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03Wednesday, November 12, 2008 www.thenational.aeThe N!tion!l arts&life

Gita Meh has a love-hate relation-ship with settling down. The Iranian 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.

Her latest show at Tashkeel Gallery 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.”

Viewers walking into the room add 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 Middle Eastern culture and our way of life,” she says. “I found my culture nourish-ing when I was far away from it.”

M e h s t r a d d l e s t h e b o u n d -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-tions about Islamic culture. 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, a chance to present a more 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 old Los Angeles home. In others, she is on a blue-painted wooden dhow in Dubai, sitting inanimate among the suitcases and tarpaulin bags.

Standing tall in her bubble-wrap, Meh sometimes wears an expres-sion of dignified determination and, other times, a cool detachment 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-rative metalwork. Though she looks 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.

H e r v i d e o i n s t a l l a t i o n I n 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’s true that the Middle East is very

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 the viewer to interact with it in a way 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 they should be a part of it,” says Meh, 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 rather pungent since the exhibit was mounted in mid-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 issues that are relevant to women all over the world,” Hoyle says. “Gita’s experience is very much a blend of the East and the West and she really does bring the two together through 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 constructions of identity and the self. “I was working until three or four in the morning creating this new instal-lation,” she says. “And the whole con-cept happened here in the UAE.”

Though Meh’s work centres on transitions, she says that she prefers being settled, particularly here.

“Dubai is it for me, because I am neither Eastern nor Western anymore,” she says. “Dubai gives me the ability to be both at the same time.”

swol!@thenational.ae"

Movement and identityThe Iranian artist Gita Meh explores migration and evolution in her show at Tashkeel Gallery. Sarah Wol! explains

Meh o!ers her work as a rebuttal of stereotypes, a chance to present a more accurate version of her culture

The Boxed Road: Maps No More by Gita Meh. Courtesy Zahra Pedram

Gita Meh ‘s photographic series The Boxed Road: From Los Angeles to Dubai is part of the 27 Years of Migration exhibition at the Tashkeel Gallery. Courtesy Tashkeel

visual arts

EXH I B I T I ONFRIDAYFEBRUARY 26, 2010 1 5

audience as art.” The concept reflects theartist’s collective understanding of inte-grating borderlines. “Soffreh reflects thearchitecture of my past in a personal con-text,” Meh says, stressing its sole purpose— to promote a sense of generosity, mercyand peace. “Islam means integrating, notdiscriminating.”In another set of works, Meh scans her

body parts with a digital scanner and layersthem with poetry and Iranian architecturaldesigns. “I lived the life of a migrant andwas scanned at all times throughout myjourneys,” 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 showingthis world for what it really is — a placeof openness where empathy is essential,”Lewis says. “The Middle East is a vital partof global politics. I find a certain amountof truth in Edward Said’sOrientalism. How-ever, I do not accept that the West’s lovefor 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 theworld, Lewis emphasises on the amazingtransformation of the Gulf region over thepast few decades by juxtaposing the oldand the new, the traditional and the mod-ern, the rural and the urban and the huge

cultural variety that existsthroughout theMiddleEast.In his images, theArabs andBedouins stand with theirhorses, camels and falconsagainst the backdrop ofcontemporary architectureand oil refineries. Lewis’smost recent work focuseson Arab women and theirmany styles of veils.“Gender in Islam is ahigh-

ly charged issue among lay-men and religious scholarsalike,” Lewis says. “If someblame Islam for the oppres-sion of women, others see it as a beacon ofhope for reform. The explanations are asdiverse as the Islamic world itself. Thus,charting the progression or regression ofwomen, whether under secular or religiousgovernments, is a difficult task.”“Being an outsider gives one a vantage

point to observe a culture and celebrate itfrom a unique perspective,” he says. “I alsoseek to capture the more sensitive side ofhumanity, 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 aspectsin remarkable black-and-white images.The photographs are classical in style

but contemporary insubject and time frame,revealing a unique per-spective of the city andits people.“Beirut has always

been a crossroads forpeople passing throughthe region,” Kanafanisays. “Its richness, itschaos and its unparal-leled beauty appeal toeveryone.”Born and raised in

Lebanon,Kanafaniwenton to finish his studies

in political science and philosophy in theUnited States. He worked as an editor andcopywriter after the end of the Lebanesecivil war, before picking up a camera andfocusing on Beirut’s streets.“Pictures always jump out at me, telling

a much more interesting story than whatany text could convey, leaving much moreto the imagination,” Kanafani says.Deriving inspiration from similar influ-

ences is French photographer VincentSannier, who adds a keen sense of sagac-ity — poetic in vision yet materialistic intechnique — to his photographs. With anobsession to explore life, he captures theessence of his subjects and combines itwith a blend of colour and light.

“It’s a question of feelings actually. Theblack-and-white effect brings with it anadded vitality that otherwise seems to bemissing in coloured textures. Sometimes,the process is just the opposite,” Sanniersays. “I came to Brooklyn Bridge severaltimes. There was something magical hap-pening there and something special aboutthe human scale that could be best cap-tured in colour.”Sannier started as a photojournalist when

he was just 17, covering music and sportsfor lifestyle magazines.While pursuing his studies he did archi-

tectural photography on the side. Accord-ing to Sannier, observing the use of spacein architecture helped him develop a senseof aesthetics, which led to the perfect foun-dation for a lifelong love affair with pho-tography. “We make use of directions butwe never know where we arrive,” he says.“The mystery of discovery guides me. Themost exciting is the unknown.” The out-come is aesthetically pleasing, bearing animpression that is charismatic and natural.“I hate digital photography,” he says. “For

me, the discipline that respects the craftof an image and print is fundamental. Todestroy those negatives is like slitting myeyes with a blade.”

Layla Haroon is a freelance writer based in Abu Dhabi.

Photography 1 is on at the Salwa Zeidan Art Gallery, AbuDhabi, until March 10.

Gita Meh uses images of scanned bodyparts in her work (left and above) toreflect on her many journeys, duringwhich she had to go through a scannerat every checkpoint

By using visual andwritten languages,the artist drawsfrom personal historyand its implications inmodern times to forma space for humaninteraction andcultural integration.

Above: A work by Lebanese artistRaja Kanafani, who captures daily life inBeirut in his black-and-white images

Publication: InsideOut Country: Pan Arab

Date: September 2008 Page: 98-104 Circulation: 42,000

Article: Cultural Nourishment

Publication: InsideOut Country: Pan Arab

Date: September 2008 Page: 98-104 Circulation: 42,000

Article: Cont. Cultural Nourishment

Publication: InsideOut Country: Pan Arab

Date: September 2008 Page: 98-104 Circulation: 42,000

Article: Cont. Cultural Nourishment

Artist: Gita MehArtwork: Sweet CityDescription: 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

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First Gallery (Rome, Italie) Aron Demetz, Homo Erectus (Petra), 2007, bronze, 80cm, courtesy First GalleryDavide coltro, Medium Color Landscape, 2007, digitalphoto, 50x60 cm, courtesy First GalleryMiltos 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 CalgaroMaurizio 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

j#4&($F#"."H%B".GDG(+%

)'(*/'%="M%)>E&.4%7*4%1#'.$$(2%AE%w.++*$*5%Y>E("%#8%)'."_.'5%@A0%)>F"($(%j#>4G*E%1($?("%