Winter_Ayman Yossri Daydban_solo exhibition

AYMAN YOSSRI DAYDBAN

25.01.

25.03.

2025

ATHR GALLERY JEDDAH

WINTER EXPLORES THE MOBILITY OF AN OBJECT THROUGH TEMPORAL AND SPATIAL REALITIES, FOREGROUNDING AND REIMAGING MODES OF RELATIONALITY AND CONNECTION AT A TIME OF ECOLOGICAL EMERGENCY. THE COLOSSAL INSTALLATION IS AN INVITATION TO RE-ORIENT US WITH THE IHRAM AS AN OBJECT TETHERED TO A

CRITICAL

AND

HISTORIC

SITE.

THE

PRESENTATION HIGHLIGHTS THE ARTIST AS A STUDENT OF MODERNISM, WHOSE PRACTICE IS THREADED WITH CODES OF ABSTRACTION AND CONCEPTUALISM,

TYPICALLY

SELF-CONTAINED

AND

ART-OBJECTS

ARE

THAT

SELECTING

SELF-REFERENTIAL INFUSED

WITH

AN

ALMOST ANXIOUS RELATIONSHIP WITH THE WORLD. WINTER

EXPANDS

ON

AYMAN

YOSSRI

DAYDBAN’S SEMINAL IHRAMAT SERIES (2012), IN WHICH THE SIMPLE IHRAM, A PLAIN WHITE CLOTH

WORN

STRETCHED

BY

OVER

PILGRIMS

IN

ISLAM,

RECTANGULAR

IS

WOODEN

PANELS. AT ITS GENESIS, THE SERIES IS AN EXERCISE ON HOW TO PICK AN OBJECT THAT CAN UNRAVEL RELATIONSHIPS BETWEEN THE BODY AND ITS DOMINANT ECONOMIC AND

