Act II the final component of the Sharjah Biennial Tamawuj has the feeling of a magnifying glass being held up to the wide-ranging dialogues chief curator Christine Tohmé seeks out with curators, artists, performers, writers, and researchers.
Composer Julius Eastman is the focus of a project by the Otolith Group and it was included in this year’s Sharjah Biennial.
Tamawuj, the 13th biennial organized by the Sharjah Art Foundation, is generous and speculative, unfolding into something almost hopeful.
The 13th Sharjah Biennial, titled Tamawuj, immerses you in distinctly crafted and compelling realities through sound, video works, and maze-like installations.
The latest Sharjah Biennial features over 50 international artists, many of whom have created impressive installations in the Emirate.
Earlier this week, curator Christine Tohmé was told by Lebanese authorities that her passport renewal had been “suspended” due to a warrant against her.
In my screed from a few weeks ago, “When Artspeak Masks Oppression,” I cited the Guggenheim-Emirates partnership as an instance of contemporary art’s institutional culture operating in service of authoritarianism. One of the examples I mentioned of the propagandistic character of this primarily linguistic process was the Dubai-based artist UBIK’s description of an installation of his called “Tahrir Square” (2011). I am glad to have been recently able to catch up with UBIK and hear his frank and often biting perspective on the climate for contemporary art production in the United Arab Emirates.