https://farahalqasimi.com Farah Al Qasimi Mon, 22 Apr 2024 18:50:55 +0000 https://farahalqasimi.com en https://farahalqasimi.com/Info Wed, 29 Jan 2020 16:54:57 +0000 Farah Al Qasimi https://farahalqasimi.com/Info info@farahalqasimi.com FARAH AL QASIMI b. 1991, Abu Dhabi EDUCATION 2017 MFA, Yale School of Art 2017 Skowhegan School of Painting and Sculpture 2012 BA with Distinction in the Art Major, Yale University SOLO EXHIBITIONS 202420232022 2021 2021 2020 Toy World, The Third Line, Dubai Solo gallery display, Permanent Collection Galleries, Tate Modern, London Surge, Francois Ghebaly, Los Angeles Everywhere there is splendor, Contemporary Art Museum St Louis Lady Lady, Cooper Cole, Toronto Funhouse, Helena Anrather, New York 2020 Brotherville, Wayne State University Undergraduate Library, Detroit 2020 Back and Forth Disco, Public Art Fund (various locations around NYC) 2019 Open Arm Sea, Houston Center for Photography 2019Arrival,&nbsp;The Third Line, Dubai 2019 List Projects: Farah Al Qasimi, MIT List Visual Arts Center, Cambridge 2019 Art Basel Statements, solo presentation with The Third Line, Basel 2019Artist Rooms: Farah Al Qasimi,&nbsp;Jameel Art Center, Dubai 2017 More Good News,&nbsp;Helena Anrather, New York 2016 Coming Up Roses,&nbsp;The Third Line, Dubai 2014 The World Is Sinking,&nbsp;The Third Line, Dubai SELECTED GROUP EXHIBITIONS 20232023 202320232023 2022202220222021 20212021 2021 2020 2020 Going Dark: The Contemporary Figure at the Edge of Visibility, Guggenheim, New YorkKinship, SFMoMA, San Francisco New Visions Triennial, Henie Onstad Museum of Art, OsloGwangju Biennale, Soft and Weak Like Water Sharjah Biennial 15: Thinking Historically In The Present ARS22, Kiasma Museum, HelsinkiExperiences of Oil, Kunstmuseum StavangerThrough the Looking Glass, Yancey Richardson, New YorkWetland, Venice Architecture Biennale (UAE Pavilion) New Time: Art and Feminisms in the 21st Century, BAMPFA, BerkeleyLouis Roederer Discovery Award, Rencontres Arles Historytelling, Sfeir-Semler Gallery, Hamburg* AND/ALSO, Kasmin Gallery, New York Yokohama Triennale, curated by Raqs Media Collective 2019 March Projects, Sharjah Art Foundation 2019 BFI London Film Festival, Experimenta Programme 2019 Age of You, Museum of Contemporary Art, Toronto 2018 Ishara: Signs, Symbols and Shared Languages,&nbsp;Concrete, Dubai 2017No to the Invasion: Breakdowns and Side Effects, Bard CCS, Annandale-on-Hudson 2016 Walls and Margins, Barjeel Art Foundation, Sharjah
 2015 Accented, Maraya Art Center, Sharjah AWARDS AND RESIDENCIES 20242023 202320222021 2021 20212020 2021&nbsp; &nbsp; Residency, Chinati Foundation, Marfa, TXCivitella Ranieri Fellowship, Italy Winner, Louis Comfort Tiffany Biennial GrantMast Foundation Grant, FinalistWinner, Art Basel Miami Legacy Purchase Program Prize Aperture/Paris Photo Prize, Book of the Year Shortlist Golden Lion for Wetland, curated by Waiwai Design, Venice Architecture BiennaleCapricious Book Publishing Award Light Work Residency, Syracuse, NY 2019 Knight Foundation and Wayne State University Grant Recipient 2018 Aaron Siskind Individual Photographer’s Grant 2018 NADA Artadia Award, New York 2017 Artist-in-Residence (supported by Abu Dhabi Festival and Maraya Center), Delfina Foundation, London 2017 Ward Cheney Award for Performance and Composition, Yale School of Art, New Haven 2014 Shaikha Salama Foundation and RISD Emerging Artist Fellowship, Abu Dhabi
 2014 Summer Residency, School of Visual Arts, New York 2012 Distinction in the Art Major, Yale University, New Haven 2011 Artist-in-Residence, Burren College of Art, Ireland
 2010 Creative and Performing Arts Award, Yale University, New Haven 2008 UAE Presidential College Scholarship, Abu Dhabi COMMISSIONS AND PUBLICATIONS 20232023202320212021202020202020 2020 Farah Al Qasimi: Star Machine, Mousse Publishing/Art Gallery of Western AustraliaBuzz Pollinator (a musical public sculpture), Horst Arts and Music FestivalFarah Al Qasimi’s Multi Continental Debut, ArtsyFarah Al Qasimi on Queens, Aperture New York IssueFarah Al Qasimi: Hello Future, published by CapriciousGeneral Behavior, a video commissioned by BidounSummer Culture Essay Series, The New York Times“I Am Here To Prove You Wrong,” profile of Miss Muslimah USA, New York Times Brotherville: Arab Americans in Detroit, Wayne State University Art Collection 2020 Bus Shelter Series, Public Art Fund 2019 Dream Soup: a commissioned video installation for March Projects, Sharjah Art Foundation 2019 What Makes a Tradition American?, The New York Times 2019 Farah Al Qasimi: Arrival, published by The Third Line 2019 BAMbill cover artist, Winter/Spring season 2018 Illustration for ‘Foreign-Returned’ by Sadia Shepard, The New Yorker 2017 Farah Al Qasimi: Body Shop, published by Silent Face and Dashwood Books 2017 Illustration for ‘My Year of Rest of Relaxation’ by Ottessa Moshfegh, Vice Fiction Issue 2017 It’s Not Easy Being Seen, Alserkal Avenue Commissions, Dubai
 2017 What An Immigrant Murder in Kansas Says About America, Bloomberg Businessweek
 2017 DRAGON! A Virtual Tour of Dragon Mart, Global Art Forum 2015 New York’s Annual Gathering of the Witches, Vice
 2015 Art of the Emirates, Motivate Publishing
 2015 Age of Earthquakes, Penguin Press
 2014 Where They Work: Rokni and Ramin Haerizadeh and Hesam Rahmanian, ArtAsiaPacific
 2013 Ras Al Khaimah, the Quiet Emirate, Brownbook SELECTED PRESS 20242024 20242023 2022 202120202020 Farah Al Qasimi “Toy World” at The Third Line, Dubai, Mousse Magazine Farah Al Qasimi's Journey of Family and Migration, Frieze Magazine Farah Al Qasimi: Assortment of Truths, Flash MagazineInterview with Zeina Koreitem, Harvard Design Magazine Cultured Young Artists to Watch 2022 Artist Farah Al Qasimi is Seeing Idols in a World of State Surveillance, SSENSEThe New Vanguard, Artsy Artist Farah Al Qasimi Seeks Out the Supernatural, ArtReview 2020 Arrival (reviewed by Murtaza Vali), Artforum 2020 Um Al Naar, reviewed by Ophelia Lai, Art Asia Pacific 2019 Interview with Myriam Ben Salah, Kaleidoscope PUBLIC COLLECTIONS SFMoMA San Diego Museum of Contemporary Art Centre Pompidou, Paris Tate Modern, London Guggenheim New York Guggenheim Abu Dhabi Tate Modern Museum of Modern Art, New YorkMuseum of Contemporary Art, ChicagoMIT List Visual Arts Center Art Jameel Museu d'Art Contemporani de BarcelonaNYU Grey Art Gallery Barjeel Art FoundationMaraya Art CenterAbu Dhabi Music and Arts Foundation https://farahalqasimi.com/Index Tue, 28 Jan 2020 20:27:22 +0000 Farah Al Qasimi https://farahalqasimi.com/Index 2019Back and Forth Disco <img src="https://freight.cargo.site/t/original/i/0a05d93da7ebb03a9ba08df6f9d203383dd419694fe4b4ab2e5d6b7da14c58c3/Disco-Images.png"> 2019Arrival <img src="https://freight.cargo.site/t/original/i/dea2cdff267bcdeff82dcb275d19aec87b6604972355a107aafe9382272ed799/Arrival-Images-2.png"> 2019List Projects<img src="https://freight.cargo.site/t/original/i/284d6f16b34577aca723bfbd7b3a5f78753947ad544d7f1c21cc9f611b7637a7/ListProjects-Images.png"> 2024 Toy World 2022 Surge 2019Um Al Naar<img src="https://freight.cargo.site/t/original/i/011df418c55f813dec6fbe55c044ba9e46d6bbb46f7ea321e150e33e9221c289/UmAlNaar-Images.png"> 2018Everybody was Invited to a Party<img src="https://freight.cargo.site/t/original/i/1e160ac73dde6c151f54d4df58cd59b9e9f24055a2cb62ef960e7da46aee5cd1/Everybody-Images-2.png"> 2019Dream Soup<img src="https://freight.cargo.site/t/original/i/12db136b63da259a78f40374528f63600eff4151930f39878f8e8aedfd98b94d/DreamSoup-Images.png"> 2017More Good News <img src="https://freight.cargo.site/t/original/i/7304eb6aece16aebbe1795c0752a955f2dfb542d4f1c320f93e05b2e2b4b7c05/MoreGoodNews-Images.png"> 