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- 35. 03Wednesday, November 12, 2008 www.thenational.ae TheNational arts&life Gita Meh has a love-hate relation- shipwithsettlingdown.TheIranian conceptual artist has moved 146 times and packed up more apart- ments than she can remember. And, though a wanderer at heart, she nonetheless yearns for a place to call home. HerlatestshowatTashkeelGallery in Dubai, 27 Years of Migration, chronicles her wanderings, explor- ing issues of identity along the way. It features installations, videos and mixed media work which examine the idea of finding oneself and find- ing a home. The result is a large-scale installa- tion piece, Walls, Veils and Voices, which straddles the line between beautiful and frightening. Seven sculptures – or rather rough semi- circles made of chicken wire and plaster – are placed in a circle in a darkened room apart from the rest of the gallery. Each sculpture is a little more complete than the next. The installation begins with a wire skeleton, then progresses to a plastered wire frame and ends with the completed sculpture. The final work is a woman’s form draped in black with her plaster interior filled with dozens of onions. Meanwhile, a projector funnels a kaleidoscopic image of zillij, or Moroccan patterned ceramic tiles, onto the walls and the sculp- tures while Meh’s voice resonates throughout the room in calming tones: “This is my surrounding structure; this is my layout.” Viewerswalkingintotheroomadd another dimension to the installa- tion, their shadows looming large on the wall as they stroll past the floor-mounted projector. The atmosphere may be dark and sinister with the stench of the onions and the mysterious cloaked figures, but Meh says this is not at all her intention. “I’m talking about MiddleEastern culture and our way of life,” she says. “I found my culture nourish- ing when I was far away from it.” Meh straddles the bound- ary between western and Middle Eastern culture and has been in a constant process of learning new languages and cultures to find her place in various societies. Born in Tehran in 1963, Meh has lived in Europe and the United States for half of her life. When she first moved to Los Angeles to attend the California Institute of the Arts, Meh found that her peers and even her teachers had many misconcep- tionsaboutIslamicculture.Though Meh is from Iran, she played the role of ambassador, explaining the region’s culture to colleagues that she says “had no idea about the Middle East”. As a victim of her colleagues’ stereotypes, Meh became an archetype of the oppressed woman. Rather than launch into a verbal argument, Meh offers her work as a rebuttal,achancetopresentamore accurate version of her culture. “I want to be looked at as layers of existence beyond veils or T-shirts and jeans,” she says. “We are all more than our facade.” Meh has put herself and her own façade at the centre of her photo- graphic series, The Boxed Road: From Los Angeles to Dubai, in which she dons a protective layer of bub- ble wrap over clothing as if she were a package. In the first image, an expressionless Meh stands in front of a blank white wall surrounded by large brown cardboard boxes in her oldLosAngeleshome.Inothers,she isonablue-paintedwoodendhowin Dubai, sitting inanimate among the suitcasesandtarpaulinbags. Standing tall in her bubble-wrap, Meh sometimes wears an expres- sion of dignified determination and,othertimes,acooldetachment reminiscent of Cindy Sherman’s film stills. One of the most compel- ling photos on display shows Meh standing on a barge, her striking features framed by a metal grille, sky-blue paint peeling off the deco- rativemetalwork.Thoughshelooks wary in the images, Meh actually holds the idea of migration in high regard. “What inspired me was that I had moved from city to city, continent to continent and if I’m not moving I’m idle,” she says. “And if I am idle, I don’t go through the process of evolution.” Meh compares herself to a fish that must continue to swim in order to stay alive. Indeed, there is an element of movement, whether implied or actual, in nearly all of Meh’s work at Tashkeel Gallery. Another series of 56 small warmly lit colour pho- tos compiled into one larger Ead- weard Muybridge-style print, called The Boxed Road: Maps No More, features Meh in her bubble-wrap veil sporting Pocahontas braids, twirling, unwrapping and rewrap- ping herself frame by frame. Her video installation In Herknowlogy features a group of four sculptures, black-veiled fig- ures with monitor screens as faces standing across from each other. Meh’s voice whispers to viewers: “I saved my history into the hard drive of my soul.” Meanwhile, images of a bright red apple decorated with gold Farsi script pop up as stills on the monitors, then begin to spin wildly. Meh says Herknowlogy represents the dialogue between technology and theology, but the installation has a kind of sci-fi hor- ror film aesthetic as apple heads whirl frenetically inside the hoods of the female figures. It is work that demands a lot from the viewer and takes time to deci- pher; it is not decorative or pretty in the traditional sense. Meh says she thinks of installation art as a less tangible art form that suits her work’s concerns: mortality, nour- ishment and