager, Basel, Switzerland (2009); Archive Fever: Uses of the Document in Contemporary Art, International Center of Photography, New York, NY (2008); Entre Fronteras/Between Borders, MARCO Museo de Arte Contemporánea de Vigo, Spain (2007); Reprocessing Reality, MoMA PS1, New York, NY (2006), among others.
Sala has participated in many international biennials, including International Art Exhibitions and French and Albanian Pavilions at the 57th, 50th, 55th and 47th editions of the Venice Biennial (2017, 2003, 2013 and 1999); Yokohama Triennale 2001 and 2017, Japan; 12 Bienal de la Habana, Cuba (2015); MDE15 Encuentro Internacional de Arte de Medellín, Colombia (2015); The Fifth Auckland Triennial, New Zealand (2014); 1, 4 and 8 Berlin Biennale (2002, 2006 and 2014); Sharjah Biennial 11, United Arab Emirates (2013); 9th Gwangju Biennale, South Korea (2012); Taipei Biennial 2004, Taiwan; 8. Istanbul Bienali, Turkey (2003); 29a and 25a Bienal de São Paulo, Brazil (2010 and 2002); Manifesta 3 Ljubiana, Slovenia and Manifesta 4 Frankfurt, Germany (2000 and 2002).
laboratorio arte alameda presents el verano que nunca fue
Read full review on Anri Sala's portafolio at BOMB Magazine.
Anri Sala´s solo exhibition: Anri Sala at Kunsthaus Bregenz in Austria.
Time No Longer is Anri Sala's underground installation in Houston's Buffalo Bayou Park Cistern where film, sound and installation collide to pay homage to former African American astronaut and saxophonist Ronald McNair.
Join Anri Sala, sound designer-collaborator Olivier Goinard, and muiscian André Vida in a virtual conversation abour he's most recent work.
They will be discussing the inspiration and the ideas behind Time No Longer, the newly commissioned sound and film installation in the Buffalo Bayou Park Cistern.
On the Razor’s Edge is an international exhibition that brings together works within four thematic sections: migration and liberty; the human body; its environment; and the irrepressible and forever incomplete passage of time.
Anri Sala participates in the exhibition 2020 + with his piece If and Only If, where a garden snail slowly crawls from one end of a viola bow to the other, disturbing the subtle balance of the musician’s performance.
This exhibition presents an ensemble of new and recent works juxtaposed with older pieces that will be accompanied by a major work, The Last resort.
The artist uses the architectural space to fold together visual, sound and tactile elements in order to generate new interpretations of history and new possibilities within an emancipatory vision of language and culture.
In response to the architecture and acoustics of the space where The Last Resort is being exhibited, artist Anri Sala has developed a site-specific instllation with thirty-eight drums supended from the ceiling.
The exhibition will present the work of twenty-one acclaimed artists and filmmakers who have shown video works at the New Museum in its ten years on the Bowery.
