A Most Precarious Relationship: Artists, Audiences and Interactive Art in the Emirates
Wednesday 30 May, 2012
Saturday 28 Jul, 2012
Maraya Art Centre, Al Qasba, Block (E), Third Floor (Maraya Art Gallery)
United Arab Emirates
The two-month exhibition will highlight the works of four UAE-based artists. Emirati artists Maitha Al Jassim and Amna Al Zaabi, Saudi artist Ahmed Bouholaigah and Indian artist UBIK.
The interactive art exhibition will feature four installations created by the UAE-based artists and highlight how they are linked through their thematic exploration of participatory elements in art and subsequent relationships and exchanges between artist, artwork, audience and social spaces.
The exhibition aims to offer a public platform to support these four UAE-based, emerging artists who have created installations that transform the routinely sterile-artist-artwork-gallery space audience interface into active audience participation.
The exhibition will highlight Maitha Al Jassim's work titled 'Islands' (2012); a multimedia installation comprised out of black acrylic, moveable sculptures and a video projection of landscapes from her hometown Fujairah and also Dubai.
The exhibit will investigate Amna Al Zaabi's work titled 'Recycling into an Ideal World' (2012), which pushes the boundaries of art, design and architecture. Amna's installation is comprised primarily out of models for walls, built out of recycled bottles and metal frames.
The third spotlight in the exhibition will be on the electronic installation created by Ahmed Bouholaigah titled 'Ahmed Bouholaigah and the Rise and Fall of his Quadrocopter' in which the artist used social media as the point of interaction and subsequent destruction of the quadrocopter.
The exhibition also features UBIK's 'Autosuggestion' (2012) in which the artist uses text to engage viewers to interact on a deeply philosophical and cerebral level. UBIK's installation explores notions of consumerism-guilt and capitalistic-shame via the accompanying text on the LED ticker, allowing viewers to physically engage as the installation involves choosing to sit down on the furniture and contemplate or not.