2014The World Is Sinking <img src="https://freight.cargo.site/t/original/i/079c65be5ad8563e45462d15707b873b4adbfc84994bf7308dbaee526e756bc7/WorldIsSinking-Images.png"> https://farahalqasimi.com/Arrival Fri, 14 Feb 2020 23:30:04 +0000 Farah Al Qasimi https://farahalqasimi.com/Arrival Arrival September 18 – November 23, 2019 The Third Line, Dubai Arrival, Farah Al Qasimi’s third solo exhibition at The Third Line. Using the language of horror cinema, Al Qasimi reveals a new body of work featuring jinn folklore across the UAE. The show premieres Farah’s first feature-length film; a 40 minute horror-comedy titled Um Al Naar (Mother of Fire). In it, a fictional Reality TV network has produced a segment on Um Al Naar, a Ras Al Khaimah-based Jinn. Um Al Naar narrates the region’s changes from its occupation by Portuguese and British naval forces to its current adoption of a national identity based around tolerance and a drive to generate culture. She pays close attention to these changes in their day-to-day iterations: the gendered pastimes of the country’s youth, waning trust in traditional forms of spirituality and medicine, and the loss of history in an urgent bid for novelty. The photographs in the exhibition are moments pulled from the world she describes. She follows a baker with an Instagram business making buttercream roses, dance parties in which the only participants are men, and moves throughout homes looking at indicators of bodies and their personal style. Um Al Naar laments the formalities and social constructs of modern-day life, longing for a more fluid, interconnected world in which there is ample space for the paranormal, the unseen, and the absurd. The film is peppered with found footage of various moments of release: exorcisms gone wrong, ecstatic dancing, and effervescent first-person storytelling. But as we lose our sense of collective release, Um Al Naar asks: ‘how do we attain bodily transcendence in a modern world?’ In many horror films, the antagonist we fear the most is invisible; not a spooky ghost or monster, but a figment of our collective unconscious manifested as immaterial danger. Many of Farah’s photographs contain a looming sense of dread or entrapment, even as the world they depict is full of color and cheer. A woman takes photographs in an aviary filled with live birds, their movement curtailed by a drop ceiling with fluorescent lights. A figure is reflected in a picture frame, her ghost trapped within its confines.Um Al Naar provides a space where these fears can be confronted—and where specters can move freely in bodily release. <img width="1200" height="1656" width_o="1200" height_o="1656" data-src="https://freight.cargo.site/t/original/i/6a5ae88cc4eec00c9fa296a362e6e00a5d4746bcf4a1292a052ecd4c6a62ddb0/FAQ_A-s-Reflection--2019_Inkjet-print_102x74cm-29x40-in.-edit.jpg" data-mid="61219717" border="0" src="https://freight.cargo.site/w/1000/i/6a5ae88cc4eec00c9fa296a362e6e00a5d4746bcf4a1292a052ecd4c6a62ddb0/FAQ_A-s-Reflection--2019_Inkjet-print_102x74cm-29x40-in.-edit.jpg" /> <img width="1607" height="1200" width_o="1607" height_o="1200" data-src="https://freight.cargo.site/t/original/i/74baaf7e6fd3a45af695cdec8f54039602584f01edc215fa442473a3380a7929/FAQ_Winter-Fog--2016_Inkjet-print_114-x-152-cm-45x-60-in.-edit.jpg" data-mid="61219754" border="0" 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src="https://freight.cargo.site/w/1000/i/78c83864c2fa2ef121bf29ba8fc51b7a693cef2b6b88a62ecc894e3739c0fc1e/FAQ_Bedroom-Baba--2018_Inkjet-print_114-x-152-cm-45x-60-in.-edit.jpg" /> <img width="1200" height="1658" width_o="1200" height_o="1658" data-src="https://freight.cargo.site/t/original/i/6f2a6d84d3e217fd2031cb49eb38a2ba1b6d6c8e2b35d80841c74e0297b5a33a/FAQ_After-Dinner-2--2018_Inkjet-print_102-x-74cm-40-x-29-in.-edit.jpg" data-mid="61219721" border="0" src="https://freight.cargo.site/w/1000/i/6f2a6d84d3e217fd2031cb49eb38a2ba1b6d6c8e2b35d80841c74e0297b5a33a/FAQ_After-Dinner-2--2018_Inkjet-print_102-x-74cm-40-x-29-in.-edit.jpg" /> <img width="1607" height="1200" width_o="1607" height_o="1200" data-src="https://freight.cargo.site/t/original/i/6739c7d2d48f900dce39db692a8d30ffc132b46e78a95d95c774c22285bee846/FAQ_Wrestling-With-Spectres--2019_Inkjet-print_102x74cm-29x40-in.-edit.jpg" data-mid="61219755" border="0" 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src="https://freight.cargo.site/w/1000/i/f8ac0dd70c4bbdf6bb72dea249113dcb3b648a5fa827e694f77e0edf3aecae91/FAQ_Perfume-Men--Women--2019_Inkjet-print_89x69cm-27x35-in.-edit.jpg" /> <img width="2904" height="4200" width_o="2904" height_o="4200" data-src="https://freight.cargo.site/t/original/i/5214e1d5d8ef095b05e16038f1ab6228340691835215d2139b4345227bddfc67/FAQ_Dyed-Pastel-Birds-30-AED-each--2019_inkjet-print_102x74cm-40x29-inch-edit.jpg" data-mid="61219736" border="0" src="https://freight.cargo.site/w/1000/i/5214e1d5d8ef095b05e16038f1ab6228340691835215d2139b4345227bddfc67/FAQ_Dyed-Pastel-Birds-30-AED-each--2019_inkjet-print_102x74cm-40x29-inch-edit.jpg" /> https://farahalqasimi.com/Toy-World Mon, 22 Apr 2024 18:50:55 +0000 Farah Al Qasimi https://farahalqasimi.com/Toy-World Toy World 27 February - 19 April 2024 The Third Line, Dubai If I go to Google and ask it to define “actor,” I am greeted with the following secondary definition: “a person who behaves in a way that is not genuine.” The example sentence illustrating this definition: “in war one must be a good actor.” Ipso facto: IN WAR ONE MUST BEHAVE IN A WAY THAT IS NOT GENUINE. They say we live in a post-truth era, but this reads like a Jenny Holzer Truism.&nbsp; Actors in the theater of war go the way of images. An image can never be genuine. By default, it frames, excludes, contorts, seeks to represent: it must be ideological. Our relationship with images is reflexive: as images represent ideology, so our ideology is formed through images. An image begs to be interpreted. So a photo shorn of context is like a rose with no petals, only thorns. The rise of artificial intelligence portends that we must also contend with fake images. These are fake roses with real thorns and no petals. Farah’s images are both real: organically taken in-the-world — and “fake”: staged, in her studio or elsewhere. Yet herimages, both real and “fake,” are all petals and no thorns. The unreality of contemporary life is inaugurated to the echelon of art object. In looking at these photographs, we role-play the time we spend looking at images online, unable to discern what is real and what is constructed: fact and fiction become two in one flesh, the orchestrations of fiction inoculating fact inoculating fiction, on and on recursively — just as history repeats itself over and over, when we do not listen, until it grows hoarse (Tumbling Woman, 2023). The information superhighway paves the path for the Highway of Death. The fiction of images can take us to the fact of war. &nbsp; Actors are treated like toys: the theater of war, arbitrated by images, adopts the levers of entertainment (Toy War, 2023). Pundits give the layperson a play-by-play. They want us to watch, enraptured. They speak of sides as if we were at a football game. The more outrageous the coverage they ejaculate, the higher the ratings. A highly rated president wins a second term. To become a highly rated president, you must responsibly govern your nation-state. A responsible nation-state must always be ready for war (Young Marine, n.d.). Paranoia flowers under the pretense of defense. Hunting is what you do to a wild animal before you skin them, dress them, and eat them. The