REVIEW Images - Courtesy of Barjeel Art Foundation. Writer - Sophie Kazan.
Imperfect Chronology: Four-part exhibition The Barjeel Art Foundation Collection at the Whitechapel Gallery, London This year, the Whitechapel Gallery in London has
In Tongue, 1994, Mohammed Kazem explores
thinking of borders (both physical and conceptual) as a
played host to Sultan Sooud Al Qassemi’s Barjeel Art
the relationship between his body and the
uniform idea of discussion and debate amongst artists.
Foundation Collection with Imperfect Chronology.
environment, which is reminiscent of Hegel’s work
This four-part exhibition charts the last century
on self-consciousness, intuition and concept. In
Sophie Kazan (SK): There seems to be quite a
of Arab art and photography. In this trendy East
Kazem’s photographs he is both the subjective
subversive or anarchic thread running through the
London setting, the exhibition series has attracted a
and objective subject, looking and discovering the
final ‘Barjeel Art Foundation Part 4’ exhibition, in
lot of attention as it provides an introduction to the
world around him in his own terms and according
which “artists using various media artistically engage
diverse aesthetics and endless political and cultural
to his own presence.
with the cities where they either live or work.”
dichotomies of contemporary art from the Arab world. Co-founder of the Arab Image Foundation, Akram
(OK): I believe that the democratization of
From September 2015 to April 2016, the first
Zaatari presents a series of photographs he has
technologies from film and video to digital media
two successive shows, Debating Modernism I &
named Nadia Undressing in Twelve Poses, 1957, by
has enabled a whole new visual vocabulary and new
II looked at how Arab Modernism developed.
Armenian photographer Levon Boyadjian a.k.a Van
means of distribution that are especially interesting
Mapping the Contemporary I & II, which runs
Leo alongside a film that Zaatari has created, Her +
to consider in context with each other.
up until the end of December 2016, looks at
Him Van Leo (2001-2011). In the film Van Leo talks
contemporary Arab art and photography as Arab
about his life and photographic career juxtaposed
(SK): This is a formidable collection of Arab art. What
artists explore new ground, establishing themselves
between images of his photographs and a woman -
do you see as the future of Arab art collecting?
on the global contemporary art scene.
perhaps Nadia. Through Zaatari’s work, we are visually
Iconic examples of the work of internationally
engaged in the artist’s personal and cultural journey
(OK): I think that collectors will continue to
with its documentary feel and quiet intensity.
become much more sophisticated in their pursuits,
renowned Arab artists, photographers and film-
incorporating a broader range of media, telling a
makers such as Yto Barrada, Mohammed Kazem,
I caught up with the curator of the Imperfect
more fluent and fluid history of Arab art through
Joana Hadjithomas and Khalil Joreige, Basim Magdy
Chronology series, Omar Kholeif, to ask him about
their private and public foundations and collections.
and Akram Zaatari provide a powerful, cultural frame
the two later exhibitions in particular. Mapping
for each other’s work.
the Contemporary seems to have a lot to do with
The Whitechapel Gallery has chosen a good time
personal identity and appearance or disappearance.
to stage the Imperfect Chronology exhibitions.
Joana Hadjithomas and Khalil Joreige’s photographic
120 tribe
The exhibitions are not only retrospective, looking
series Faces, 2009, explores the romanticism or
Omar Kholeif (OK): Yes, the [first].. chapter is entitled
back at a century of art from a region so charged
deification of the young men who died as martyrs
Imperfect Chronology: Mapping the Contemporary
with meaning and politics. This ‘democratization
or fighters in the Lebanese Civil War. Set in more
Part I. It seeks to explore how artists from the Arab
of technologies’ in everyday life as in global
peaceful times, Moroccan artist Yto Barrada’s
world have considered the concept of territory as one
contemporary art, allows international collectors
photograph, Rue de la Liberte, 2000 ,shows a
that is amorphous and constantly shifting. I chose and
and viewers of Arab art alike to access and gain
moving solidarity and emotional exchange between
considered works that would speak to each other
a greater understanding of the diverse and multi-
two faceless men.
about this concept of space and time, specifically
layered subjects presented by these Arab artists.