Originally shown in Porto Alegre, Brazil, the acclaimed exhibition What’s your Location? Is coming to CAP, Kuwait. 16 contemporary Kuwaiti and international artists are showing their latest works in a development of the themes that made this thought provoking exhibition so successful in Brazil.
What’s your Location? Explores what is more real, that which we see for the first time or what we know from experience? Is our memory of a subject more real than its description? What of the many representations of the world; can we take them as substitutes for a deferred reality or the condition of the world itself?
The works in the exhibition derive from artists living in different environments using various means to address their circumstances, and yet they continue to ask these same questions of us. How do we apprehend the world now that we can experience it more easily as representation than at first hand? Where does this leave us?
Steven Scott is an internationally exhibiting artist from the UK. For What’s Your Location? Scott is presenting dual photographs from a series called ‘Situation’ in which photographic space is divided by selection and presentation to suggest a mirroring of the subjects architectural planes whilst inverting its interiority.
Contemporary artist, Ruth Jones, is also from the UK. For this exhibition she has further explored her “Gentrification” series of works, considering how an artist impacts the environment they exhibit in. Drawing parallels between bacterial cultures and the gentrification of geographical locations, Jones examines whether she can reconcile the possible negative impact on the area she may contribute as an artist, against the positive impact that her artwork could have.
Frederick Bell lives and works in Brussels, Belgium. For the exhibition he is presenting ‘Mass Observation’ which began in 2006, and is still ongoing. The photograph shows a painting that he made which documents his previous exhibition in the same gallery in Antwerp. The painting shows the same place in the same gallery in which it was hung. It is a kind of documentary painting, a role usually fulfilled by a photograph, and now the painting is shown within the photograph that you may have expected in the first place.
Brazillian artist, Antonio Da Silva, creates works that interrogate how we participate as active or passive observers in our environment and the social conflict that exists within society, but is denied. His project “Icarus” was made in collaboration with Khaled Nazar.
Khaled Nazar is an amateur director and cinematographer with a comprehensive background in film and animation. Khaled brings an interesting point of view in which he combines his long affiliation with technology with a stark understanding of modern arts. His latest collaboration with DaSilva, Icarus, is the first “art” project that Khaled has worked on. This script-less, raw footage is visualized on the spot. Icarus takes the story of a man’s journey of building a way out. The project is set on Failaka Island. An island inhabited since 3000 B.C by Sumerian traders and eventually the home of the city named Icarus. As time has aged these ruins, a new 20th century civilization had planted its roots but only to be abandoned again. The Icarus project is essentially the never-ending life cycle of Failaka, meaning outpost.
In her “XOX Series”, invited artist, Amira Ali Behbehani, considers the dualities we all battle with, irrespective of culture, the different roles we choose to take on, the words we borrow, the ideas we champion, that simultaneously shroud and strip us. The game of tic-tac-toe highlights how daily, we inhabit so many worlds, real or created, tangible or intangible – part of all but so often committed to none. Here, there is no prevarication, no obfuscation. We lose or we win – there is no other way.
Farah Salem’s work “The Dove” interrogates social conventions as she examines the sense of freedom craved by all cultures and societies. She believes the sense of power and control that comes from freedom is the ultimate goal of humanity. Many different perspectives of freedom and the breaking free of authority or power in many ways is a positive path that should lead to togetherness. Freedom and unity begin a cycle where freedom leads to authority and change.
For Katia Salvany, the image of a female body in a state of tension, is the thread for making videos, live performance, drawings, prints and sculptures that explore the estrangement in a repetitive mode of actions by stressing the fictions built in images. She aims to create atmospheres which condense the feelings of nostalgia, oblivion, desire, servitude and imprisonment, experienced by a female body. There is a concern in placing women beyond an approach that realises the pitfalls of building their image as a social product.
Kuwaiti architect, Jassim Alnashmi’s developed photographs are usually blurred images of identifiable objects, this blurring is not from the lack of focus but from a double exposure or a leakage of light from the back of the camera, both which obscure the final photographs. Blurring an identifiable object dismantles the viewer’s understanding of it, allowing them to see it in a new light and redefine it for themselves.
