Saudi artists bring fresh perspective to London exhibition

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Updated 10 February 2016

Saudi artists bring fresh perspective to London exhibition

People are sitting in a little room watching some films; for many of the viewers what they are seeing is quite a revelation. The highly creative short videos show a picture of the Gulf from a thought-provoking, fantastical and often very funny perspective. A message that shines through from a film called Pixels is how prejudice is universal and how doors can be slammed in the face of anyone whose appearance or views do not conform to mainstream norms. The films are enjoyable to watch because they hold up a mirror to the frailties and conceits of our shared humanity.
The makeshift cinema is in the Brunei Gallery, SOAS University of London. The films being screened are part of an exhibition called ‘In Search of Lost Time’ presented in association with the Brunei Gallery by the British Council and curated by Abed Al-Kadiri, Amal Khalaf and Saudi artist Abdulnasser Gharem. The exhibition is the culmination of four years of cultural exchange between artists in the UK and the Gulf.
The leading Saudi contemporary artist, Abdulnasser Gharem, founder of Gharem Studio, Riyadh, curated the Gharem Studio Installation for the exhibition.
Arab News caught up with Gharem at the private preview. He spoke about his pleasure in working with talented young artists at his Studio and the vision behind his own work.
“My inspiration comes from my daily life — what is happening around me. That includes the wars in the region and the ideologies promoted by people who are just repeating what they learn without thinking. Some of these people have become like ‘Guards of the Idea’ — they are just guarding the idea. They are killing creativity and avoiding any new speech or any new ideas. I think art is the only way you can spread new ideas from a humanitarian perspective,” he said.
With regard to the collaboration with the British Council he commented: “One of the missions of the British Council is to promote culture, and it is an honor to work with this organization.”
Gharem is passionate about developing young, upcoming talent and hopes one day to set up a foundation in Saudi Arabia.
“They (the artists) are smart and have a passion for what they do. It is my dream to create a foundation and become a model for others across Saudi Arabia. Now, for an artist to create his own studio is a new thing. Usually, in the past, the artist was self-sufficient. I am enjoying my studio working with these young, smart kids — exchanging ideas. I am learning from them also.”
He is generous with his time and resources and sees it as important to support the next generation of artists.
“My Ghrarem Studio in Riyadh is non-profit. Not everything should be for profit; you need to donate at least some of your time and some of your efforts to others. I put the artists together so they can produce ideas together — we don’t know who the ideas belong to because there are a lot of people working on the ideas. They work collaboratively,” he explained.
Present at the exhibition showing his work ‘Paradise has many gates’ was Ajlan Gharem. He built an art installation in the shape of a mosque in the desert outside Riyadh and told a story through film and photographs. He said that he wanted to show how in a fast changing society a gulf has developed between the older generations who follow certain traditions and beliefs unquestioningly and the younger generations, who with their exposure to so much new information and knowledge, want to sift through, examine and evaluate ideas and beliefs.
“As the younger generation, when we look at the older generation — they had more beliefs than knowledge. Today, we young people have more knowledge than beliefs. We are still looking for our beliefs. We are stuck in the traditional mentality whereby you have to believe in everything without searching. It is totally different now — with the Internet everything is available. So that is what is in my mind — we are in a cage but we can see out. You need beliefs, but if you want to build a new future you have to build a new past. You have to search the past and then build a new future,” he said.
Director of SOAS, Baroness Amos, spoke to Arab News about her perspective on the exhibition. “This exhibition is really multi-media — a lot of different artists from different parts of the Gulf region have contributed. It is about finding a way of bringing together a whole range of talent and messages from different voices about what is going on in the region.
“We are a university with a particular specialism in the Middle East, Africa and Asia that prides itself on being global. We are thinking about the issues that are currently facing the world; our students come to SOAS because they want to challenge conventional thinking — they want to change the world,” she said.
Sean Williams, Director of Operations for the Arts in the UK, British Council, explained that the exhibition is the culmination of several years of collaborative art projects and programs throughout the Gulf region.
He observed: “We see so much negative press about the Arab world and Islam but the day to day experience is not about that; one of the safe spaces and areas where people feel more comfortable about having a conversation where they feel more open is in the cultural area. Hopefully, we can challenge some of the stereotypical views that many people have about the Arab world and particularly the Gulf and Saudi Arabia.”
The artworks in the exhibition cover a time span from the 60s to the present day. The earliest work on show is Sami Mohammad’s 1966 bronze sculpture ‘Water Carrier’. The sculpture of a pregnant woman with her face covered by a niqab and her body with an abaya addresses a period in Kuwait’s history before the discovery of oil. While it represents the suffering women went through while their husbands were away at sea, the figure of the expectant woman also anticipates change.
Raja’a Khalid’s Fortune/Golf, Desert Golf I, III, IV, a series of found images, examines the introduction of golf in the Middle East. A description from the back of a press photograph of a desert golf course reads: ‘These desert divot diggers are playing on a golf course built by the Arabian American Oil Co. for its employees. The players use red balls which stand out against the blankness of the sand fairways and the blackness of the greens. There is no roll on the sand.’
Lantian Xie, an artist based in Dubai, explores through his video installation the complex relationship that some non-UAE nationals have with their adopted country where they are not citizens and have the feeling of being guests beholden to their host. The video is an excerpt taken from the film ‘Days of being Wild’ by Hong Kong filmmaker, Wong Kar Wai. The soundtrack is the Hardees/KFC home-delivery hotline holding music. We see a young man dancing alone in his apartment and get a glimpse of the private loneliness and vulnerability of people who are somehow culturally lost.
Curator Amal Khalaf spoke about the way new media is changing the way young people view art. With reference to the innovative short films being shown she said: “The cinema in this exhibition deserves its own space. Humor is so important, especially in the Gulf, because we are in a space where we not only have restrictions from the government but in society there are many taboos of what we can say and what we cannot say. The younger generation is able to cut through those taboos. They communicate not in exhibition spaces but through YouTube and on phones. My Dad, who is 65, watches the videos; videos produced by 19-year-olds in Saudi.”
“Look at the power that this kind of art form has; it doesn’t need the walls of a gallery — it doesn’t need to come to London to be important. It’s global and it really reaches people. There is something about these videos that I can just see on my Instagram that is challenging everything about how you make images and how you make social commentary today in the region. “
Speaking of the theme for the exhibition which is based on the idea of speed and movement and time and how different people in the Gulf deal with this movement, she observed: “How do you describe a place that has transformed so quickly in just a few decades? I was born in the 80s and the place I come from, Bahrain, is almost unrecognizable — culturally and in so many ways.
“The title for the exhibition comes from volumes by Marcel Proust which talk philosophically about the idea of nostalgia. But we wanted to step away from this idea of nostalgia which is so often characterized by descriptions of the Gulf from the pre-oil era to hyper contemporary cities of glass in the desert. We want to bring to London works that interrogate this movement through time in a different way.”
In Search of Lost Time, Brunei Gallery, SOAS University of London runs from Jan. 21 to March 19, 2016.

