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DAR

@dar.air.collection

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DAR Private Art Collection by @dar__sara
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๐€๐ฒ๐š๐ง ๐…๐š๐ซ๐š๐ก ๐”๐ฉ๐ฉ๐ฅ๐š๐ง๐, ๐Ÿ๐ŸŽ๐Ÿ๐ŸŽ ๐ข๐ง๐๐ข๐ ๐จ, ๐œ๐š๐ซ๐จ๐›, ๐ซ๐ฎ๐ฌ๐ญ ๐š๐ง๐ ๐ฆ๐š๐ซ๐ข๐ ๐จ๐ฅ๐ ๐จ๐ง ๐ฅ๐ข๐ง๐ž๐ง ๐š๐ง๐ ๐ก๐ž๐ฆ๐ฉ ๐Ÿ”๐ŸŽ ร— ๐Ÿ“๐Ÿ ๐œ๐ฆ Upplandย is aย historical province in Sweden, it encompasses Uppsala, one of Swedenโ€™s oldest and most significant cities, and has a rich Viking Age heritage with many rune stones and ancient burial mounds.ย The use of linen and hemp, rather than canvas, connects to ancient textile traditions. Ayan Farah often works with materials that carry embedded histories, frequently sourcing antique fabrics as the foundation of her practice.The choice ofย linen and hempย as the support (rather than canvas) relates to ancient textiles, asย Ayanย is also interested in employing materials with an embedded history, many times sourcing antique fabrics to produce her works. Born in 1978 in Sharjah (UAE) to Somali parents, Farah spent her childhood in Sweden before moving to London, where she completed her MA at the Royal College of Art. She now lives and works in Stockholm. Farah has been invited to represent the Federal Republic of Somalia at the 61st International Art Exhibition โ€“ La Biennale di Venezia (2026), marking the countryโ€™s first National Pavilion at the Venice Biennale. by @dar.air.collection
๐’๐จ๐Ÿรญ๐š ๐’๐š๐ฅ๐š๐ณ๐š๐ซ ๐‘๐จ๐ฌ๐š๐ฅ๐ž๐ฌ ๐–๐ž ๐š๐ซ๐ž ๐œ๐จ๐ง๐ญ๐ž๐ฑ๐ญ๐ฎ๐š๐ฅ ๐š๐ง๐ ๐ฌ๐ž๐ง๐ญ๐ข๐ฆ๐ž๐ง๐ญ๐š๐ฅ (๐‹๐š ๐Œ๐ž๐ฌ๐ญ๐ข๐ณ๐š), ๐Ÿ๐ŸŽ๐Ÿ๐Ÿ’ ๐๐š๐ซ๐š๐Ÿ๐Ÿ๐ข๐ง, ๐ฉ๐ฅ๐š๐ฌ๐ญ๐ž๐ซ ๐›๐š๐ง๐๐š๐ ๐ž, ๐ฉ๐ซ๐ข๐ง๐ญ๐ข๐ง๐  ๐จ๐ง ๐ฉ๐š๐ฉ๐ž๐ซ, ๐ฉ๐จ๐ฅ๐ฒ๐ž๐ฌ๐ญ๐ž๐ซ ๐ซ๐ž๐ฌ๐ข๐ง, ๐Ÿ๐ข๐›๐ž๐ซ๐ ๐ฅ๐š๐ฌ๐ฌ, ๐จ๐š๐ค๐ฎ๐ง, ๐ฐ๐จ๐จ๐ ๐Ÿ•๐Ÿ ร— ๐Ÿ๐Ÿ‘๐Ÿ‘ ร— ๐Ÿ๐ŸŽ๐ŸŽ ๐œ๐ฆ The series of which โ€˜La Mestizaโ€™ is a part comprises representations of โ€œcostales,โ€ or sacks of goods such as flour, rice and sugar. These bags hold strongly political connotations because of their iconography, slogans and brands, connected to themes of colonialism and neocolonialism, identity, the histories of their products, as well as economic and social issues. To accentuate these works, Salazar Rosales has removed, modified, or added certain words and/or images to either make them more explicit or to grant affection to the coldness of their bodies, congealed by wax. Sofia Salazar Rosales (Quito, Ecuador, 1999) lives and works between Paris, and Quito. She completed a masterโ€™s degree at the School of Fine Arts (ENSBA Paris), from which she graduated with distinction in the ateliers of Tatiana Trouvรฉ, Petrit Halilaj and รlvaro Urbano. She was a resident of De Ateliers