The closest I've ever come to a scientific experiment. Alkandari migrates objects from her drawings into the real space of the room; objects requiring the body of the viewer in order of their function.
“This is the closest I’ve ever come to a scientific experiment, whereby I am both the experimenter and the subject. As an experimenter I want to create real-life moments that mirror my drawings. These drawings are part of a world where nothing is impossible and the extraordinary is quite ordinary. A world where a scenario seems commonplace at first glance but subtly transforms into a sordid tale. In this box there’s a story that will change over the next few weeks. As a subject of this experiment, I am a specimen who is extracted from her everyday life and placed in a room. This room is void of motherly duties, everyday chores and quotidian detail. It allows for exploration, normally hindered by daily distractions such as a trip to the supermarket or visiting a sick relative. It’s a total abdication of responsibility as a member of society. For a moment, I will merely be a girl in a box.” Ghadah Alkandari
Mathaf invites Ghadah Alkandari to its Project Space to conceive a project that includes a residency followed by an exhibition from 8 April to 7 June 2014, in dialogue with curator Ala Younis. This is Mathaf third proposal to host and activate experimental tendencies in art and curatorial practices, offering its Project Space to production possibilities and curatorial dialogue within a museum in progress.
In the worlds created by Ghadah Alkandari lives one character. Her several clones drone in a timeless space. They live with or without anything and everything, borrowing their body parts from or losing them to all objects and creatures. For Mathaf’s Project Space, Alkandari migrates objects from her drawings into the real space of the room; objects that upset the norms of exhibition experience, requiring the body of the viewer to adjust or deform in order for these objects to function.
Pushing the boundaries of her own artistic vocabulary, this is the artist’s first attempt to produce sculptural objects that translate the world of her character into an exhibition context. The artist’s perception of domestic space, as well as her dissection of her personal experience in imagery and words, respond to the current exhibitions at Mathaf.
Ghadah Alkandari is a Kuwaiti artist born in Delhi in 1969. In 1992 she received a BA in Mass Communications from the American University in Cairo. Her body of work ranges from large-scale acrylic paintings, primarily figurative, exploring the wide spectrum of human emotion and familial complexities, to smaller, intimate and surreal pen and ink drawings detached and focused on everyday happenings. The artist had numerous solo exhibitions in Kuwait, and has participated in several group exhibitions such as the “Arab Culture in Diaspora” exhibition in Kuwait and “Femmes Artistes Du Koweit” at the Institut du Monde Arabe in Paris (2006). Since 2009, Alkandari uses her blog ‘prettygreenbullet’ as a platform to display her work on a daily basis.
Ala Younis is a research based curator. Her curatorial projects include ‘National Works’ for Kuwait's first national pavilion at La Biennale di Venezia (2013), and the nomadic ‘Museum of Manufactured Response to Absence’ (2012-ongoing).
Louma Salame, Mathaf: Arab Museum of Modern Art firstname.lastname@example.org
Federica Zuccarini, QMA (Qatar Museum Authority) email@example.com
Mathaf: Arab Museum of Modern Art
Education City off Al-Luqta Street Doha, Qatar
Sunday 11:00 am - 6:00 pm
Tuesday 11:00 am - 6:00 pm
Wednesday 11:00 am - 6:00 pm
Thursday 11:00 am - 6:00 pm
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