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Qabr Al-Zaman (‘The Tomb of Time’, 2010) is a MY WORK shrine, a monument to Life and Death. It is the culmination architectural piece Lara Baladi built as part of a larger series of works entitled Diary of the “The use of different Future (2007-2010). In 2007, Baladi documented the period that iconographies preceded her father’s death using the tradition of reading the future in Turkish coffee. This combined documentation – photographs of rivulets formed in my collages or in inside cups of coffee, printed on porcelain medallions and embedded in grey raw marble, my installations, gives trompe l’oeil paintings, a photomontage printed on a gesso-coated aluminum panel – adorns the walls of the work a level of Qabr Al-Zaman. Inspired by the cross-cultural custom of placing ex- complexity that is votos suscepto (“from the vow made”) in chapels in gratitude for the fulfillment of a promise, here, found in language Baladi’s ex-votos are the porcelain medallions, the in general and in ever-changing states of mind and shifting portraits of the people surrounding her father until his death, myths in particular. unfolding in chronological order on the walls. Upon entering the shrine, viewers find themselves in a One must know contemplative state where time starts in the past and ends in an imagined future. the alphabet to read the text. One must recognize the archetype to transcend the narrative in the myth.”

37 Sam Bardaouil, Till Fellrath It is evident that Qabr LB IstartedphotographyinNewYorkduringthe was The Eye of Mary Magdalena (1998). This work Fanous El Sehry was partly a response to the second Al-Zaman has a strong personal resonance in regards summer of 1988. To make a long story short, a group anchored me in Cairo where I had returned one year Intifada. to your experience of loss. Yet, you have managed to of teenagers broke into my friend’s house to party. previously. The work was about my relationship to Al Fanous El Sehry was triggered by a situation I create a physical space where the visitor can literally One of them forgot a camera. The owner of the Egypt and my genealogy, about obvious dualities I found myself in a few years earlier while walk into your personal story and contemplate their house, my friend’s mother, was a photographer. She found in Egyptian society, which reflected my own photographing downtown Cairo. The sleazy director own experience of loss. Would you say that this taught me how to use the camera and took us to see inner conflicts; Muslims and Christians, private and of Theatre Miami in Talaat Harb street accused me of convergence between spaces or sharing of territories, an exhibition by Robert Mapplethorpe. It was the first public, virgin and prostitute, sacred and profane. using an “x-ray camera” to take nude pictures through yours and the other’s is a recurrent concern of yours? time I was exposed to what I found out was called But my work started to suffer from the lack of the clothes – as if such a thing was possible – of the Your work Borg el-Amal (The Tower of Hope)2008- “fine art photography”. After seeing this exhibition, I professional photo-labs available in Egypt. So the next actors and actresses in the theatre backstage. I spent 2009 comes to mind. was hooked. I had been baptized into the world of step was to find strategies to bypass these technical the rest of the night at the police station. Although Lara Baladi Everything about Qabr Al-Zaman is photography. Photography drew me in because it limitations and continue to create with the tools that this was the first of many encounters with Egyptian personal, yet nothing intimate is revealed. As the title enabled me to find an intimate space. It was a way to were available. My photographic collages, while going police and the mentality of Egyptian men, little did I indicates, it is a “Tomb of Time”. The work transcends go inwards while connecting with the world. beyond the limitations of the photographic frame, know that this unpleasant incident would change my the subject it originates from. It becomes an In 1996, I worked as a photographer on Youssef emerged within that context. The fictional aspect of life. I became an installation artist! intermediary space between life and death, between Chahine’s film El Masir (‘Destiny’). Working on the set my photography reached a new dimension, where the ephemeral and the eternal. was like going to school. The most important thing I costumed characters evolved across the collages as if SB, TF No matter what media you work with, you While most of my works stem from personal learnt was that when you want to achieve something, the fiction (a cinematographic film) had collapsed into always produce work that is multilayered and experiences, they deal with larger socio-political you must simply go ahead and do it – past any one single picture. complex. subjects. Borg el-Amal was a two-story tower with no obstacle. I admired Chahine’s determination and Ichallengedmyselfwithvolumeandconceivedmy LB It is complex and multilayered, yes, but always roof. The visitor entered and was immediately commitment to making his film no matter how long, first installation, Al Fanous El Sehry (‘The Magic accessible. It is important for me that above all my engulfed physically in the tower and simultaneously tedious and difficult the process was. He feared Lantern’, 2002). The twenty-nine-meter in audience here in Egypt – which includes people emotionally driven by the music, a Donkey symphony nothing. Most of all, I admired the extraordinary circumference eight-pointed Islamic star, which in without formal art backgrounds, without the specially composed