Sarah Abu Abdallah
FOR THE FIRST TIME IN A LONG TIME
10 Aug - 20 Oct 2019
Sarah Abu Abdallah: For The First Time In A Long Time. Installation View at Kunstverein In Hamburg, 2019. Photo: Fred Dott
Sarah Abu Abdallah: For The First Time In A Long Time. Installation View at Kunstverein In Hamburg, 2019. Photo: Fred Dott
Sarah Abu Abdallah: For The First Time In A Long Time. Installation View at Kunstverein In Hamburg, 2019. Photo: Fred Dott
Sarah Abu Abdallah: For The First Time In A Long Time. Installation View at Kunstverein In Hamburg, 2019. Photo: Fred Dott
Sarah Abu Abdallah: For The First Time In A Long Time. Installation View at Kunstverein In Hamburg, 2019. Photo: Fred Dott
Sarah Abu Abdallah: For The First Time In A Long Time. Installation View at Kunstverein In Hamburg, 2019. Photo: Fred Dott
SARAH ABU ABDALLAH
FOR THE FIRST TIME IN A LONG TIME
10 August – 20 October 2019
Sarah Abu Abdallah (*1990 in Qatif, Saudi Arabia) works with video, painting, text and installation. Her visual worlds are influenced by ever-changing surroundings between her travels and her home in Saudi, the visual data streams of the Internet, and the pop culture in the Gulf area among others. Her works are conducted by a search for a self and a sense of belonging. How does both manifest themselves in public and private space, especially through different framework conditions? Fragmentarily combined text and image material in this investigation refers to the transience of memories and to moments of anxiety in an ever faster spinning world. Abu Abdallah's works are full of poetry. Recurring motifs are moments of disappearance and destruction as well as questions of gender-specific coding and restrictions in the domestic and public spheres - also against the background of her role as a female artist in Saudi society. A central aspect in all her works is the metaphor of untamed nature versus nature restrained by man. The artist's first solo exhibition in Europe combines two films and new paintings into one comprehensive installation. The film The Salad Zone (2013) focuses on everyday life. Abu Abdallah examines the absolute, the prescribed and the absurd of social agreements in a time of abundance and the resulting constructions of fear. The work reveals Abu Abdallah's characteristic handling of language and image. She concentrates on side events and banalities in which she searches for little stories that tell of greater things. The visual material originates from her private surroundings, without revealing its concrete background. For the artist, the question is what remains of memories and encounters when their visual reference is removed from its context.
In Cooperation With Art Jameel, Dubai
FOR THE FIRST TIME IN A LONG TIME
10 August – 20 October 2019
Sarah Abu Abdallah (*1990 in Qatif, Saudi Arabia) works with video, painting, text and installation. Her visual worlds are influenced by ever-changing surroundings between her travels and her home in Saudi, the visual data streams of the Internet, and the pop culture in the Gulf area among others. Her works are conducted by a search for a self and a sense of belonging. How does both manifest themselves in public and private space, especially through different framework conditions? Fragmentarily combined text and image material in this investigation refers to the transience of memories and to moments of anxiety in an ever faster spinning world. Abu Abdallah's works are full of poetry. Recurring motifs are moments of disappearance and destruction as well as questions of gender-specific coding and restrictions in the domestic and public spheres - also against the background of her role as a female artist in Saudi society. A central aspect in all her works is the metaphor of untamed nature versus nature restrained by man. The artist's first solo exhibition in Europe combines two films and new paintings into one comprehensive installation. The film The Salad Zone (2013) focuses on everyday life. Abu Abdallah examines the absolute, the prescribed and the absurd of social agreements in a time of abundance and the resulting constructions of fear. The work reveals Abu Abdallah's characteristic handling of language and image. She concentrates on side events and banalities in which she searches for little stories that tell of greater things. The visual material originates from her private surroundings, without revealing its concrete background. For the artist, the question is what remains of memories and encounters when their visual reference is removed from its context.
In Cooperation With Art Jameel, Dubai