United States grants itself a TERRORIST HUNTING PERMIT. It is a lifetime license. The threat can never be annihilated. It will last multiple lifetimes. This is red-blooded Americana, as American as a flamebroiled Angus beef patty with American cheese on a hearth-baked bun (Terrorist Hunting Permit, n.d.). Some animals can sense changes in the environment that escape humans. Some, like horses, can even forecast natural disaster (Man and Horse, n.d.). Humans are sense-making creatures, too. They are the only species that wage the material disaster of war. This is the age of the anthropocene. The palm tree is a parable of history: some trees live for over a century, spanning wars come and gone, humans born and dead. Like a palm tree left uncared for, or an empire caught up in its own decadence, the human imagination, too, is combustible, degenerating into flames under suboptimal conditions, like fear. If blood spills (9/11), then the danger (terrorism) is real: so more blood must be spilled (Operation Iraqi Freedom) to annihilate the danger (Oriental Boulevard, n.d.). In this blood pact with safety, we must spill BLOOD to insure SAFETY. So, too, is the haematophagous fly drawn to the scent of a camel’s blood, feeding on it to stay alive (Flies on Camel, n.d.). Arab Gulf women are known to wear heavy makeup. Women exchange the phrase ‘wishik yohmoul,’ — وشك يحمل—&nbsp;meaning your face and coloring can handle heavier makeup. This is also the manifestation-qua-lullaby the God-state whispers to itself every night. The state does itself up in the cosmetics of false victimhood, building itself up upon a foundation of fear, priming its subjects to numb themselves to death, concealing human rights violations (Crane Accident, 2017), highlighting the evil of the enemy, blending murder into righteousness, lining its eyes with the kohl of increasingly invasive surveillance systems (Yara, 2023). A horse bucks when it senses danger and fears it cannot escape (Horse Bucking Teeth, n.d.). When danger is real, fear abounds. The powers that be recognize it as ammunition for a system of control. State becomes God. You enter the always-panopticon, subject to forever surveillance that does not guarantee safety any more than a fake security camera from the local dollar store. &nbsp;(Security Camera, 2017). This is Farah’s first exhibition featuring black and white images. “Black and white images automatically historicize,” she says. The glossy veneer of history allows us to indulge in theory immune from personal responsibility. Too often, we forget that the now we live is but prototype for future history. The carrier pigeon, once used by the military to deliver messages, is now obsolete. And yet a trace of the true self exists in the new self: her descendent, the city pigeon, is itself a message — that of the enshittification of the messages in the images that surround us (Pigeons on Pink Building, 2024). We decode messages in the images we obtain through multiple degrees of separation necessarily mediated by a trust in the network. We do not have access to the reality that dances forth the images: we must content ourselves with only the images. Eventually, the choreography halts (Baton Girls, 2019). The image-flood makes it easy to feel nothing when confronted with reality in the second degree. The luridity of pain is no longer inherited. Yet the ghosts of the images penetrate our consciousness, reverberating ad infinitum: chicken bones in basmati rice take on the aura of death by drone (Machboos, 2024). I know that the camel bones lying in the barren grass are innocuous victims of the cycle of life, but all I can think of are anonymous human remains, lying forgotten in decimated battlefields that will never bear another rose (Camel Bones n.d.).&nbsp; Yet all we have are our sigils, these images. Without them, we lie alone, prostrate in the desert under a starless sky (Sand Dune, 2023). Text by Sarah Chekfa <img width="1076" height="1582" width_o="1076" height_o="1582" data-src="https://freight.cargo.site/t/original/i/b4c6160afb09f33ad3346d68bbfdcf3a96bce539db4047fd6b4143f564be04ff/Burning-Palm.png" data-mid="210443702" border="0" src="https://freight.cargo.site/w/1000/i/b4c6160afb09f33ad3346d68bbfdcf3a96bce539db4047fd6b4143f564be04ff/Burning-Palm.png" /> <img width="2204" height="1614" width_o="2204" height_o="1614" data-src="https://freight.cargo.site/t/original/i/0e97e427f4442be4a446f3e2be2baad6f2ce6592c225735098dd1ee3e319d8c3/Pigeons-on-Pink-Building--35x50.png" data-mid="210444503" border="0" src="https://freight.cargo.site/w/1000/i/0e97e427f4442be4a446f3e2be2baad6f2ce6592c225735098dd1ee3e319d8c3/Pigeons-on-Pink-Building--35x50.png" /> <img width="6048" height="4011" width_o="6048" height_o="4011" data-src="https://freight.cargo.site/t/original/i/1c91c60a01e989bd9b75820696478b43bf39c1ed6a12307bacfe8c21e4a4ce43/Horse-Bucking-Teeth.jpg" data-mid="210444471" border="0" src="https://freight.cargo.site/w/1000/i/1c91c60a01e989bd9b75820696478b43bf39c1ed6a12307bacfe8c21e4a4ce43/Horse-Bucking-Teeth.jpg" /> <img width="1096" height="1596" width_o="1096" height_o="1596" data-src="https://freight.cargo.site/t/original/i/cfbb9d6e1e2c2f7cf431643adf2f2ab8ba73e5909b7bba945a8eaaeea3bf013d/Flies-on-Camel.png" data-mid="210443706" border="0" src="https://freight.cargo.site/w/1000/i/cfbb9d6e1e2c2f7cf431643adf2f2ab8ba73e5909b7bba945a8eaaeea3bf013d/Flies-on-Camel.png" /> <img width="1936" height="1410" width_o="1936" height_o="1410" data-src="https://freight.cargo.site/t/original/i/b612358dbbb36f6043397e1a15fba7060f2240bbf72498f513be7e2350f58f43/Spiderweb.png" data-mid="210444508" border="0" src="https://freight.cargo.site/w/1000/i/b612358dbbb36f6043397e1a15fba7060f2240bbf72498f513be7e2350f58f43/Spiderweb.png" /> <img width="1162" height="1578" width_o="1162" height_o="1578" data-src="https://freight.cargo.site/t/original/i/a50505212bb528ebbe27fd0a0d8ec2bc07e90ca1e9f981b1bab310986c82ff51/Yara--50x70.png" data-mid="210444514" border="0" src="https://freight.cargo.site/w/1000/i/a50505212bb528ebbe27fd0a0d8ec2bc07e90ca1e9f981b1bab310986c82ff51/Yara--50x70.png" /> <img width="2120" height="1586" width_o="2120" height_o="1586" data-src="https://freight.cargo.site/t/original/i/bf1e962467c66f00758c743035df06741ff8b1d21ae43766f224cc1018c35167/Man-and-Horse.png" data-mid="210444472" border="0" src="https://freight.cargo.site/w/1000/i/bf1e962467c66f00758c743035df06741ff8b1d21ae43766f224cc1018c35167/Man-and-Horse.png" /> <img width="2048" height="1366" width_o="2048" height_o="1366" data-src="https://freight.cargo.site/t/original/i/9df14bb34ebb1a1a881e3c32d9e24c4e1bb66cf70c38e4d5ba9dcf6db2fdbd74/TTL-install-web-03.jpg" data-mid="210814768" border="0" src="https://freight.cargo.site/w/1000/i/9df14bb34ebb1a1a881e3c32d9e24c4e1bb66cf70c38e4d5ba9dcf6db2fdbd74/TTL-install-web-03.jpg" /> <img width="2048" height="1366" width_o="2048" height_o="1366" data-src="https://freight.cargo.site/t/original/i/f0bbd6af26bdfa4302462220dba9cab7163f37a6bb193eafd1efe6334795cd2e/TTL-install-web-01.jpg" data-mid="210814767" border="0" src="https://freight.cargo.site/w/1000/i/f0bbd6af26bdfa4302462220dba9cab7163f37a6bb193eafd1efe6334795cd2e/TTL-install-web-01.jpg" /> <img width="7878" height="4332" width_o="7878" height_o="4332" data-src="https://freight.cargo.site/t/original/i/e324274ebc7406c04ff89814c7b2ce99091d8eac77f1fe71ab38409906fa8d0f/HAS09326.jpg" data-mid="210813386" border="0" src="https://freight.cargo.site/w/1000/i/e324274ebc7406c04ff89814c7b2ce99091d8eac77f1fe71ab38409906fa8d0f/HAS09326.jpg" /> <img