SOAS (Sultan Sooud Al Qassemi) continues to showcase the diverse works from the Barjeel Art Foundation, an organization established to preserve his extensive collection of contemporary art from the SWANA region. The latest exhibition, titled Hudood: Rethinking Boundaries, is currently being held at SOAS University of London’s Gallery. This initiative is part of Al Qassemi’s role as a Research Associate at the university’s Middle East Institute and represents a collaborative effort with his students.
The SOAS exhibition features an impressive lineup of renowned artists, including Mona Hatoum, Manal AlDowayan, Kader Attia, and Hayv Kahraman, among others. More than just a display of valuable artworks, Hudood is thoughtfully curated, reflecting Al Qassemi’s mentorship and the keen insight of his talented students, who have produced a show that resonates with depth and significance.
Hudood investigates the multifaceted concept of “boundaries,” examining both physical demarcations like walls and borders, as well as social and curatorial boundaries related to gender, state, and urban design. It also touches on intangible themes such as memories, time, and perspectives.
The exhibition opens with Monde Arabe Sous Pression (2013), an aluminum pressure cooker by Batoul S’himi, which is playfully designed in mint ice cream color and features a map of the SWANA region. This unique piece serves as a refreshing and symbolic centerpiece, encapsulating the exhibition’s theme of a “pressurized” environment.
Beginning with an exploration of urbanism, Hudood reflects on how architecture serves as a lens through which to understand colonial and settler histories. Works by Kader Attia and Aïcha Haddad present contrasting perspectives, while photography by Lateefa bint Maktoum and Ammar Al Attar captures post-oil aesthetics in the Gulf. Notably, Al Attar’s 2012 images of prayer spaces within Dubai Mall and DIFC The Gate stand out as brilliant inclusions.
Transitioning to the theme of gender, Manal AlDowayan’s porcelain sculpture, Suspended Together — Standing Doves (2012), beautifully bridges the two sections. The sculpture features stationary birds adorned with a printed document symbolizing the permission once required from male family members for Saudi women to travel.
Rather than adopting overly simplistic portrayals of gender, Hudood examines how gender permeates daily life through the traditional gathering space known as the majlis.
Against a backdrop of striking scarlet walls, Zaha Hadid’s silver Tea and Coffee Set (2004) pairs elegantly with Lamya Gargash’s Red Television (2009) from her Majlis series.
The final segment of the exhibition turns to concrete as its focal material, exemplified by Palestinian artist Khaled Jarrar’s Volleyball (2013). This poignant piece, a concrete interpretation of a playground ball, symbolizes the impact of war on children and is displayed within a glass vitrine.
A dedicated section on Palestine occupies a prominent place within the exhibition, addressing the inextricable links between Palestinian issues and the broader history of the SWANA region. Despite the art world often remaining silent on these topics, Hudood showcases works like Larissa Sansour’s satirical print Nation Estate (Living the High Life) (2012), alongside impactful pieces by Fouad Elkoury, Taysir Batniji, and Laila Shawa. The exhibition also includes a section on ‘Alienation and Belonging,’ featuring works by Ahmed Mater, Mona Hatoum, and video contributions from Iraqi artist Adel Abidin.
The concluding section of the exhibition synthesizes previous themes through a diverse array of works by artists such as Rachid Koraïchi, Anuar Khalifi, and Latif Al Ani. This culmination enriches the narrative established earlier, highlighting the potential of contemporary SWANA art when guided by innovative curatorial perspectives.
As attendees navigate through Hudood, they experience an artistic journey as satisfying and nourishing as a warm meal, signaling an optimistic future for the curation of art from the SWANA region.