Half Kuwaiti-half Ukrainian artist Amani AlThuwaini has been interested in the transformation of customs and traditions in Kuwait and how they affect women nowadays. She explores the limits and social restriction of customs and tradition on women, as well as their positions in their marriages, families and society in general. The series of prints she is showing in this exhibition represent how women often locate themselves between two contrasting positions – what they have and what they dream of.
Designer, writer and performance artist Dana Aljouder explores the low-rise residences in Tiong Bahru, a forty-floor public housing development that is one of many mass-housing estates built for Singaporeans in the past 50 years. The HDB is haunted by its legacy- its practical methodology and functional monotony, often neglectful of the vibrant cultures that inhabit it. The austerity of the ground floor contains several corridors and intersections, creating poetic enfilades, as if purposely designed to be haunted.
Gayle Chong Kwan was born in Edinburgh, Scotland, and lives and works in London. Her work is exhibited and published widely nationally and internationally, and is held in numerous public and private collections. For this exhibition, the video “Plot” examines a small parcel of wasteland in Mauritius, owned by her family. Chong Kwan travels in real, constructed and animated landscapes, in search for the sole remaining member of a species of palm at risk of the same fate as that of the island’s Dodo. The work moves between documentary, day and night-time imaginings, simulacrum, the sublime, construction and waste, and ends with a haunting childhood song by the artist’s 99 year old Great Aunt, herself the last of a generation.
Rommulo Vieira Conceição works with installation, objects, sculpture, drawing and photography, exploring the contemporaneous space perception and the relation of contemporary mankind in space. The works he has contributed explore a persons familiarity and use of a space practically, how they insert themselves into a space, the dilution of that person within a landscape and the transformation of the place in relation to the person.
Mohamad Hafez was born in Damascus, raised in the Kingdom of Saudi Arabia, and educated in the Midwestern United States. Expressing the juxtaposition of East and West within him, Hafez’s art reflects the political turmoil in the Middle East through the compilation of found objects, paint and scrap metal. Responding to the atrocities of the Syrian War, Hafez uses his architectural skills to create surreal Middle Eastern streetscapes that are architectural in their appearance yet politically charged in their content.
Judy-Ann Moule’s artwork reproduces scenarios to trigger glimpses of another time and place. Drawing on memories of childhood, she uses a phenomenological approach (first-hand, inner or bodily experience) to flip the viewer into the position of a child at risk of being trodden on.
Her Installation “Girth 139” is a little person’s perspective of a centralised and dominating force. As such it can be read as an analysis of power and powerlessness as well as a narrative.
Muneera Al Sharhan presents a series of exquisite jewellery that explores identity through memory; specifically the memories of childhood. These contrast with memories influenced by literature and spoken stories which describe the past. The memories interact with the realities of actual physical changes in the environment of Kuwait. Al Sharhan’s memories and the history of Kuwait are separated by a generational shift. Endeavouring to understand this history created nostalgic emotions of a time which she feels connected to, yet did not actually live through. She wanted to make connections and preserve the Kuwait she perceives through her memories.
What’s Your Location?
An exhibition held at CAP 2nd Floor, Life Center, Block 2, St 28, Industrial Shuwaikh, +965 24925636
capkuwait.com. Free entry. Open Saturday – Thursday 10am-8pm
Participating artists: Dana Aljouder, Jassim Alnashmi, Amira Ali Behbehani, Frederick Bell, Rommulo Vieira Conceição, Antonio Da Silva, Mohamad Hafez, Ruth Jones, Gayle Chong Kwan, Judy-Ann Moule, Khaled Nazar, Farah Salem, Katia Salvany, Steven Scott, Muneera Al Sharhan, Amani Al Thuwaini.
Opening night Wednesday 4 May 2016, from 7pm. Talks by artists Antonio DaSilva, Jassim Alnashmi Thursday 5 May at 7pm, Mohamad Hafez Saturday 7 May at 7pm and Amira Behbehani (date to be confirmed). Exhibition closes Saturday 4 June 2016.