width="7958" height="5309" width_o="7958" height_o="5309" data-src="https://freight.cargo.site/t/original/i/3bd14db8b0f8e5cefd6c5a3260e3a1b04987486424b5944f56f917fd0992c047/HAS09330.jpg" data-mid="210813380" border="0" src="https://freight.cargo.site/w/1000/i/3bd14db8b0f8e5cefd6c5a3260e3a1b04987486424b5944f56f917fd0992c047/HAS09330.jpg" /> https://farahalqasimi.com/More-Good-News Tue, 18 Feb 2020 19:00:00 +0000 Farah Al Qasimi https://farahalqasimi.com/More-Good-News More Good News October 27, 2017 – January 7, 2018 Helena Anrather, New York Helena Anrather is delighted to announce More Good News, an exhibition of new photography by Farah Al Qasimi. For her first solo presentation in New York, Al Qasimi examines the use of photography for the purposes of shaping perception and delineating identity, with a focus on men in her respective communities in the United Arab Emirates and the United States. An image’s impressions of power and threat are culturally produced, with its visual codes cueing the viewer’s interpretation. &nbsp;Al Qasimi’s images subvert these assumptions with humor and sympathy, disrupting the signaling that triggers categorization. White linen, a bedroom setting, and a rose soften the appearance of one man; two others touch noses in a formal, but tender, greeting. A soldier, whose uniform suggests force, turns away from the camera for a strange and intimate phone call. Photographs of animals in environments dominated by humans – delicate butterflies, hooded falcons, a cowering dog -- form a counterpoint to these portraits, underlining the importance of context and the vulnerability of the photographer’s subject. Al Qasimi also includes the equipment and repositories of aesthetic identification, ranging from familial categorization in an album to data collection in a government archive and media depictions of Arab and Southeast Asian men ubiquitous in a post-9/11 cultural landscape. Al Qasimi draws a parallel from these contemporary nodes of aesthetic judgment to classical portraiture, taking cues from Holbein and Dutch Golden Age painting. In several lush portraits, acculturated notions of majesty serve to dignify her subjects. Her play with the legibility of images and the perception of threat is most pronounced in a portrait rendered only as shadow: a profile taken while on assignment for Bloomberg in Olathe, Kansas, documenting the aftermath of the February shooting of two Indian American men mistaken for Arabs at a local bar. In another work, a vapor cloud shrouds a man’s face, obscuring any obvious narrative and luring the viewer into a probing state, opening the image to interpretation. Cameras create a particular form of encounter – the photographer and the sitter anticipate you, the viewer, to close the circle of the gaze-- and these photographs ask you to look more closely. <img width="2500" height="1842" width_o="2500" height_o="1842" data-src="https://freight.cargo.site/t/original/i/9cab8a2377ed5101a1e2ab141f84a5fc99f0d57a4a1681de0ba77d384ab62429/Butterfly-Garden--2106--27x37-web.jpg" data-mid="61419969" border="0" src="https://freight.cargo.site/w/1000/i/9cab8a2377ed5101a1e2ab141f84a5fc99f0d57a4a1681de0ba77d384ab62429/Butterfly-Garden--2106--27x37-web.jpg" /> <img width="1111" height="1440" width_o="1111" height_o="1440" data-src="https://freight.cargo.site/t/original/i/a8826177409fc70a0815137ad0c4b4ff7dd87546901b6c4913341fa1bd1cf65e/Gaith-at-Home--2016--20x26-web.jpg" data-mid="61419978" border="0" src="https://freight.cargo.site/w/1000/i/a8826177409fc70a0815137ad0c4b4ff7dd87546901b6c4913341fa1bd1cf65e/Gaith-at-Home--2016--20x26-web.jpg" /> <img width="781" height="1000" width_o="781" height_o="1000" data-src="https://freight.cargo.site/t/original/i/2c22f9aab7ec6cb49469768add76468ed66a10885927ce3337174ba84908510a/Dead-Sea-Mud--2016--11x15-web.jpg" data-mid="61419970" border="0" src="https://freight.cargo.site/w/781/i/2c22f9aab7ec6cb49469768add76468ed66a10885927ce3337174ba84908510a/Dead-Sea-Mud--2016--11x15-web.jpg" /> <img width="750" height="1000" width_o="750" height_o="1000" data-src="https://freight.cargo.site/t/original/i/ac4023cbd9c5ef90305f3b04cfdebdbbaf6f6d431d8f7a87876198806da771da/Nose-Greeting--2016--26x35-web.jpg" data-mid="61419983" border="0" src="https://freight.cargo.site/w/750/i/ac4023cbd9c5ef90305f3b04cfdebdbbaf6f6d431d8f7a87876198806da771da/Nose-Greeting--2016--26x35-web.jpg" /> <img width="667" height="500" width_o="667" height_o="500" data-src="https://freight.cargo.site/t/original/i/fd0915ba389a57395441ff8132bb4c0ecec80039b4a10e1d8181f44583792e66/Living-Room-Vape--2016--35x26-web.jpg" data-mid="61419982" border="0" src="https://freight.cargo.site/w/667/i/fd0915ba389a57395441ff8132bb4c0ecec80039b4a10e1d8181f44583792e66/Living-Room-Vape--2016--35x26-web.jpg" /> <img width="1236" height="1596" width_o="1236" height_o="1596" data-src="https://freight.cargo.site/t/original/i/abfcfe4aa00713d9b4edb0c793990f86a976733788aadc97e0852035c16bb744/Phone-Call--2017--20x26-web.jpg" data-mid="61419985" border="0" src="https://freight.cargo.site/w/1000/i/abfcfe4aa00713d9b4edb0c793990f86a976733788aadc97e0852035c16bb744/Phone-Call--2017--20x26-web.jpg" /> <img width="730" height="1000" width_o="730" height_o="1000" data-src="https://freight.cargo.site/t/original/i/a89a00bae69b0ebb478a24cbe878527c6361d2b3282fa9374f18af621eb05ab4/Falcon-Hospital-1-Worried-Nurse--Yellow-Files--2016--18x25-web.jpg" data-mid="61419973" border="0" src="https://freight.cargo.site/w/730/i/a89a00bae69b0ebb478a24cbe878527c6361d2b3282fa9374f18af621eb05ab4/Falcon-Hospital-1-Worried-Nurse--Yellow-Files--2016--18x25-web.jpg" /> <img width="743" height="1000" width_o="743" height_o="1000" data-src="https://freight.cargo.site/t/original/i/986ca71f34a4669eaa5565c68b89691724805d2d8666f1507b44a0497985d2ee/Falcon-Hospital-2-Blue-Glove--2016--20x27-web.jpg" data-mid="61419975" border="0" src="https://freight.cargo.site/w/743/i/986ca71f34a4669eaa5565c68b89691724805d2d8666f1507b44a0497985d2ee/Falcon-Hospital-2-Blue-Glove--2016--20x27-web.jpg" /> <img width="671" height="1000" width_o="671" height_o="1000" data-src="https://freight.cargo.site/t/original/i/034fa49ef1a1c11563a537bea6d0144e8bf0253d38c6a937b826a38fc19193dd/Gurdwara-Nanak-Darbar-Sahib-Kansas--2017--23x35-web.jpg" data-mid="61419980" border="0" src="https://freight.cargo.site/w/671/i/034fa49ef1a1c11563a537bea6d0144e8bf0253d38c6a937b826a38fc19193dd/Gurdwara-Nanak-Darbar-Sahib-Kansas--2017--23x35-web.jpg" /> <img width="762" height="1000" width_o="762" height_o="1000" data-src="https://freight.cargo.site/t/original/i/6dc3c402d9f67bf8c043d8fa7bc789c2da5f9c71ced2599c47fd43256d586e2d/Jagdeep--2017--26x35-web.jpg" data-mid="61419981" border="0" src="https://freight.cargo.site/w/762/i/6dc3c402d9f67bf8c043d8fa7bc789c2da5f9c71ced2599c47fd43256d586e2d/Jagdeep--2017--26x35-web.jpg" /> <img width="1000" height="809" width_o="1000" height_o="809" data-src="https://freight.cargo.site/t/original/i/25b2e148d5b099e21126682c8055f1172b817ef6ec77b326dcb16f4ae5938dae/Baba-in-Picture-Album--2017--23x33-web.jpg" data-mid="61419968" border="0" src="https://freight.cargo.site/w/1000/i/25b2e148d5b099e21126682c8055f1172b817ef6ec77b326dcb16f4ae5938dae/Baba-in-Picture-Album--2017--23x33-web.jpg" /> <img width="700" height="920" width_o="700" height_o="920" data-src="https://freight.cargo.site/t/original/i/862e996842366aabaebffd8f8e45b70d6b4488064459e923553b0d7f493a86e6/Baba-at-Home--2107--35x45-web.jpg" data-mid="61419966" border="0" src="https://freight.cargo.site/w/700/i/862e996842366aabaebffd8f8e45b70d6b4488064459e923553b0d7f493a86e6/Baba-at-Home--2107--35x45-web.jpg" /> <img