.(١٩٩٦) ‫ﻣﺲ‬ ‫( ﻭ‬٢٠١٢) ‫ ﺍﺣﺮﺍﻣﺎﺕ‬:‫ﻳﺘﺒﻊ ﺷﺘﺎء ﺃﻋﻤﺎﻝ ﺃﳝﻦ ﻳﺴﺮﻱ ﺩﻳﺪﺑﺎﻥ ﺍﻟﺴﺎﺑﻘﺔ‬ ‫ﻞ ﺍﳋﺎﻣﺎﺕ ﺍﳌﺴﺘﻌﻤﻠﺔ ﰲ ﺇﺣﺮﺍﻣﺎﺕ ﺍﳊﺞ ﻟﺘﺴﻠﻴﻂ ﺍﻟﻀﻮء ﻋﻠﻰ ﺩﻻﻻﺕ‬‫ﻳﻌﻴﺪ ﺩﻳﺪﺑﺎﻥ ﲣﻴ‬ ،‫ﻔﺲ‬‫ ﺍﻟﻌﺰﻟﺔ ﻭ ﺍﺳﺘﻜﺸﺎﻑ ﺍﻟﻨ‬،‫ﺍﻟ ّﺜﻘﺎﻓﺔ ﻭ ﺍﻹﳝﺎﻥ ﺍﻟﻜﺎﻣﻨﺔ ﲠﺎ ﳑﺎ ﻳﻌﻜﺲ ﻣﻮﺍﺿﻴﻊ ﺍﳍﻮﻳﺔ‬ ‫ﻳﺴﺘﻜﺸﻒ ﺍﳌﻌﺮﺽ ﻣﺪﻯ ﺇﻣﻜﺎﻧﻴﺎﺕ ﺍﻷﺷﻴﺎء ﺃﻭ ﺍﳉﺴﻴﻤﺎﺕ ﻭ ﺣﺮﻛﺎﲥﺎ ﻋﱪ ﺍﻟﻮﺍﻗﻊ‬ ‫ ﻣﻘﺪﻣ ًﺎ ﻭﻣﻌﻴﺪ ًﺍ ﲣﻴﻞ ﺃﳕﺎﻁ ﺍﻟﻌﻼﻗﺎﺕ ﺑﲔ ﺍﻷﺷﻴﺎء ﰲ ﺯﻣﻦ ﺍﻟﻄﻮﺍﺭﺉ‬،‫ﺍﻟﺰﻣﺎﻧﻲ ﻭﺍﳌﻜﺎﻧﻲ‬ ‫ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺍﻟﱰﻛﻴﱯ ﺍﻟﻀﺨﻢ ﻫﻮ ﺩﻋﻮﺓ ﻹﻋﺎﺩﺓ ﺗﻮﺟﻴﻪ ﺃﻧﻔﺴﻨﺎ ﲟﻮﺿﻮﻋﻴﺔ‬.‫ﺍﻟﺒﻴﺌﻴﺔ‬ ‫ ﻳﺴﻠﻂ ﺍﻟﻌﺮﺽ ﺍﻟﻀﻮء ﻋﻠﻰ ﺍﻟﻔﻨﺎﻥ‬.‫ﺍﻹﺣﺮﺍﻡ ﻛﺠﺴﻢ ﻣﺮﺗﺒﻂ ﲟﻮﻗﻊ ﺣﺎﺳﻢ ﻭﺗﺎﺭﳜﻲ‬ ‫ ﻣﺘﻔﻮﻗﺎ‬،‫ﻛﺪﺍﺭﺱ ﻟﻠﺤﺪﺍﺛﺔ ﺍﻟﻔﻨﻴﺔ ﺍﻟﺬﻱ ﺗﺘﺸﺎﺑﻚ ﳑﺎﺭﺳﺘﻪ ﻣﻊ ﺭﻣﻮﺯ ﺍﻟﺘﺠﺮﻳﺪ ﻭﺍﳌﻔﺎﻫﻴﻤﻴﺔ‬ .‫ﰲ ﺍﺧﺘﻴﺎﺭ ﺍﳉﺴﻴﻤﺎﺕ ﺍﻟﻔﻨﻴﺔ ﺫﺍﺕ ﻣﺮﺟﻌﻴﺔ ﺫﺍﺗﻴﺔ ﻣﻠﻴﺌﺔ ﺑﺎﻟﻘﻠﻖ‬ ‫( ﺍﻟﱵ ﳝﺪﺩ ﻓﻴﻬﺎ ﺍﻹﺣﺮﺍﻡ‬٢٠١٢) “‫ﻭﺳﻊ ﺍﻟﻔﻨﺎﻥ ﺃﳝﻦ ﻳﺴﺮﻱ ﺩﻳﺪﺑﺎﻥ ﺳﻠﺴﻠﺔ ”ﺇﺣﺮﺍﻣﺎﺕ‬  ‫ ﻋﻠﻰ ﺃﻟﻮﺍﺡ ﺧﺸﺒﻴﺔ‬،‫ ﻭﻫﻮ ﻗﻤﺎﺵ ﺃﺑﻴﺾ ﺑﺴﻴﻂ ﻳﺮﺗﺪﻳﻪ ﺍﳊﺠﺎﺝ ﰲ ﺍﻹﺳﻼﻡ‬،‫ﺍﻟﺒﺴﻴﻂ‬ ‫ ُﺗﻌﺪ ﻫﺬﻩ ﺍﻟﺴﻠﺴﻠﺔ ﰲ ﺃﺻﻠﻬﺎ ﲤﺮﻳﻨ ًﺎ ﻋﻠﻰ ﺍﺧﺘﻴﺎﺭ ﺍﳉﺴﻴﻤﺎﺕ ﺍﻟﻔﻨﻴﺔ‬.