Laleh Khorramian

Laleh Khorramian

Gallery 1: Saturns Neckless

November 2 - December 10, 2016

Laleh Khorramian _Alien M1-2016_Monotype And Mixed Media On Polypropylene _66x 100cm _650

Group Show

Summer Show 2014

June 4 - July 24, 2014

Sara Naim _Al Niente _2009_C-type Digital Print _50.8x 43.18cm

The Third Line will be closing the season with Summer Show 2014, presenting a selection of artworks by artists represented by the gallery and those who have shown at the gallery in the past. 

With a series of media ranging across photography, painting, sculpture and installations, Summer Show 2014 will be showcasing the works of Arwa Abouon, Ala Ebtekar, Ebtisam Abdulaziz, Golnaz Fathi, Hassan Hajjaj, Huda Lutfi, Laleh Khorramian, Pouran Jinchi, Rana Begum, Rhea Karam and Sara Naim.

Laleh Khorramian

Art Basel 2013 - Statements

June 13 - 16, 2013

TTL_Art -Basel -44_Image -Harold -Cunningham -2

Laleh Khorramian - Solo Project

The Third Line at Art Basel | 13 - 16 June, 2013 | Booth S6 - The Third Line is very pleased to be participating for the first time in Art Basel, and will be presenting a solo booth by artist Laleh Khorramian in the Statements sector. Khorramian’s mixed media paintings and video installation include objects circulating around the theme of her latest body of work M-GOLIS, a sci-fi/fantasy tale that is seen through the persona of Lt. Aurelio Swimm.

The Third Line is participating with more than 300 leading contemporary galleries at one of the most dynamic fairs in the world today. The Statements sector, one of eight categories at Art Basel, carefully selects proposals that present exciting new solo projects by young and emerging artists.

The works on display are fragments of a future science fiction film titled M-GOLIS, with Khorramian’s presentation focusing on paintings and objects related to the making. The animation, which is yet to be completed, will be the fifth in a series of films relating to the five elements of matter, earth, air, fire, water and ether, with M-GOLIS focusing on ether.

The narrative of M-GOLIS is set on a foreign planet of the same name in the year 2202. The planet ravaged by chemical wastes, is sparsely populated with prisoners whose sentence is to reside there and reverse the pollution by distributing mycoremediating mycelium spores that decompose toxic wastes. The film follows the journey of inmate Lieutenant Aurelio Swimm’s incarceration on the chemically polluted planet, where his consciousness has been altered by his extreme isolation and exposure to a toxic and increasingly hallucinogenic environment.

In one of the works, COMMUNICATION SHRINE, the artist presents an interactive installation that is housed within an ordinary refrigerator. Upon opening it, one encounters the world of Swimm more intimately through found objects, personal trinkets and three videos running simultaneously. Primarily intended as a communication portal to earth for the lone Lieutenant, this object has taken on a sacred totemic role, serving as an altar to things he considers precious in his solitary existence. By switching between her own creation, and that of her imagined character’s, Khorramian plays with multiple possibilities that allow her to examine the relationship between art and audience. 

Group Show


September 12 - October 27, 2011


Artists: Abbas Akhavan, Huda Lutfi, Arwa Abouon, Amir H. Fallah, Fouad Elkoury, Farhad Moshiri, Hassan Hajjaj, Laleh Khorramian, Slavs and Tatars, Susan Hefuna, Youssef Nabil

To begin the fall season, The Third Line invites guest curator Rami Farook to continue a conversation about the state of the world today. Comprising of works from The Third Line, Traffic and The Farook Collection and exhibiting at the two spaces, the show attempts to question and discuss the state of the contemporary environment through artistic representations depicting social behavior, ecology and psychology.

THE STATE: SOCIAL / ANTISOCIAL? is inspired by and, a continuation from, previous shows at Traffic also titled ‘the state’. This exhibition resumes a dialogue explored earlier in shows held at Traffic: THE STATE(2010), the inaugural exhibition, questioned the socio-political state post September 11; anTHE STATE: UPPERS & DOWNERS(2011) ran a commentary on the global condition, from an economic perspective, with the city of Dubai as a focal point. This third installment of investigation combines works from the collection of The Third Line, Traffic and The Farook Collection, and is exhibited at both galleries to connect the conversations previously limited to one physical space. 

Laleh Khorramian

Water Panics in the Sea

March 10 - April 13, 2011

LK_Water Panics In The Sea

The Third Line, in collaboration with The Pavilion Downtown Dubai presents Water Panics in the Sea, a digital stop-frame film by Laleh Khorramian. Reflecting on human themes of odyssey and conquest, the film follows the voyage of a ghost ship/time machine as it traverses the ocean waters through an accelerated, indistinct chronology.

This is the fourth in a series of short films loosely based on the five elements of Earth, Air, Fire, Water and Ether. Constructed through a process of iterative magnification and manipulation of minute details derived from monotype prints and drawings, the film seeks to question our habituated perception by an intricate use of scale, distance, time and space. Along with an original soundtrack the film produces a theatrical framework through a process of layering and sampling.

Laleh Khorramian

Zenith and Nadir

October 09 - November 06, 2008

Laleh Khorramian, Green as a Heart, 2008, Glass, lead, wood, stain, neon, paper, 96.5 x 96.5 x 12 cm

Featured in Khorramian's second solo exhibition at the gallery, I Without End (6:20 min) is a time-lapse animation, which captures a couple carved out of orange peels, sensually entwined to one another. The couple are at times androgynous, coarsely comical but intensely engaged, their heads skewed in place with the visceral violence of a Francis Bacon painting. 

The absurdity of the material as a sensual metaphor depicts the unfolding intimacy of two individuals. Upon close inspection and the alteration of time, the figures lie somewhere between the living and dying. They are essentially decaying to a rhythmical breath, engaged in movement until the moment all moisture is finally gone.

In other works on paper, Khorramian mono-prints and drawings in oil, crayon, collage, pen and ink are never too far removed from her animations, since they provide the fertile source material for them. In these works, microscopic, remote landscapes roll behind fragmented figures with narratives embedded again and again.