width="600" height="450" width_o="600" height_o="450" data-src="https://freight.cargo.site/t/original/i/e121ea9bfdedcfd0567a130d64bc626c64468b17256c203d71c4d2a980377abb/Piper-at-a-Barbecue-in-Houston--2016--17x25-web.jpg" data-mid="61419987" border="0" src="https://freight.cargo.site/w/600/i/e121ea9bfdedcfd0567a130d64bc626c64468b17256c203d71c4d2a980377abb/Piper-at-a-Barbecue-in-Houston--2016--17x25-web.jpg" /> <img width="833" height="1000" width_o="833" height_o="1000" data-src="https://freight.cargo.site/t/original/i/73adef7078c80082d23b3e04820350afabdf71c70dafd5a3894f6c01243b7b40/United-States-Treaties-and-Other-International-Agreements--2017--29x35-web.jpg" data-mid="61419991" border="0" src="https://freight.cargo.site/w/833/i/73adef7078c80082d23b3e04820350afabdf71c70dafd5a3894f6c01243b7b40/United-States-Treaties-and-Other-International-Agreements--2017--29x35-web.jpg" /> https://farahalqasimi.com/World-Is-Sinking Tue, 18 Feb 2020 19:52:59 +0000 Farah Al Qasimi https://farahalqasimi.com/World-Is-Sinking The World Is Sinking September 24 – November 8, 2014 The Third Line, Dubai For the opening Project Space exhibition of the fall season, The Third Line will be presenting The World is Sinking by photographer and musician Farah Al Qasimi, a series of new photographs that traces locations in and around Dubai. Exploring surfaces and facades meant to represent idealistic aspirations, the images provide an idiosyncratic and humorous approach to the multi-dimensional, multi-cultural and increasingly hyper globalisation of the UAE in the last few decades. Farah’s art practice is based around photographing the unusual, and often overlooked, places where she finds herself positioned. For The World is Sinking, she takes a more introspective look at the Emirates, where she grew up. The artist is fascinated with the rapid change of local landscape in the name of growth and development, and finds that many rushed attempts end up in near comical results, at the same time creating a sense of alienation towards its own inhabitants. The sense of urgency, disembowelled by the lack of balance, repeatedly leads to changes that are unsustainable and often nonsensical. The images are curious and amusing – almost like a private joke between herself and the viewer about the absurdity of the human condition – referring to hastily built buildings glimmering like an oasis in the midst of the barren desert landscape; or the pronounced presence of Westernization, brash as a giant McDonald’s sign on an empty desert highway. Other images include beauty salons, photography studios, advertisements, art murals, and other locales that are concerned with crafting aesthetics for their bodies or business, or as a general means of escape Farah attempts to capture this strange landscape, reflecting the implications of change in a more personal language and deliberating how dreaming big has become second nature to the UAE and its inhabitants. <img width="2500" height="1875" width_o="2500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/2b717e4cd71fe443341aac369917b6c292cb8d1ebe2ad88e4c30ad1f74e305a4/13.jpg" data-mid="61426455" border="0" src="https://freight.cargo.site/w/1000/i/2b717e4cd71fe443341aac369917b6c292cb8d1ebe2ad88e4c30ad1f74e305a4/13.jpg" /> <img width="2335" height="1705" width_o="2335" height_o="1705" data-src="https://freight.cargo.site/t/original/i/60051deaac0e698185f8a244a2910e58f178c30a2998f7caa919591979b64b8d/13-1.jpg" data-mid="61426453" border="0" src="https://freight.cargo.site/w/1000/i/60051deaac0e698185f8a244a2910e58f178c30a2998f7caa919591979b64b8d/13-1.jpg" /> <img width="2500" height="1907" width_o="2500" height_o="1907" data-src="https://freight.cargo.site/t/original/i/5ad276647e7a283eb8ada79ac871f07a9ac13943cbdde75846b1d890818210d3/11.jpg" data-mid="61426450" border="0" src="https://freight.cargo.site/w/1000/i/5ad276647e7a283eb8ada79ac871f07a9ac13943cbdde75846b1d890818210d3/11.jpg" /> <img width="2500" height="1842" width_o="2500" height_o="1842" data-src="https://freight.cargo.site/t/original/i/a6bc27d1f9e1f9dc10332e00da46230f54034d81116948dec989c68c33e731b1/10.jpg" data-mid="61426447" border="0" src="https://freight.cargo.site/w/1000/i/a6bc27d1f9e1f9dc10332e00da46230f54034d81116948dec989c68c33e731b1/10.jpg" /> <img width="2160" height="1663" width_o="2160" height_o="1663" data-src="https://freight.cargo.site/t/original/i/19b9a3c31dfe0d17c90990604e6b88c98fa1f453eea42acc3413f921d8af5bb1/5.jpg" data-mid="61426438" 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height="1733" width_o="1300" height_o="1733" data-src="https://freight.cargo.site/t/original/i/08af20526a18f5820a0a35ead66c86d255f7fbb5cd253490a0eec3efa74dcb10/IMG_7322.jpg" data-mid="61426479" border="0" src="https://freight.cargo.site/w/1000/i/08af20526a18f5820a0a35ead66c86d255f7fbb5cd253490a0eec3efa74dcb10/IMG_7322.jpg" /> <img width="794" height="1000" width_o="794" height_o="1000" data-src="https://freight.cargo.site/t/original/i/ce4842ef2ce379522949be437b9df6f2336db2e62d5c031bc2ddae7f88517a79/courtesy-rose-studios--dubai--uae.jpg" data-mid="61426474" border="0" src="https://freight.cargo.site/w/794/i/ce4842ef2ce379522949be437b9df6f2336db2e62d5c031bc2ddae7f88517a79/courtesy-rose-studios--dubai--uae.jpg" /> <img width="2500" height="3500" width_o="2500" height_o="3500" data-src="https://freight.cargo.site/t/original/i/9a7f0eaa34749a9fd6d81b420d9907b5ea8f553cdcd9a75deee2552cc73b3e22/courtesy-al-naser-digital-studio--dubai--uae.jpg" data-mid="61426473" border="0" 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data-src="https://freight.cargo.site/t/original/i/16b81686357e11b5f93cb01f21f32e8afbfda5508e52224c20465f3eb2755584/20.jpg" data-mid="61426457" border="0" src="https://freight.cargo.site/w/1000/i/16b81686357e11b5f93cb01f21f32e8afbfda5508e52224c20465f3eb2755584/20.jpg" /> <img width="958" height="768" width_o="958" height_o="768" data-src="https://freight.cargo.site/t/original/i/a79bdb91bd44da2fc0bffadc1778d954b8f4942fdc408db2f9762f50e76cf19d/035.jpg" data-mid="61426458" border="0" src="https://freight.cargo.site/w/958/i/a79bdb91bd44da2fc0bffadc1778d954b8f4942fdc408db2f9762f50e76cf19d/035.jpg" /> <img width="968" height="768" width_o="968" height_o="768" data-src="https://freight.cargo.site/t/original/i/a2d927eb67da3db06003860d3ab54f8062f75e248569f18f68550a6fb6361c36/038.jpg" data-mid="61426464" border="0" src="https://freight.cargo.site/w/968/i/a2d927eb67da3db06003860d3ab54f8062f75e248569f18f68550a6fb6361c36/038.jpg" /> <img width="968" height="768" width_o="968" height_o="768" data-src="https://freight.cargo.site/t/original/i/66d919706d382cbdb1ae471603364cfe2b02796efce2ffad30471efc5e2a2ddf/037.jpg" data-mid="61426461" border="0" src="https://freight.cargo.site/w/968/i/66d919706d382cbdb1ae471603364cfe2b02796efce2ffad30471efc5e2a2ddf/037.jpg" /> https://farahalqasimi.com/Back-and-Forth-Disco-1 Tue, 18 Feb 2020 21:01:15 +0000 Farah Al Qasimi https://farahalqasimi.com/Back-and-Forth-Disco-1 Back and Forth Disco January 29 – May 17, 2020 Public Art Fund, New York Back and Forth Disco is an exhibition of newly-commissioned photographs by Farah Al Qasimi (b. 1991 Abu Dhabi, United Arab Emirates) that celebrate individuality and the aesthetic choices that make spaces and surroundings uniquely personal. The 17 photographs in this new body of work isolate and highlight the beauty of seemingly inconspicuous moments amidst New York City’s visual and audible noise. Presented on 100 bus shelters across the five boroughs, the larger than life photographs are inserted into the paths of New York City commuters at eye level. Works are sited in clusters in over 18 neighborhoods to give the public