‫ﻣﺴﺘﻄﻴﻠﺔ ﺍﻟﺸﻜﻞ‬ ‫ ﺑﺎﻟﻨﺴﺒﺔ‬.‫ﺍﻟﱵ ﺗﻜﺸﻒ ﺍﻟﻌﻼﻗﺔ ﺑﲔ ﺍﳉﺴﺪ ﻭﺍﻟﺒﻨﻰ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﻟﺴﻴﺎﺳﻴﺔ ﺍﳌﻬﻴﻤﻨﺔ‬ ‫ ﻓﺈﻥ ﺍﻹﺣﺮﺍﻡ ﻫﻮ ﺟﺴﻴﻢ ﻣﺴﻄﺢ ﻭ ﻭﺳﻴﻠﺔ ﻣﺜﺎﻟﻴﺔ ﻻﺳﺘﺤﻀﺎﺭ ﺍﻷﺟﺴﺎﺩ‬،‫ﻟﻠﻔﻨﺎﻥ‬ ‫ ﻭﻫﻮ ﻣﺸﺒﻊ ﺑﻨﻈﺎﻡ ﻋﻼﻗﺎﺕ‬،‫ﺍﻟﺬﻛﻮﺭﻳﺔ ﺃﻭ ﺍﻟﺘﺠﺮﻳﺪﺍﺕ ﺍﻟﺮﺳﻮﻣﻴﺔ ﺃﻭ ﺍﻟﻨﻘﻮﺵ ﺍﻟﺒﺎﺭﺯﺓ‬ ‫ﳛﺪﺩ ﺫﺍﺗﻴﺔ ﺍﻟﺸﺨﺺ ﺃﻭ ﻫﻮﻳﺘﻪ‬ ‫ﻼ ﺃﺯﻣﺔ ﺍﳌﻨﺎﺥ ﻛﺠﺴﻴﻢ ﻣﻔﺮﻁ ﻳﺮﺗﺒﻂ‬ ‫ ﻣﺴﺠ‬،‫ﲢﻮﻻ ﰲ ﻫﺬﻩ ﺍﻟﺴﻠﺴﻠﺔ‬ ً ‫ﳝﺜﻞ ﻫﺬﻩ ﺍﳌﻌﺮﺽ‬ ‫ ﺗﺸﲑ ﺍﳉﺴﻴﻢ ﺍﳌﻔﺮﻃﺔ ﺇﱃ ﺍﻷﺷﻴﺎء‬،‫ ﻭﻭﻓ ًﻘﺎ ﻟﺘﻴﻤﻮﺛﻲ ﻣﻮﺭﺗﻮﻥ‬.‫ﺑﻪ ﻣﻮﺿﻮﻉ ﺍﻹﺣﺮﺍﻡ‬ .‫ﺍﻟﻠﺰﺟﺔ ﺍﻟﱵ ﺗﺘﺸﺎﺑﻚ ﺃﻭ ﺗﺘﻮﺯﻉ ﺑﺸﻜﻞ ﻛﺒﲑ ﰲ ﺍﻟﺰﻣﺎﻥ ﻭﺍﳌﻜﺎﻥ ﻣﺆﺛﺮﺍ ﻟﻠﺘﺠﺮﺑﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ‬ ‫ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ ﻣﻦ ﺍﻟﻌﻼﻗﺎﺕ ﺑﲔ ﺃﺯﻣﺔ ﺍﳌﻨﺎﺥ ﻭ ﻣﻮﺿﻮﻋﻴﺔ ﻭﺟﺴﻴﻢ ﺍﻹﺣﺮﺍﻡ ﺗﻘﱰﺡ ﻣﻮﻗﻊ‬ ‫ ﺍﻟﺬﻱ ﺃﺻﺒﺢ ﺍﻵﻥ ﲰﻴﻜ ًﺎ‬- ‫ ﻳﻀﻊ ﺍﻟﻔﻨﺎﻥ ﺍﳉﺴﻴﻢ ﺍﳌﻨﺴﻮﺝ‬.‫ﻧﻘﺪﻱ ﻟﻠﺘﺪﺧﻞ ﺍﻟﺘﺄﻣﻠﻲ‬ .‫ ﻣﺬﻛﺮ ًﺍ ﲟﺎ ﻫﻮ ﻋﻠﻰ ﺍﶈﻚ‬،‫ ﺿﻤﻦ ﺍﻟﺘﻐﲑ ﺍﳌﻨﺎﺧﻲ‬- ‫ﻟﺴﻤﻚ‬ ‫ﲞﻴﻮﻁ ﻣﺘﻔﺎﻭﺗﺔ ﺍ‬