in Amsterdam from 2023-2025. Salazar Rosales blends her ancestral heritage with regional and personal histories to create evocative sculptural works, using various processes to preserve, fossilize, or reproduce objects in ways that heighten their emotional impact. Drawing on material culture and history, she examines how everyday objects and goods can embody and transmit social, economic, and political narratives. Installation view of La Biennale De Lyon: โ€œCrossing the waterโ€, Curated by Alexia Fabre, Lyon, 2024 - 2025 Photo by Estefanรญa Henrรญquez Cubillos Courtesy of The Artist and ChertLรผdde, Berlin by @dar.air.collection
๐‹๐จ๐ญ๐ฎ๐ฌ ๐‹. ๐Š๐š๐ง๐  ๐Œ๐ž๐ฌ๐จ๐๐ž๐ซ๐ฆ (๐€๐ณ๐š๐ฅ๐ž๐š๐ฌ ๐•๐ˆ), ๐Ÿ๐ŸŽ๐Ÿ๐Ÿ“ ๐๐ข๐ ๐ฆ๐ž๐ง๐ญ๐ž๐ ๐ฌ๐ข๐ฅ๐ข๐œ๐จ๐ง๐ž, ๐ฉ๐ก๐จ๐ญ๐จ๐ ๐ซ๐š๐ฉ๐ก๐ข๐œ ๐ฉ๐š๐ฉ๐ž๐ซ, ๐๐š๐ซ๐ค๐ซ๐จ๐จ๐ฆ ๐œ๐ก๐ž๐ฆ๐ข๐œ๐š๐ฅ๐ฌ, ๐จ๐ข๐ฅ ๐ฉ๐š๐ฌ๐ญ๐ž๐ฅ, ๐ฆ๐ข๐ซ๐ซ๐จ๐ซ๐ž๐ ๐๐ฅ๐ž๐ฑ๐ข๐ ๐ฅ๐š๐ฌ, ๐ฌ๐ฉ๐ก๐ž๐ซ๐ข๐œ๐š๐ฅ ๐ฆ๐š๐ ๐ง๐ž๐ญ๐ฌ ๐Ÿ‘๐Ÿ,๐Ÿ– ร— ๐Ÿ‘๐Ÿ–,๐Ÿ• ร— ๐Ÿ,๐Ÿ‘ ๐œ๐ฆ Part of Mesoderm, Lotus L. Kangโ€™s ongoing series, Mesoderm (Azaleas VI) brings together silicone, photograms, magnets, and cast elements in a layered collage. Here, a custom cinnabar-toned silicone surface replaces the usual photographic paper, creating a tactile, relief-like presence that heightens the tension between organic color and synthetic material. Working with a palette evoking the body - flesh, blush, bruise - Kang explores processes of tracing and imprinting, both literal and metaphorical. Her compositions draw from an evolving archive of source imagery - anatomical diagrams, historical photographs, personal images - abstracted to the edge of recognition. Rather than fixed meaning, the work reflects cycles of lineage and recurrence, where images are continuously reactivated, resisting closure and remaining in flux. Lotus L. Kang (born 1985) is a Canadianย photographer,ย sculptor, andย installation artist. She is best known for her installation works involving large sheets ofย unfixedย orย unprocessedย photographic paperย orย film, often installed along with sculptural objects andย greenhouses. Kang participated in theย Whitney Biennialย in 2024 and has been awarded aย Guggenheim Fellowship. Courtesy the artist, Commonwealth and Council and Esther Schipper Berlin/Paris/Seoul Photo ยฉ Andrea Rossetti by @dar.air.collection