an opportunity to see multiple photographs within walking or bus route distance. The bus shelters—platforms traditionally used for advertising—bring together images of people, street scenes, interiors, and surfaces to explore the experience of being an individual in a hyper-stimulating city. Al Qasimi has developed a photographic style that reads distinctly as her own, yet is continuously evolving. Over a month-long period in fall 2019, for the first time, Al Qasimi took New York City as her subject, primarily focusing on local communities where small businesses thrive. She has photographed neighborhood stores, barbershops, streets, and homes from Astoria, Queens to Chinatown, Manhattan to Bay Ridge, Brooklyn. Drawn to the idea of visual excess, rich textures, and brightly saturated colors—familiar to her from growing up in the Emirates—Al Qasimi captures vibrant instances of self-expression. The works highlight individual style and cultural traditions that break through the chaos and anonymity of the city. Central to Bodega Chandelier is an elaborate crystal light fixture that dominates the ceiling of a Yemeni-owned bodega in Ridgewood, Queens, dwarfing the products on display. In Parked Car, garlands of artificial flowers from an Indian wedding decorate a polished gray car in Al Qasimi’s neighborhood. Al Qasimi’s portraiture challenges traditional ideas associated with figuration by utilizing elements of camouflage, concealment, and revelation. Her process is both spontaneous and deliberate. She photographs friends and strangers alike, often returning to familiar places repeatedly or recreating moments she has seen in public space in more controlled environments. Her enigmatic portraits demonstrate her approach to the genre: the faces of her subjects are partially obstructed or altogether absent, while their vitality is instead accentuated through garments, hairstyles, and poses. In Woman in Leopard Print, a single eye is revealed through a reflection in a compact mirror as the woman in a leopard-print headscarf studies herself. In Coco, a cockatoo who resides at a curtain store in Ridgewood, Queens is paid a visit by regulars in the neighborhood.&nbsp;A young boy looks at the bird but his eyes are hidden by his mother’s extended arm, allowing other features—such as the woman’s bright red nails—to become the focal point.&nbsp;The photographs in Back and Forth Disco aim to draw out expressive details that spark recognition within communities. Acts of adornment, both to oneself and to the city, highlight the idiosyncrasies and beauty in environments that are often overlooked. Installation photographs courtesy of James Ewing. <img width="1329" height="2000" width_o="1329" height_o="2000" data-src="https://freight.cargo.site/t/original/i/ac11d7d68fb1b481e594fca2fb2775144965ab6878ce8ede97fededb036ad7d8/Bleached-Sign.jpg" data-mid="61431379" border="0" src="https://freight.cargo.site/w/1000/i/ac11d7d68fb1b481e594fca2fb2775144965ab6878ce8ede97fededb036ad7d8/Bleached-Sign.jpg" /> <img width="1459" height="2000" width_o="1459" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c0449bb79d679dff4c5e6f5c083e3ef00374f78da61ac9792aa107db0f6e8bd5/Coco.jpg" data-mid="61431382" border="0" src="https://freight.cargo.site/w/1000/i/c0449bb79d679dff4c5e6f5c083e3ef00374f78da61ac9792aa107db0f6e8bd5/Coco.jpg" /> <img width="1396" height="2000" width_o="1396" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6ec870e750c00a1796986be9058ad5dcfd1a33ae435c6c6305553b189689e722/Dollar-Store.jpg" data-mid="61431383" border="0" src="https://freight.cargo.site/w/1000/i/6ec870e750c00a1796986be9058ad5dcfd1a33ae435c6c6305553b189689e722/Dollar-Store.jpg" /> <img width="1370" height="2000" width_o="1370" height_o="2000" data-src="https://freight.cargo.site/t/original/i/53048042f653339abf67b1a80fa60544b8396f3a94c4046f196abf12382ac53a/Everything-Must-Go.jpg" data-mid="61431385" border="0" src="https://freight.cargo.site/w/1000/i/53048042f653339abf67b1a80fa60544b8396f3a94c4046f196abf12382ac53a/Everything-Must-Go.jpg" /> <img width="1462" height="2000" width_o="1462" height_o="2000" data-src="https://freight.cargo.site/t/original/i/955f9ab16bc5885fd382ecc0b00cd35619aca9fa4508e178a42857a890972a49/Grace-Beauty-Salon.jpg" data-mid="61431387" border="0" src="https://freight.cargo.site/w/1000/i/955f9ab16bc5885fd382ecc0b00cd35619aca9fa4508e178a42857a890972a49/Grace-Beauty-Salon.jpg" /> <img width="1448" height="2000" width_o="1448" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c4c6c3c871e3662b930a63f1dd13595997804e2ac2c0faa20e95d9ccd326059d/Flower-Shop.jpg" data-mid="61431386" border="0" src="https://freight.cargo.site/w/1000/i/c4c6c3c871e3662b930a63f1dd13595997804e2ac2c0faa20e95d9ccd326059d/Flower-Shop.jpg" /> <img width="1436" height="2000" width_o="1436" height_o="2000" data-src="https://freight.cargo.site/t/original/i/82aa8a4959ab0dfd9b9eec8fe2b3d3fe36b937ec622dfe7fc614a75ae49bd336/Blanket-Shop.jpg" data-mid="61431378" border="0" src="https://freight.cargo.site/w/1000/i/82aa8a4959ab0dfd9b9eec8fe2b3d3fe36b937ec622dfe7fc614a75ae49bd336/Blanket-Shop.jpg" /> <img width="1468" height="2000" width_o="1468" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c82d1ffd5e156f9de9a81360899dd1f0407a0a14a14b15810ba3845cf9790b1f/Ceiling-Mirror.jpg" data-mid="61431381" border="0" src="https://freight.cargo.site/w/1000/i/c82d1ffd5e156f9de9a81360899dd1f0407a0a14a14b15810ba3845cf9790b1f/Ceiling-Mirror.jpg" /> <img width="1495" height="2000" width_o="1495" height_o="2000" data-src="https://freight.cargo.site/t/original/i/02055c1829690efd4f1a4eab49e78d5552d3f9fcbdaa6182d96b1bc11e3ee3fc/Bodega-Chandelier.jpg" data-mid="61431380" border="0" src="https://freight.cargo.site/w/1000/i/02055c1829690efd4f1a4eab49e78d5552d3f9fcbdaa6182d96b1bc11e3ee3fc/Bodega-Chandelier.jpg" /> <img width="1381" height="2000" width_o="1381" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3ba40889e0875639c8f9ff384a4da123ff85bda84580fd606f4684cfa252cc22/East-Broadway-Mall.jpg" data-mid="61431384" border="0" src="https://freight.cargo.site/w/1000/i/3ba40889e0875639c8f9ff384a4da123ff85bda84580fd606f4684cfa252cc22/East-Broadway-Mall.jpg" /> <img width="1383" height="2000" width_o="1383" height_o="2000" data-src="https://freight.cargo.site/t/original/i/1bc427417b160f0e71aaf9cf24ad189f43cbfe0dca89b8052ee63b3755dd583f/Mannequins.jpg" data-mid="61431388" border="0" src="https://freight.cargo.site/w/1000/i/1bc427417b160f0e71aaf9cf24ad189f43cbfe0dca89b8052ee63b3755dd583f/Mannequins.jpg" /> <img width="1393" height="2000" width_o="1393" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c87063c5f97dc9203539f3b2545af8aae04f21d065e274b1d69065f8f11fc40b/Yankees-Fan.jpg" data-mid="61431392" border="0" src="https://freight.cargo.site/w/1000/i/c87063c5f97dc9203539f3b2545af8aae04f21d065e274b1d69065f8f11fc40b/Yankees-Fan.jpg" /> <img width="1496" height="2000" width_o="1496" height_o="2000" data-src="https://freight.cargo.site/t/original/i/832c30c42dfcba2321f1f3d4685fa4d47833d77a098a643afa3ca815260f186d/Parked-Car.jpg" data-mid="61431947" border="0" src="https://freight.cargo.site/w/1000/i/832c30c42dfcba2321f1f3d4685fa4d47833d77a098a643afa3ca815260f186d/Parked-Car.jpg" /> <img width="1162" height="1638" width_o="1162" height_o="1638" data-src="https://freight.cargo.site/t/original/i/1b1518fe217211f51be1564dd0f74857c5851a2dc573a3fbdcb170ecc2ac7aca/Woman-in-Leopard-Print.jpg" data-mid="61431390" border="0" src="https://freight.cargo.site/w/1000/i/1b1518fe217211f51be1564dd0f74857c5851a2dc573a3fbdcb170ecc2ac7aca/Woman-in-Leopard-Print.jpg" /> <img