‫ مريم بالل‬:‫بقلم‬

POLITICAL STRUCTURES. FOR THE ARTIST, THE IHRAM IS A FLAT OBJECT THAT HAS LONG BEEN A PERFECT VEHICLE TO RENDER MALE BODIES, PAINTERLY ABSTRACTIONS OR RELIEFS, AND RENDERS

A

SYSTEM

OF

RELATIONS

THAT

DETERMINE THE SUBJECTIVITY OR IDENTITY OF A PERSON. WINTER MARKS A SHIFT WITHIN THE SERIES, REGISTERING

THE

CLIMATE

CRISIS

AS

A

HYPEROBJECT TO WHICH THE OBJECT OF THE IHRAM IS BOUND TO. ACCORDING TO TIMOTHY MORTON,

HYPERPBJECTS

REFER

TO

STICKY

THINGS THAT ARE MASSIVELY INTERTWINED OR DISTRIBUTED IN TIME AND SPACE RELATIVE TO THE HUMAN EXPERIENCE. THIS SYSTEM OF RELATIONS BETWEEN THE CLIMATE CRISIS AND THE OBJECT OF IHRAM IS NOW SITE FOR SPECULATIVE

INTERVENTION.

THE

ARTIST

ESTABLISHES THE WEAVED OBJECT -- NOW THICKENED WITH VARIOUS COURSE YARN AND FUR– WITHIN CLIMATIC CHANGES, REMINDING US OF WHAT IS AT STAKE. - MARIAM BILAL