๐’๐ฎ๐ง๐  ๐“๐ข๐ž๐ฎ ๐”๐ง๐ญ๐ข๐ญ๐ฅ๐ž๐, ๐Ÿ๐ŸŽ๐Ÿ๐Ÿ‘ ๐’๐ž๐ฐ๐ง ๐Ÿ๐š๐›๐ซ๐ข๐œ ๐จ๐ง ๐œ๐š๐ง๐ฏ๐š๐ฌ ๐ฌ๐ญ๐ซ๐ž๐ญ๐œ๐ก๐ž๐ซ ๐Ÿ‘๐ŸŽ.๐Ÿ“ ร— ๐Ÿ‘๐Ÿ– ๐œ๐ฆ Sung Tieu (b. 1987, Hai Duong, Vietnam) lives and works in Berlin, Germany. Tieuโ€™s work takes place at the intersection of her personal experiences, global history, and the cultural incursions of European art traditions. Tieuโ€™s use of plaid fabric has taken varied forms in sculpture, installation, and wall-based works since 2015. Originally, the reference was to the kind of double plaid grid originating from Indonesia, where each pattern was assigned to a specific family and worn as sarungs, often during prayer. Through the exchange economies of capitalism, the double plaid grid pattern has become universal. From Burberry to jumbo nylon square storage bags, the plaid fabric interests Tieu not only for its dissemination in fashion, but specifically for the way it travels on the bodies of people across the economic spectrum and its many contexts of class and migration status. Tieuโ€™s works in sewn fabric on canvas stretcher take the globalised pattern and place it in compositions that reference the Minimalism of Rothko, or the Modernist grid. Courtesy of the artist and Emalin, London Photo by Hans-Georg Gaul by @dar.air.collection
๐’๐จ๐ฉ๐ก๐ข๐š ๐€๐ฅ-๐Œ๐š๐ซ๐ข๐š ๐๐ซ๐ž๐ญ๐ž๐ง๐ ๐–๐žโ€™๐ซ๐ž ๐ƒ๐ž๐š๐, ๐Ÿ๐ŸŽ๐Ÿ๐Ÿ‘ ๐‚๐จ๐ฅ๐ฅ๐š๐ ๐ž๐ ๐Ÿ๐จ๐ฎ๐ง๐ ๐ฆ๐š๐ญ๐ž๐ซ๐ข๐š๐ฅ ๐š๐ง๐ ๐ฉ๐ž๐ง ๐จ๐ง ๐š๐œ๐ž๐ญ๐š๐ญ๐ž, ๐Ÿ๐ซ๐š๐ฆ๐ž๐ ๐Ÿ•๐Ÿ– ร— ๐Ÿ”๐ŸŽ ร— ๐Ÿ ๐œ๐ฆ Sophia Al-Mariaโ€™s work interrogates the enduring orientalist gaze and residual histories of resource extraction and colonial authority in the context of contemporary culture and society. Pretend Weโ€™re Dead includes a web of red cotton yarn,ย puzzle pieces, newspaper clippings, Sophiaโ€™s graduation cap charm, the obscured image of Winona Ryder appears throughout the Not My Bag exhibition - for Sophia, a teen icon and symbol of female power. The workโ€™s title, Pretend Weโ€™re Dead reference two very distinct things, the 1992 song of the same name by L7, an American all-female rock band, and a childhood game played in Qatar (which isย similarly referenced in Beast Type Song). Sophia Al-Maria is a Qatari-American artist, writer, and filmmaker based in London. Working across drawing, collage, sculpture, and film, her practice explores storytelling, myth, and the construction of revisionist histories and speculative futures. With artist Fatima Al Qadiri, she coined the term โ€œGulf Futurism,โ€ describing the social and cultural transformations of the post-oil Gulf. Through cinematic works and installations, Al-Maria examines language, imperialism, consumerism, and the shifting realities of the contemporary Gulf region. Photo courtesy of The Artist andย Project Native Informant by @dar.air.collection
