|Taus Makhacheva, ‘Tightrope’, 2015, 4K video, duration: 73:03 min. Image courtesy Lawrie Shabibi, the artist and Art Radar.|
by C. A. Xuan Mai Ardia, Art Radar
“But Still Tomorrow Builds into My Face” runs until 19 May 2016 at Lawrie Shabibi in Dubai. The exhibition is curated by independent critic and curator Nat Muller and includes the work of eight artists hailing from different parts of the world, and united in one purpose: exploring the “timely topic” of the disappearance and loss of cultural and other types of heritage. As the press release writes,
The works explore the relationship between collecting, power, history, conflict and identity. By snatching away subjects from the jaws of time and permanent loss, and by fixing them in memory, the works become poetic and political acts of preservation.Talking to Art Radar, Nat Muller explains about the significance of holding an exhibition on such a topic now, located in the Middle East, where in recent years especially, there has been an ongoing destruction of cultural and historical heritage:
Much of the world, but especially the Middle East, seems to find itself at a crossroad. What the show does in a forceful way is query who controls history and the artifacts of time. History is an incredible geo-political resource of power: who controls time, controls history and the future. It is very much an exhibition about identity too: by what and how will we be remembered?Nat Muller goes on to explain that, although the issue of cultural loss and destruction of heritage is a timely topic, the exhibition is not meant to be a tool for creating awareness:
I am in general not really interested in the “functionality” of art. Art, and the perception of it, operates on many levels, so reducing it to a mere tool that is instrumentalised is reductive. In other words, this is not an awareness-raising campaign. It is true that the show addresses a timely topic, but that is only part of the story. It makes a much more layered and universal argument about loss, memory and history, but does so through beautifully poetic works. This confusion of the political with the poetic is intentional. In addition, the show is very much about the challenging position of art and the artist in the face of adversity and how they can offer resistance and resilience, but also how this position is very much at risk. As such, many of the works incorporate something ephemerality.