At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops. A closer examination, however, reveals that a key element—the minaret—has been systematically removed, thereby changing profoundly the history and religious character of the city. The work is a response to a November 2009 referendum in Switzerland that approved a ban on the construction of new minarets in that country. It was also a crucial time in Turkey’s negotiation for entrance into the European Union. Instead of making a direct, didactic comment on the controversy, however, Abbas offers up a clever question regarding how landmarks are interpreted in vastly different ways depending on their cultural context. In the Western imagination, minarets are political symbols as much as they are religious architecture. In the Muslim world, they serve as mnemonic devices that enable residents to recognize their own city.
Hamra Abbas, who lives and works in Boston and Islamabad, Pakistan, makes work that has a profound connection to her own cultural context. She asks probing questions about the everyday and its complex relationship with history and ideology; her subject matter ranges from religious rituals to war and the sexual iconography of the Kama Sutra. Working with a diverse range of materials and media, Abbas frequently intertwines the contemporary with the classic to offer up a critique of both modern Western and Islamic cultures.
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack (2007) was realized in the year of the 10th anniversary of the establishment of The Hong Kong Special Administrative Region of the People’s Republic of China...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...
Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
The Cloud of Unknowing (2011) is titled after a 14th-century medieval treatise on faith, in which “the cloud of unknowing” that stands between the aspirant and God can only be evoked by the senses, rather than the rational mind...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Starting with Bruce Nauman’s iconic artwork, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) , Mungo Thomson’s neon sign is one of a series that replaces Nauman’s quixotic mini-manifesto with aphorisms from ‘recovery’ culture, especially those made popular by alcoholics anonymous...