The invisible enemy should not exist (Northwest Palace of Nimrud)
2018 - ongoing
Arabic newspapers, food packaging, cardboard relief sculptures on wood panel, museum labels
Built with the assistance of:
Elizabeth Allen-Cannon, Yani Aviles, Daniel G. Baird, Larissa Borteh, Christian Campos, Maryam Faridani, J. Michael Ford, Alyx Harch, Erin Hayden, Emily Kay Henson, Elnaz Javanidizaji, Frances Lee, Wen Liu, Bishal Manandhar, Noel Morical, Talal Khalid Al Najjar, Annie Raccuglia, Nick Raffel, Jeff Robinson, Deniz Turkoglu, Neal Vandenbergh
Dedicated to the memory of Selma Al-Radi, Sam Paley, and Dr. Donny George Youkhanna
The invisible enemy should not exist (Northwest Palace of Nimrud) constructs reappearances of historically looted and recently destroyed relief sculptures that lined the walls of the ancient Assyrian Palace of Nimrud (present day Mosul, Iraq).
Michael Rakowitz (Detail of new work, on view for the first time, commissioned by the Ruth and Elmer Wellin Museum of Art at Hamilton College.) Panel H-13, Room H, Northwest Palace of Nimrud, from the series The invisible enemy should not exist, 2020.
Middle Eastern food packaging and newspapers, with glue on panel, 194 x 230 cm.
Courtesy of the artist and Rhona Hoffman Gallery, Chicago.
The project was underwritten by a grant from the Daniel W. Dietrich ’64 Fund for Innovation in the Arts.
The project was underwritten by a grant from the Daniel W. Dietrich ’64 Fund for Innovation in the Arts.
Michael Rakowitz (Detail of new work, on view for the first time, commissioned by the Ruth and Elmer Wellin Museum of Art at Hamilton College.) Panel H-12, Room H, Northwest Palace of Nimrud, from the series The invisible enemy should not exist, 2020.
Middle Eastern food packaging and newspapers, with glue on panel, 93cm x 230 cm.
Courtesy of the artist and Rhona Hoffman Gallery, Chicago.
The project was underwritten by a grant from the Daniel W. Dietrich ’64 Fund for Innovation in the Arts.
The project was underwritten by a grant from the Daniel W. Dietrich ’64 Fund for Innovation in the Arts.
Michael Rakowitz (Detail of new work, on view for the first time, commissioned by the Ruth and Elmer Wellin Museum of Art at Hamilton College.) Corner panel H-11, Room H, Northwest Palace of Nimrud, from the series The invisible enemy should not exist, 2020.
Middle Eastern food packaging and newspapers, with glue on panel, Left side panel: 37 x 230 cm, Right side panel: 88 x 230 cm.
Courtesy of the artist and Rhona Hoffman Gallery, Chicago.
The project was underwritten by a grant from the Daniel W. Dietrich ’64 Fund for Innovation in the Arts.
The project was underwritten by a grant from the Daniel W. Dietrich ’64 Fund for Innovation in the Arts.
Michael Rakowitz (Installation view of new work, on view for the first time, commissioned by the Ruth and Elmer Wellin Museum of Art at Hamilton College.) Room H, from the series The invisible enemy should not exist (Northwest Palace of Nimrud), 2020.
Middle Eastern food packaging and newspapers, with glue on panel.
Courtesy of the artist and Rhona Hoffman Gallery, Chicago.
The project was underwritten by a grant from the Daniel W. Dietrich ’64 Fund for Innovation in the Arts.
Michael Rakowitz (Installation view of new work, on view for the first time, commissioned by the Ruth and Elmer Wellin Museum of Art at Hamilton College.) Room H, from the series The invisible enemy should not exist (Northwest Palace of Nimrud), 2020.
Middle Eastern food packaging and newspapers, with glue on panel.
Courtesy of the artist and Rhona Hoffman Gallery, Chicago.
The project was underwritten by a grant from the Daniel W. Dietrich ’64 Fund for Innovation in the Arts.
Michael Rakowitz (Installation view of new work, on view for the first time, commissioned by the Ruth and Elmer Wellin Museum of Art at Hamilton College.) Room H, from the series The invisible enemy should not exist (Northwest Palace of Nimrud), 2020.
Middle Eastern food packaging and newspapers, with glue on panel.
Courtesy of the artist and Rhona Hoffman Gallery, Chicago.
The project was underwritten by a grant from the Daniel W. Dietrich ’64 Fund for Innovation in the Arts.