๐Œ๐จ๐ง๐ข๐š ๐๐ž๐ง ๐‡๐š๐ฆ๐จ๐ฎ๐๐š ๐†๐ฒ๐ฆ๐ง๐š๐ฌ๐ข๐ฎ๐ฆ (๐๐ข๐œ๐ญ๐จ๐ซ๐ข๐š๐ฅ, ๐๐ฅ๐ฎ๐ž), ๐Ÿ๐ŸŽ๐Ÿ๐ŸŽ ๐†๐ฅ๐š๐ฌ๐ฌ, ๐ข๐ง๐ค, ๐ฌ๐ญ๐ž๐ž๐ฅ, ๐ฌ๐ข๐ฅ๐ข๐œ๐จ๐ง๐ž, ๐š๐œ๐ซ๐ฒ๐ฅ๐ข๐œ ๐ฉ๐š๐ข๐ง๐ญ ๐Ÿ‘๐Ÿ ร— ๐Ÿ‘๐Ÿ ร— ๐Ÿ๐Ÿ– ๐œ๐ฆ Ben Hamoudaโ€™s Gymnasium series explores the complexities and contradictions of cultural assimilationโ€”the process through which individuals or groups abandon their own culture in order to adopt a dominant one. The sculpture, described by the artist as a daughter of two cultures, exists between the biblical story of St. Agatha and the abstraction of Islamic art. Silicone breasts resting on a mirrored surface are marked with calligraphic ink, transforming the form into a symbol that oscillates between the magical and the sacred. Gymnasium, from the Latin term for a place of exercise or training, becomes a sculptural study in which Ben Hamouda critically engages with canonical genres such as still life, figuration, and calligraphy. Monia Ben Hamouda (b. 1991, Milan, Italy) lives and works between al-Qayrawan, Tunisia, and Milan. Her practice traces her Tunisianโ€“Italian heritage through personal experience and collective memory. Drawing on symbols, calligraphy, and materials connected to Arab cultural belonging, Ben Hamouda explores questions of identity, diaspora, and representation within shifting socio-political contexts. Reworking inherited aesthetic traditions, she develops a visual language that resists fixed meanings and singular histories. Photos courtesy of The Artist and ChertLรผdde, Berlin by @dar.air.collection
๐’๐ž๐ฅ๐ฆ๐š ๐’๐ž๐ฅ๐ฆ๐š๐ง ๐–๐ก๐ž๐ซ๐ž ๐š๐ซ๐ž ๐ฒ๐จ๐ฎ ๐Œ๐จ๐ญ๐ก๐ž๐ซ ๐ญ๐จ ๐ฌ๐ž๐ž ๐ฆ๐ž ๐ง๐จ๐ฐ, ๐Ÿ๐ŸŽ๐Ÿ๐Ÿ“ ๐Ž๐ข๐ฅ ๐จ๐ง ๐ฆ๐ž๐ญ๐š๐ฅ ๐Ÿ‘๐Ÿ‘.๐Ÿ” ร— ๐Ÿ‘๐Ÿ‘ ร— ๐Ÿ‘.๐Ÿ ๐œ๐ฆ Since 2014, Selma Selman has used scrap metal to create hybrid works that blur the line between painting and sculpture. Bearing dents, stains, and scratches, the metal carries traces of its pastโ€”material deeply tied to Selmanโ€™s personal history, as her family has long worked in the scrap trade. She often repurposes Mercedes-Benz car hoods, painting them with self-portraits and text, especially in her Letters to Omer series. These works challenge ideas of status and identity, contrasting symbols of luxury with narratives of marginalization. Rooted in her Roma heritage, Selmanโ€™s practice reclaims space in an art historical canon that has often excluded voices like hers. By transforming discarded materials into powerful statements, she critiques systems of value and visibility. Selma Selman (b. 1991, Bihacฬ, Bosnia and Herzegovina) was a Rijksakademie resident from 2021 to 2023. Her works embody the struggles of her own life as well as her community and employ a variety of media such as performance, painting, photography, and video installations. Her pieces are often inspired by her personal history, her familyโ€™s livelihood and her Roma origins. Photos by Marjorie Brunet Plaza Courtesy of The Artist and ChertLรผdde, Berlin by @dar.air.collection

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