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Little Mix’s Jade Thirlwall: ‘I was bullied for being Arab’

The singer's maternal grandfather is Yemeni and maternal grandmother Egyptian. (Getty)
Updated 05 June 2020

Little Mix’s Jade Thirlwall: ‘I was bullied for being Arab’

DUBAI: Girl group Little Mix’s star Jade Thirlwall has opened up about bullying she experienced as a teenager due to her Arab roots.

Speaking on the BBC “No Country For Young Women” podcast, the 2011 “X-Factor” finalist, whose maternal grandfather is Yemeni and maternal grandmother Egyptian, said that she felt “ashamed” of her background. 

 
 
 
 
 
 
 
 
 
 
 
 
 

oh hey it’s me shamelessly plugging #BreakUpSong for the 1847th time via a thirst trap pic

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“When I went to secondary school, I was literally one of three people of color in the school,” the 27-year-old music sensation, whose father is British, said.

“I remember one time I got pinned down in the toilets and they put a bindi spot on my forehead; it was horrific.

 
 
 
 
 
 
 
 
 
 
 
 
 

look in the notebook.

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“I have constantly had this inner battle of not really knowing who I am, or where I fit in, or what community I fit into,” she said.

The singer recalled that she would put white powder on her face “to whiten” herself when performing on stage at her school.

 
 
 
 
 
 
 
 
 
 
 
 
 

finding a new love for my natural hair⚡️

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After joining Little Mix, she “subconsciously” did not want to talk about her heritage for fear of being disliked.

“I think because I was bullied quite badly in school because of the color of my skin and for being Arab, I wasn’t very proud of who I was,” Thirlwall explained.

 
 
 
 
 
 
 
 
 
 
 
 
 

category is: 80s realness @madison_phipps

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“I would hate to talk about my race and heritage and not say the right things,” she added.