(‫ ﻓﻠﺴﻄﲔ‬،‫ ﺭﺍﻡ ﺍﻟ ّﻠﻪ‬،١٩٦٦ ‫ﺃﳝﻦ ﻳﺴﺮﻱ ﺩﻳﺪﺑﺎﻥ )ﻣﻮﺍﻟﻴﺪ‬

‫ﺔ ﻭﺍﻻﻧﺘﻤﺎء‬‫ ﻳﺴﺘﻜﺸﻒ ﰲ ﺃﻋﻤﺎﻟﻪ ﺛﻴﻤﺎﺕ ﺍﳍﻮﻳ‬،‫ﻟﺘﺨﺼﺼﺎﺕ‬ - ‫ﺳﻌﻮﺩﻱ‬ ‫ﺎﻥ‬‫ﻓﻨ‬  ‫ﻓﻠﺴﻄﻴﲏ‬  ‫ﻣﺘﻌﺪﺩ ﺍ‬   ‫ﺎﻥ‬‫ ﻭﻗﺪ ﺍﺧﺘﺎﺭ ﺍﻟﻔﻨ‬،"‫ﺔ "ﺍﳊﺎﺭﺱ" ﺃﻭ "ﺍﻟﺮﻗﻴﺐ‬‫ ﺗﻌﲏ ﻛﻠﻤﺔ "ﺩﻳﺪﺑﺎﻥ" ﰲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴ‬.‫ﺔ‬‫ﻭﺍﻟﺬﺍﻛﺮﺓ ﺍﻟﺜﻘﺎﻓﻴ‬ ‫ ﻳﻘﻴﻢ ﺩﻳﺪﺑﺎﻥ ﰲ‬.‫ﻟﻮﻃﲏ‬  ‫ﺮﺓ ﻭﺍﻟﻮﻋﻲ ﺍ‬‫ﺎﺕ ﺍﳌﺘﻐﻴ‬‫ﺔ ﻟﺘﺘﻤﺎﻫﻰ ﻣﻊ ﺩﻭﺭﻩ ﻛﺮﺍﺻﺪ ﻟﻠﺴﺮﺩﻳ‬‫ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴ‬ ‫ﺗﻀﻢ‬  ‫ ﺣﻴﺚ‬،‫ﺟﺪﺓ‬   ‫ ﻛﻤﺎ‬،‫ ﺍﻟﻔﻴﺪﻳﻮ ﻭﺍﻟﻄﺒﺎﻋﺔ‬،‫ ﺍﻟﺘﺼﻮﻳﺮ ﺍﻟﻔﻮﺗﻮﻏﺮﺍﰲ‬،‫ﺔ ﻟﺘﺸﻤﻞ ﺍﻟﺮﺳﻢ‬‫ﻴ‬‫ﲤﺘﺪ ﳑﺎﺭﺳﺘﻪ ﺍﻟﻔﻨ‬ ‫ﺔ ﲡﺮﺑﺔ ﺍﻟﻨﺰﻭﺡ ﻭﺍﻟﺘﻌﻘﻴﺪﺍﺕ‬‫ﻌﻦ ﰲ ﴰﻮﻟﻴ‬ ‫ ﻟﺘﺘﻤ‬،‫ﺔ‬‫ﺔ ﻭﻋﻨﺎﺻﺮ ﻣﻦ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺸﻌﺒﻴ‬‫ﺍﻟﻨﺼﻮﺹ ﺍﻟﺴﻴﻨﻤﺎﺋﻴ‬ ،‫ﺔ‬‫ﻟﻨﺼﻴ‬  ‫ﺰ ﺃﻋﻤﺎﻝ ﺩﻳﺪﺑﺎﻥ ﺑﻌﺮﺽ ﺍﻟﺼﻮﺭﺓ ﻣﻊ ﺍﻟﻌﻨﺎﺻﺮ ﺍ‬‫ ﺗﺘﻤﻴ‬.‫ﺍﳌﺮﺗﺒﻄﺔ ﺑﺎﻟﱰﲨﺔ ﺑﲔ ﺍﻟﺜﻘﺎﻓﺎﺕ‬ ‫ﻼﺕ ﻭﺍﻧﻌﻜﺎﺳﺎﺕ‬‫ﻣﺎ ﺗﺄﻣ‬ ‫ﻣﻘﺪ‬  ،‫ﺔ‬‫ﺔ ﻭﺍﻟﺘﺠﺎﺭﺏ ﺍﻟﺸﺨﺼﻴ‬‫ﻻﺳﺘﻜﺸﺎﻑ ﺍﻟﺘﻮﺗّﺮﺍﺕ ﻣﺎ ﺑﲔ ﺍﻟﺮﻣﻮﺯ ﺍﳉﻤﺎﻋﻴ‬ ‫ ﻳﺪﻋﻮ ﺍﳌﺸﺎﻫﺪﻳﻦ ﺇﱃ‬،‫ﺍﳌﻔﺎﻫﻴﻤﻲ‬ ‫ ﻣﻦ ﺧﻼﻝ ﺇﻃﺎﺭﻩ‬.‫ﺔ‬‫ﻋﻤﻴﻘﺔ ﺣﻮﻝ ﻣﻔﻬﻮﻡ ﺍﻻﻏﱰﺍﺏ ﻭﻣﺮﻭﻧﺔ ﺍﳍﻮﻳ‬  ‫ﻳﻨﺎﻣﻴﻜﻲ‬ ‫ ﻭﻳﺴ ّﻠﻂ ﺍﻟﻀﻮء ﻋﻠﻰ ﺍﻟﺘﻔﺎﻋﻞ ﺍﻟﺪ‬،‫ﺇﻋﺎﺩﺓ ﺍﻟﺘﻔﻜﲑ ﰲ ﺩﻭﺭ ﺍﻟﺴﻴﺎﻕ ﰲ ﺗﺸﻜﻴﻞ ﺍﻹﺩﺭﺍﻙ ﻭﺍﻟﻔﻬﻢ‬  .‫ﺔ‬‫ﺎﺕ ﺍﻟﺜﻘﺎﻓﻴ‬‫ ﻭﺍﳌﺮﺟﻌﻴ‬،‫ ﻭﺍﻟﻠﻐﺔ‬،‫ﺍﳌﺘﻌﺪﺩﺓ‬ ‫ﺑﲔ ﺍﻟﻮﺳﺎﺋﻂ‬  AYMAN YOSSRI DAYDBAN (B. 1966, RAMALLAH, PALESTINE) IS A SAUDI-PALESTINIAN MULTIDISCIPLINARY ARTIST EXPLORING THEMES OF IDENTITY, BELONGING, AND CULTURAL MEMORY. HIS ADOPTED SURNAME "DAYDBAN," MEANING "WATCHMAN" IN ARABIC, SYMBOLIZES HIS ROLE AS AN OBSERVER OF SHIFTING NARRATIVES AND NATIONAL CONSCIOUSNESS. BASED IN JEDDAH, HIS PRACTICE SPANS PAINTING, PHOTOGRAPHY, VIDEO, AND PRINTMAKING, OFTEN INCORPORATING CINEMATIC TEXT AND POPULAR CULTURE TO EXAMINE THE UNIVERSALITY OF DISPLACEMENT AND THE COMPLEXITIES OF CULTURAL TRANSLATION. DAYDBAN’S WORK FREQUENTLY JUXTAPOSES FOUND IMAGERY AND TEXTUAL ELEMENTS TO INTERROGATE THE TENSION BETWEEN COLLECTIVE SYMBOLS AND PERSONAL EXPERIENCE, OFFERING NUANCED REFLECTIONS ON ALIENATION AND THE FLUIDITY OF IDENTITY. HIS CONCEPTUAL APPROACH INVITES VIEWERS TO RECONSIDER THE ROLE OF CONTEXT IN SHAPING PERCEPTION AND UNDERSTANDING, DRAWING ATTENTION TO THE DYNAMIC INTERPLAY BETWEEN MEDIA, LANGUAGE, AND CULTURAL REFERENCE.