width="1208" height="1644" width_o="1208" height_o="1644" data-src="https://freight.cargo.site/t/original/i/36db8f76e92e1ab43847b97714caec3d7448b7ab8877a57a29fa813a7e4ac53e/Woman-on-Phone.jpg" data-mid="61431391" border="0" src="https://freight.cargo.site/w/1000/i/36db8f76e92e1ab43847b97714caec3d7448b7ab8877a57a29fa813a7e4ac53e/Woman-on-Phone.jpg" /> <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/4050b1a087ce224d8ddb4028f6acdadf8a1c3a09200cb0e3ee310560eb7c1b52/PAF_FarahAlQasimi_Ewing-0849.jpg" data-mid="61503720" border="0" src="https://freight.cargo.site/w/1000/i/4050b1a087ce224d8ddb4028f6acdadf8a1c3a09200cb0e3ee310560eb7c1b52/PAF_FarahAlQasimi_Ewing-0849.jpg" /> <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/4d30aa894da6a9e61eda72f9173cfa36f19f1c31ed644b73e30ae12ec7938d8e/PAF_FarahAlQasimi_Ewing-1123.jpg" data-mid="61503721" border="0" src="https://freight.cargo.site/w/1000/i/4d30aa894da6a9e61eda72f9173cfa36f19f1c31ed644b73e30ae12ec7938d8e/PAF_FarahAlQasimi_Ewing-1123.jpg" /> <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/3636aae1553e8b1c0111328c92781baadab7823d5a19a8dcc1236348e2db2a00/PAF_FarahAlQasimi_Ewing-0706.jpg" data-mid="61503719" border="0" src="https://freight.cargo.site/w/1000/i/3636aae1553e8b1c0111328c92781baadab7823d5a19a8dcc1236348e2db2a00/PAF_FarahAlQasimi_Ewing-0706.jpg" /> <img width="1349" height="2000" width_o="1349" height_o="2000" data-src="https://freight.cargo.site/t/original/i/70b2bea78294cb1b04e9be6002dbd4a3b73d3779c133eb925bd69838ba5ab381/Bakery-Window.jpg" data-mid="61431377" border="0" src="https://freight.cargo.site/w/1000/i/70b2bea78294cb1b04e9be6002dbd4a3b73d3779c133eb925bd69838ba5ab381/Bakery-Window.jpg" /> <img width="1488" height="2000" width_o="1488" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8d89d9b8c2d148c365e0b32c38e1f1711fbe252efc5c7ca89112dff52ee0078a/5-Star-Barber-Shop.jpg" data-mid="61431376" border="0" src="https://freight.cargo.site/w/1000/i/8d89d9b8c2d148c365e0b32c38e1f1711fbe252efc5c7ca89112dff52ee0078a/5-Star-Barber-Shop.jpg" /> https://farahalqasimi.com/List-Projects-1 Wed, 19 Feb 2020 17:34:15 +0000 Farah Al Qasimi https://farahalqasimi.com/List-Projects-1 List Projects July 30 – October 20, 2019 MIT List Visual Arts Center In her richly textured photographs, Farah Al Qasimi considers how images inscribe identity along the lines of&nbsp;gender,&nbsp;nationality, and class. Borrowing conventions from sources as diverse as documentary photography and Renaissance painting, Al Qasimi manipulates and subverts codified expectations of how images are constructed and understood. Along with her fluency in both Euro-American and Middle Eastern visual cultures, the editorial quality of Al Qasimi’s images facilitates a range of subtle interventions. The photographs frequently&nbsp;confront ideas of national identity as they relate to consumerism and taste, while simultaneously offering covert critiques of the gender divide in the Gulf States and its colonial and religious origins. Camouflage and concealment play a central role in Al Qasimi’s work and operate through multiple stylistic, iconographic, and conceptual registers. In a recent series of portraits, Al Qasimi obscures the faces of her subjects while capturing moments that feel intimate despite their staging. Various compositional strategies hide identifying features—behind plumes of smoke, a well-placed hand, or sumptuously patterned textiles and drapery—while accentuating the opulent interiors her subjects inhabit. As she embeds her work with double meanings, Al Qasimi’s still and moving images are as seductive and visually lush as they are incisive in their criticality. <img width="2200" height="1238" width_o="2200" height_o="1238" data-src="https://freight.cargo.site/t/original/i/d1c2ad5bf093d7d9c2b5f54b547548b647037b9a2070718c6acf4ccd0d26a201/ListProjects_FarahAlQasimi_20190730_4562.jpg" data-mid="61502050" border="0" src="https://freight.cargo.site/w/1000/i/d1c2ad5bf093d7d9c2b5f54b547548b647037b9a2070718c6acf4ccd0d26a201/ListProjects_FarahAlQasimi_20190730_4562.jpg" /> <img width="2200" height="1238" width_o="2200" height_o="1238" data-src="https://freight.cargo.site/t/original/i/133867e6997633983c4a389331cef8cf1d6daf307f032b014d22369da8d22104/ListProjects_FarahAlQasimi_20190730_8367.jpg" data-mid="61502060" border="0" src="https://freight.cargo.site/w/1000/i/133867e6997633983c4a389331cef8cf1d6daf307f032b014d22369da8d22104/ListProjects_FarahAlQasimi_20190730_8367.jpg" /> <img width="2200" height="1238" width_o="2200" height_o="1238" data-src="https://freight.cargo.site/t/original/i/72d1ca12600617e0787a169cf12d64fb99a221561637c096d5108b868ebc4edd/ListProjects_FarahAlQasimi_20190730_4572.jpg" data-mid="61502052" border="0" src="https://freight.cargo.site/w/1000/i/72d1ca12600617e0787a169cf12d64fb99a221561637c096d5108b868ebc4edd/ListProjects_FarahAlQasimi_20190730_4572.jpg" /> <img width="2200" height="1237" width_o="2200" height_o="1237" data-src="https://freight.cargo.site/t/original/i/6f786d36edfaeb69d715ee62dc4360702a2fa24efcefb7fe6d81c7fefeffbcd9/ListProjects_FarahAlQasimi_20190730_8359.jpg" data-mid="61502058" border="0" src="https://freight.cargo.site/w/1000/i/6f786d36edfaeb69d715ee62dc4360702a2fa24efcefb7fe6d81c7fefeffbcd9/ListProjects_FarahAlQasimi_20190730_8359.jpg" /> <img width="2200" height="1467" width_o="2200" height_o="1467" data-src="https://freight.cargo.site/t/original/i/55b4f4ddb1f6e1a51d38ddfc897580451caca1e6ed9141e771f7a564a797fb5d/ListProjects_FarahAlQasimi_20190730_8342.jpg" data-mid="61502055" border="0" src="https://freight.cargo.site/w/1000/i/55b4f4ddb1f6e1a51d38ddfc897580451caca1e6ed9141e771f7a564a797fb5d/ListProjects_FarahAlQasimi_20190730_8342.jpg" /> <img width="1467" height="2200" width_o="1467" height_o="2200" data-src="https://freight.cargo.site/t/original/i/19131e49cbca451a5b60e324492f3c5afddd3b4ad53fb81e580b7fbeb4103891/ListProjects_FarahAlQasimi_20190730_8391.jpg" data-mid="61502061" border="0" src="https://freight.cargo.site/w/1000/i/19131e49cbca451a5b60e324492f3c5afddd3b4ad53fb81e580b7fbeb4103891/ListProjects_FarahAlQasimi_20190730_8391.jpg" /> <img width="2200" height="1238" width_o="2200" height_o="1238" data-src="https://freight.cargo.site/t/original/i/ac21e3c9b7d8c5a9ecdafbba46563ea0d82bcaa52a5461612869854920e167a0/ListProjects_FarahAlQasimi_20190730_8363.jpg" data-mid="61502059" border="0" src="https://freight.cargo.site/w/1000/i/ac21e3c9b7d8c5a9ecdafbba46563ea0d82bcaa52a5461612869854920e167a0/ListProjects_FarahAlQasimi_20190730_8363.jpg" /> <img width="2200" height="1467" width_o="2200" height_o="1467" data-src="https://freight.cargo.site/t/original/i/8478393c662b0ca5d7f86d4cfa43e3d3fe2e7b621e0f151a5fc7d432de5e8087/ListProjects_FarahAlQasimi_20190730_4634.jpg" data-mid="61502858" border="0" src="https://freight.cargo.site/w/1000/i/8478393c662b0ca5d7f86d4cfa43e3d3fe2e7b621e0f151a5fc7d432de5e8087/ListProjects_FarahAlQasimi_20190730_4634.jpg" /> <img width="2200" height="1237" width_o="2200" height_o="1237" data-src="https://freight.cargo.site/t/original/i/52a19b59b18c02f341371fd764d83f9847499140e8714599975e57511548ab51/ListProjects_FarahAlQasimi_20190730_8348.jpg" data-mid="61502057" border="0" src="https://freight.cargo.site/w/1000/i/52a19b59b18c02f341371fd764d83f9847499140e8714599975e57511548ab51/ListProjects_FarahAlQasimi_20190730_8348.jpg" /> <img width="2200" height="1467" width_o="2200" height_o="1467" data-src="https://freight.cargo.site/t/original/i/b5c15eb86d42d5d031aa39e0faa1d8224d65b458c9664eb454e3f38b7ccec28a/ListProjects_FarahAlQasimi_20190730_4629.jpg" data-mid="61502857" border="0" src="https://freight.cargo.site/w/1000/i/b5c15eb86d42d5d031aa39e0faa1d8224d65b458c9664eb454e3f38b7ccec28a/ListProjects_FarahAlQasimi_20190730_4629.jpg" /> <img