During the country\u2019s bloody civil war, public monuments and the contents of its national museum were also stored in unmarked crates. According to the gallery, Raad\u2019s work also criticizes, \u201cthe lack of a breakdown and reassembly protocol\u201d of the museums which resulted in haphazard reconstructions and compositions such as this. The sculpture<\/span> was a centerpiece for the artist\u2019s exhibition at the Jesuit Chapel in Nimes, France, last year, where its wings made formidable shadow patterns of the floor and walls of the darkened French church.<\/span><\/p>\n

At Frieze, the creature <\/span>dwarfs the room and brings a surreal hyper-reality to the fair, together with Wael Shawky\u2019s human and animal busts. These see Shawky reimagining identities and grotesque composite forms, using classical gargoyle heads being pecked by a bird of prey or assailed by a long-legged spider. Last year, Mounira Al Solh\u2019s red Bedouin tent and <\/span>A Day Is as Long as a Year <\/span><\/i>installation at the Baltic Centre for Contemporary Art in Gateshead recalled the stories and experiences of war and displacement as told by women. Here at Frieze, Sfeir-Semler presents a very different series of work by the Netherlands-based artist that is no less powerful. Six embroidered squares, from Al Solh <\/span>In Love in Blood<\/span><\/i> series, appear humorous and endearing, using simple scenes of fingers holding tangled threads and children playing to represent or call to mind the emotions and conflict of daily life, particularly those of women and families in the Middle East. Al Solh works in a variety of media and these simple squares edged in colored silk offer a beautiful summary of her artistic range and skill.<\/span><\/p>\n