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, Talal Khalid Al Najjar, Emily Atac, Yani Aviles, Daniel G. Baird, Larissa Borteh, Christian Campos, Hasani Cannon, Noura Elmeligy, Maryam Faridani, Jae Ford, Alyx Harch, Erin Hayden, Elnaz Javanidizaji, Frances Lee, Wen Liu, Nour Malas, Bishal Manandhar, Noël Morical, Ingrid Olson, Annie Raccuglia, Nick Raffel, Jeff Robinson, Malte Stiehl, Deniz Türkoğlu, Neal Vandenbergh, Aleksandra Walaszek, Zachary Sun, Zespo
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.