width="2200" height="1467" width_o="2200" height_o="1467" data-src="https://freight.cargo.site/t/original/i/d0f40cecafb1ebbbc3e4dbd26744ae88b2d914232f23109f14bdcceca0bae77e/ListProjects_FarahAlQasimi_20190730_4605.jpg" data-mid="61502054" border="0" src="https://freight.cargo.site/w/1000/i/d0f40cecafb1ebbbc3e4dbd26744ae88b2d914232f23109f14bdcceca0bae77e/ListProjects_FarahAlQasimi_20190730_4605.jpg" /> <img width="2200" height="1467" width_o="2200" height_o="1467" data-src="https://freight.cargo.site/t/original/i/9d576e2730020dd7636095e5d5cad6b8fcea929af2181ba1c9a9581345743d73/ListProjects_FarahAlQasimi_20190730_8427.jpg" data-mid="61502063" border="0" src="https://freight.cargo.site/w/1000/i/9d576e2730020dd7636095e5d5cad6b8fcea929af2181ba1c9a9581345743d73/ListProjects_FarahAlQasimi_20190730_8427.jpg" /> <img width="2200" height="1467" width_o="2200" height_o="1467" data-src="https://freight.cargo.site/t/original/i/3c47defb624b38d465836c523122e5006c01de95a0ac8481a418f3d55dc9590c/ListProjects_FarahAlQasimi_20190730_8407.jpg" data-mid="61502062" border="0" src="https://freight.cargo.site/w/1000/i/3c47defb624b38d465836c523122e5006c01de95a0ac8481a418f3d55dc9590c/ListProjects_FarahAlQasimi_20190730_8407.jpg" /> https://farahalqasimi.com/Um-Al-Naar-1 Tue, 25 Feb 2020 21:38:12 +0000 Farah Al Qasimi https://farahalqasimi.com/Um-Al-Naar-1 Um Al Naar&nbsp; September 18 – November 23, 2019The Third Line, DubaiArrival, Farah Al Qasimi’s third solo exhibition at The Third Line. Using the language of horror cinema, Al Qasimi reveals a new body of work featuring jinn folklore across the UAE.The show premieres Farah’s first feature-length film; a 40 minute horror-comedy titled Um Al Naar (Mother of Fire). In it, a fictional Reality TV network has produced a segment on Um Al Naar, a Ras Al Khaimah-based Jinn. Um Al Naar narrates the region’s changes from its occupation by Portuguese and British naval forces to its current adoption of a national identity based around tolerance and a drive to generate culture. She pays close attention to these changes in their day-to-day iterations: the gendered pastimes of the country’s youth, waning trust in traditional forms of spirituality and medicine, and the loss of history in an urgent bid for novelty.The photographs in the exhibition are moments pulled from the world she describes. She follows a baker with an Instagram business making buttercream roses, dance parties in which the only participants are men, and moves throughout homes looking at indicators of bodies and their personal style. Um Al Naar laments the formalities and social constructs of modern-day life, longing for a more fluid, interconnected world in which there is ample space for the paranormal, the unseen, and the absurd.The film is peppered with found footage of various moments of release: exorcisms gone wrong, ecstatic dancing, and effervescent first-person storytelling. But as we lose our sense of collective release, Um Al Naar asks: ‘how do we attain bodily transcendence in a modern world?’In many horror films, the antagonist we fear the most is invisible; not a spooky ghost or monster, but a figment of our collective unconscious manifested as immaterial danger. Many of Farah’s photographs contain a looming sense of dread or entrapment, even as the world they depict is full of color and cheer. A woman takes photographs in an aviary filled with live birds, their movement curtailed by a drop ceiling with fluorescent lights. A figure is reflected in a picture frame, her ghost trapped within its confines.Um Al Naar provides a space where these fears can be confronted—and where specters can move freely in bodily release. <img width="3360" height="2100" width_o="3360" height_o="2100" data-src="https://freight.cargo.site/t/original/i/0b6b5dece50626b51576e056e1380fd5e721cd278659dccbf23fcf7b277752fb/Screen-Shot-2020-02-20-at-2.54.54-PM.jpg" data-mid="61996519" border="0" src="https://freight.cargo.site/w/1000/i/0b6b5dece50626b51576e056e1380fd5e721cd278659dccbf23fcf7b277752fb/Screen-Shot-2020-02-20-at-2.54.54-PM.jpg" /> <img width="3360" height="2100" width_o="3360" height_o="2100" data-src="https://freight.cargo.site/t/original/i/fe2d6ab23f77f56e7423036cc8ba381f13356b9e676ed4205cf9a10726be947a/Screen-Shot-2020-02-20-at-2.55.27-PM.jpg" data-mid="61996520" border="0" src="https://freight.cargo.site/w/1000/i/fe2d6ab23f77f56e7423036cc8ba381f13356b9e676ed4205cf9a10726be947a/Screen-Shot-2020-02-20-at-2.55.27-PM.jpg" /> <img width="3360" height="2100" width_o="3360" height_o="2100" data-src="https://freight.cargo.site/t/original/i/5e417d054a5d0ef3f6bf9c4ae8786dcb71e6593e057376fab8fe328fafcbe712/Screen-Shot-2020-02-20-at-2.56.22-PM.jpg" data-mid="61996521" border="0" src="https://freight.cargo.site/w/1000/i/5e417d054a5d0ef3f6bf9c4ae8786dcb71e6593e057376fab8fe328fafcbe712/Screen-Shot-2020-02-20-at-2.56.22-PM.jpg" /> <img width="3360" height="2100" width_o="3360" height_o="2100" data-src="https://freight.cargo.site/t/original/i/168aee064ce984351dd83391c0dc71c79f6ef81422d20db8a0f930418fbba3a1/Screen-Shot-2020-02-20-at-2.56.54-PM.jpg" data-mid="61996522" border="0" src="https://freight.cargo.site/w/1000/i/168aee064ce984351dd83391c0dc71c79f6ef81422d20db8a0f930418fbba3a1/Screen-Shot-2020-02-20-at-2.56.54-PM.jpg" /> <img width="3360" height="2100" width_o="3360" height_o="2100" data-src="https://freight.cargo.site/t/original/i/1bea4c53e0e1af6eca5b7b532dfe963dc41ca55349b236059a7e9a673d10658e/Screen-Shot-2020-02-20-at-2.57.52-PM.jpg" data-mid="61996524" border="0" src="https://freight.cargo.site/w/1000/i/1bea4c53e0e1af6eca5b7b532dfe963dc41ca55349b236059a7e9a673d10658e/Screen-Shot-2020-02-20-at-2.57.52-PM.jpg" /> https://farahalqasimi.com/Dream-Soup-1 Tue, 25 Feb 2020 23:41:32 +0000 Farah Al Qasimi https://farahalqasimi.com/Dream-Soup-1 Dream Soup 2019March Projects Sharjah Art Foundation, UAEA commissioned video installation for March Projects, Sharjah Art Foundation. <img width="3360" height="2100" width_o="3360" height_o="2100" data-src="https://freight.cargo.site/t/original/i/df5d8a7bfe09c25f138a20ba54200d22b221c83d2ec166ce4bbad2e5ab19b832/Screen-Shot-2020-02-20-at-3.17.57-PM.jpg" data-mid="62006504" border="0" src="https://freight.cargo.site/w/1000/i/df5d8a7bfe09c25f138a20ba54200d22b221c83d2ec166ce4bbad2e5ab19b832/Screen-Shot-2020-02-20-at-3.17.57-PM.jpg" /> <img width="3360" height="2100" width_o="3360" height_o="2100" data-src="https://freight.cargo.site/t/original/i/5a1e919e3aeb3c83644b5b54ca45d13a0493c243f1f1f0254aa5304393dcddb7/Screen-Shot-2020-02-20-at-3.19.56-PM.jpg" data-mid="62006506" border="0" src="https://freight.cargo.site/w/1000/i/5a1e919e3aeb3c83644b5b54ca45d13a0493c243f1f1f0254aa5304393dcddb7/Screen-Shot-2020-02-20-at-3.19.56-PM.jpg" /> <img width="3360" height="2100" width_o="3360" height_o="2100" data-src="https://freight.cargo.site/t/original/i/0d18e7dcedeedf7f434941b668a3441918a316fa45cc84785bf2f02e674dd7f0/Screen-Shot-2020-02-20-at-3.18.21-PM.jpg" data-mid="62006505" border="0" src="https://freight.cargo.site/w/1000/i/0d18e7dcedeedf7f434941b668a3441918a316fa45cc84785bf2f02e674dd7f0/Screen-Shot-2020-02-20-at-3.18.21-PM.jpg" /> <img width="3360" height="2100" width_o="3360" height_o="2100" data-src="https://freight.cargo.site/t/original/i/c6105148f60366da820b04e0394d611d51a9071b4fa8e11cc93001587ef4a0c9/Screen-Shot-2020-02-20-at-3.21.46-PM.jpg" data-mid="62006507" border="0" src="https://freight.cargo.site/w/1000/i/c6105148f60366da820b04e0394d611d51a9071b4fa8e11cc93001587ef4a0c9/Screen-Shot-2020-02-20-at-3.21.46-PM.jpg" />