the passage of time. “It’struethattheMiddleEastisvery paint-orientated,” says Meh. Installation art is still something of an anomaly in Dubai. Jill Hoyle, the manager of Tashkeel Gallery, says, “I don’t think installation art is frequently shown here, but she’s dealing with such interesting con- cepts and ones that affect so many residents in Dubai that it’s worth exploring them.” In a place that is trying to decipher its own distinctive visual culture, art that leaps off the canvas and into the viewer’s personal space is sometimes seen as somehow antagonistic. Installation art forces theviewertointeractwithitinaway that can be not only mentally un- comfortable but physically uncom- fortable as well. But the same feel- ings that installation art provokes are also what make it interesting. “I think if art is for the people then theyshouldbeapartofit,”saysMeh, and Walls, Veils and Voices, engages the viewer on a number of differ- ent levels, from sculpture to dizzy- ing pattern projections to the smell of the onions, which has become ratherpungentsincetheexhibitwas mountedinmid-October. “Gita is a conceptual artist wheth- er she’s painting or working on sculptures, installations or her photographs,” Hoyle says. She describes Meh’s work as acces- sible but challenging, though not controversial. “You can still relate to some of the issuesthatarerelevanttowomenall over the world,” Hoyle says. “Gita’s experience is very much a blend of the East and the West and shereally doesbringthetwotogetherthrough everything that she does. I think there are ways you can respond to them as a woman without necessarily being an Arab or Mus- lim woman, or a woman from this region – the issues are relevant to women all over the world.” Meh has found a home among the diversity of cultures in the UAE and settled in her new habitat. She has been delving further into the idea of constructionsofidentityandtheself. “I was working until three or four in themorningcreatingthisnewinstal- lation,”shesays.“Andthewholecon- cepthappenedhereintheUAE.” Though Meh’s work centres on transitions,shesaysthatsheprefers being settled, particularly here. “Dubai is it for me, because I am neither Eastern nor Western anymore,” she says. “Dubai gives metheabilitytobebothatthesame time.” swolff@thenational.ae Movementandidentity The Iranian artist Gita Meh explores migration and evolution in her show at Tashkeel Gallery. Sarah Wolff explains Meh offers her work as a rebuttal of stereotypes, a chance to present a more accurate version of her culture TheBoxedRoad:MapsNoMorebyGitaMeh.Courtesy Zahra Pedram GitaMeh‘sphotographicseriesTheBoxedRoad:FromLosAngelestoDubaiispartofthe27YearsofMigrationexhibitionattheTashkeelGallery.Courtesy Tashkeel visualarts
- 37. E X H I B I T I O NFRIDAY FEBRUARY 26, 2010 1 5 audience as art.” The concept reflects the artist’s collective understanding of inte- grating borderlines. “Soffreh reflects the architecture of my past in a personal con- text,” Meh says, stressing its sole purpose — to promote a sense of generosity, mercy and peace. “Islam means integrating, not discriminating.” In another set of works, Meh scans her body parts with a digital scanner and layers them with poetry and Iranian architectural designs. “I lived the life of a migrant and was scanned at all times throughout my journeys,” she says. British painter and photographer George Lewis is extremely passionate about Mid- dle Eastern culture. His affinity for the Ori- ent comes from an interest in the culture, language and people of the region. “I chal- lenge people’s misconceptions by showing this world for what it really is — a place of openness where empathy is essential,” Lewis says. “The Middle East is a vital part of global politics. I find a certain amount of truth in Edward Said’s Orientalism. How- ever, I do not accept that the West’s love for the Orient is tied to a neo-colonial con- spiracy towards the East.” While showing the many and unexpected aspects of this extraordinary part of the world, Lewis emphasises on the amazing transformation of the Gulf region over the past few decades by juxtaposing the old and the new, the traditional and the mod- ern, the rural and the urban and the huge cultural variety that exists throughouttheMiddleEast. In his images, the Arabs and Bedouins stand with their horses, camels and falcons against the backdrop of contemporary architecture and oil refineries. Lewis’s most recent work focuses on Arab women and their many styles of veils. “GenderinIslamisa high- ly charged issue among lay- men and religious scholars alike,” Lewis says. “If some blame Islam for the oppres- sion of women, others see it as a beacon of hope for reform. The explanations are as diverse as the Islamic world itself. Thus, charting the progression or regression of women, whether under secular or religious governments, is a difficult task.” “Being an outsider gives one a vantage point to observe a culture and celebrate it from a unique perspective,” he says. “I also seek to capture the more sensitive side of humanity, the time when we are more vul- nerable. In this sense, my pictures are spir- itually motivated.” Lebanese photographer Raja Kanafani captures daily life in Beirut in all its aspects in remarkable black-and-white images. The photographs are classical in style but contemporary in subject and time frame, revealing a unique per- spective of the city and its people. “Beirut has always been a crossroads for people passing through the region,” Kanafani says. “Its richness, its chaos and its unparal- leled beauty appeal to everyone.” Born and raised in Lebanon, Kanafani went on to finish his studies in political science and philosophy in the United States. He worked as an editor and copywriter after the end of the Lebanese civil war, before picking up a camera and focusing on Beirut’s streets. “Pictures always jump out at me, telling a much more interesting story than what any text could convey, leaving much more to the imagination,” Kanafani says. Deriving inspiration from similar influ- ences is French photographer Vincent Sannier, who adds a keen sense of sagac- ity — poetic in vision yet materialistic in technique — to his photographs. With an obsession to explore life, he captures the essence of his subjects and combines it with a blend of colour and light. “It’s a question of feelings actually. The black-and-white effect brings with it an added vitality that otherwise seems to be missing in coloured textures. Sometimes, the process is just the opposite,” Sannier says. “I came to Brooklyn Bridge several times. There was something magical hap- pening there and something special about the human scale that could be best cap- tured in colour.” Sannier started as a photojournalist when he was just 17, covering music and sports for lifestyle magazines. While pursuing his studies he did archi- tectural photography on the side. Accord- ing to Sannier, observing the use of space in architecture helped him develop a sense of aesthetics, which led to the perfect foun- dation for a lifelong love affair with pho- tography. “We make use of directions but we never know where we arrive,” he says. “The mystery of discovery guides me. The most exciting is the unknown.” The out- come is aesthetically pleasing, bearing an impression that is charismatic and natural. “I hate digital photography,” he says. “For me, the discipline that respects the craft of an image and print is fundamental. To destroy those negatives is like slitting my eyes with a blade.” Layla Haroon is a freelance writer based in Abu Dhabi. Photography 1 is on at the Salwa Zeidan Art Gallery, Abu Dhabi, until March 10. Gita Meh uses images of scanned body parts in her work (left and above) to reflect on her many journeys, during which she had to go through a scanner at every checkpoint By using visual and written languages, the artist draws from personal history and its implications in modern times to form a space for human interaction and cultural integration. Above: A work by Lebanese artist Raja Kanafani, who captures daily life in Beirut in his black-and-white images
- 40. Publication: InsideOut Country: Pan Arab Date: September 2008 Page: 98-104 Circulation: 42,000 Article: Cultural Nourishment
- 41. Publication: InsideOut Country: Pan Arab Date: September 2008 Page: 98-104 Circulation: 42,000 Article: Cont. Cultural Nourishment
- 42. Publication: InsideOut Country: Pan Arab Date: September 2008 Page: 98-104 Circulation: 42,000 Article: Cont. Cultural Nourishment
- 43. Artist: Gita Meh Artwork: Sweet City Description: Nabat (Sugar) & Acrylic structure Display duration: 15 March - 15 June 2010 Gita Meh works with many mediums, from paintings to installations, sculpture to poetry, photography to performance; in her attempt to touch all aspects of sensation and intellect in her views. She has often involved herself with food preparations and rituals, thus engaging taste, smell and touch, as well sound and sight. Sweet City follows in this vein. This sculpture has been specially made for the DIFC by the Artist and will become part of its corporate collection. Display duration: 22 March - 22 June 2010 (on loan from Carbon 12 Gallery, Dubai) This installation deals with the signs of eternal renewal and re-emergence of life, a reminder of our past and the life to come. Crossing through deserts kilometer of work. The combination of the notion of time and space, effort and achievement is paying homage to workers and work itself. Issue 7, May / June 2010
- 52. First Gallery (Rome, Italie) Aron Demetz, Homo Erectus (Petra), 2007, bronze, 80cm, courtesy First Gallery Davide coltro, Medium Color Landscape, 2007, digitalphoto, 50x60 cm, courtesy First Gallery Miltos Manetas, Chinese Girl in the Desert, 2006, digital drawing on photographic paper, 126 x 171 cm, courtesy, courtesy First Gallery Focus Gallery Dubai (Dubai, Emirats Arabes Unis) Gita Meh, Barbies Relocated from Iran, photographie, 50 X 70 cm , courtesy Focus Gallery Furini Arte Contemporanea (Arezzo, Italie) F.lli Calgaro, Venitudine, 2007, color print on alluminium, 60 x 80 cm, Copyright F.lli Calgaro Maurizio Anzeri, Related, (détail) 2006, fil sur photo, 30x40 cm, courtesy Galleria Furini Arte Contemporanea William Cobbing, The kiss, 2004, extrait vidéo, 3’33’’, Copyright William Cobbing galerieACDC(Brest, France) Pierre Labat, Dum-Dum, 2008, contreplaqué, acrylique, dimensions variables, photo et copyright P. Labat. Yann Lestrat, Sans titre # 8 (Et in Arcadia ego, Islande, 2007), 2008, tirage photographique diasec, 150x116 cm, photo Marc Loyon, copyright Y. Lestrat