for the project, a sort of requiem energy this man deployed on the set every day, in Sufism represents the “Breath of the Compassionate”, knowledge of the sophisticated and often convoluted for the poor, a requiem for the human condition in spite of his already advanced age. His self-confidence, hangs above people’s eyes. Like its inspiration, the and jargonistic language of contemporary art – can general, for the beauty found in pain. the confidence he had in his ideas and the passion chandelier in the Mohamed Ali mosque in Cairo, it understand my work, as much, if not more directly, These liminal spaces, spaces of transition I create, with which he worked, marked me. Chahine’s fills the space and lights it. The lantern invites viewers than the art professionals themselves. mirror familiar inner spaces, these thresholds of leadership was unique. The fictional aspect of his to circle around it. The circle is a symbol of Time, a The use of different iconographies combined in my waiting and not knowing our “next”, spaces we all work was also key for me. It showed me the multitude continuous succession of similar yet different collages or in my installations, gives the work a level inevitably experience in life. of possibilities that exist beyond photojournalism, moments. As the pilgrims in Mecca walk around the of complexity that is found in language in general and Even the works I produce that are two dimensional, beyond the mere representation of reality. Ultimately, Kaaba, the viewer of the Fanous El Sehry follows, in myths in particular. One must know the alphabet to collages and tapestries for instance, work in this way. Ilearnedthatthereisnolimittoimagination,vision anti-clockwise, the life cycle of a fake Barbie doll in read the text. One must recognize the archetype to By carefully selecting iconographies and combining or ambition. negative images (medical x-rays). The doll is pregnant transcend the narrative in the myth. But then again visual elements that reference traditional and When this experience ended, I was ready to push and gives birth to a baby that becomes a woman, and because of the nature of the language, the work contemporary myths, I play with archetypes, which by further my own passion for making images. My work again and again, each time a different persona, one always remains open to interpretation. Most people, definition are cross-cultural and cross-temporal. evolved from black and white to color, from time dancer, one time soldier on autopilot following young, old, from various social backgrounds can thus documentary photography to creating fictional society’s rules, another time celebrity… This closed find or create meaning for themselves by projecting SB, TF You began as a photographer, but gradually narratives. Working with Chahine even transformed circuit is another take on the visual representation of their own history onto my work. veered toward installation art. Can you tell us about the way I photographed. I started to find my own the evolution of Man as depicted in most that evolution? What inspired you to try something voice. schoolbooks. It stands as a metaphor for the cycle of SB, TF Unlike most artists, you embrace Photoshop different? The first body of work I made after this experience History: war-peace-war-peace-war, ad infinitum. Al and view it as an essential tool. Why?

38 | Lara Baladi 39 | Lara Baladi meticulousness of a seamstress sewing her own SB, TF And you also blend in physically almost of us. Far from being an outsider, I, like most wedding dress by hand, layer upon layer, like a anywhere. Egyptians, found myself engaging with Arabic using a modern Penelope weaving repetitiously until Ulysses’ LB Yes! I can also be Pakistani. In Karachi, people whole new spectrum of political language that had return. The large scale “magic lantern”, Al Fanous El were convinced I was Patan, from the North. I been so long suppressed it had almost disappeared Sehry also refers to the history of the moving image, blended in better than I do in my own country. In from daily language. This was the immediate only here mixing modern digital technology Egypt, I am always asked if I am Spanish, Italian or consequence of a newly acquired freedom of speech (Photoshop) with the skills of the iron forgers still to Lebanese… and most of all regained sense of identity. MY LIFE be found in the Boulaq workshops of Cairo. Not only Identity is part of my work although it is not a is Photoshop a tool for manifesting an idea but its use fundamental aspect of it. It is a challenge to deal with SB, TF Did you feel like an outsider when you moved is part of the reflection embedded in the installation. this issue while evolving as an artist in an art world to Cairo, or totally part of the society? Did that “In such a volatile The combination of iron and digital, traditional and obsessed with shows about identity, Arab women, the change after the revolution? context, the question contemporary mediums, mirrors a reality of the world Arab world versus the West and every other cliché LB There was never such a question as whether or as it is today, particularly evident in a city like Cairo. you can imagine. My work, aims to show how fluid not I belonged to Egypt when I returned. My family’s of identity is pressing, and fused these categories are. In my earlier work I history is interlinked with that of Egypt’s and so is SB, TF In the context of your cultural background, played with this idea by making it unclear where mine. I wanted to reconnect the dots and understand more than relevant, you often describe a longing to fit in somewhere. It things were located. I found myself more comfortable my roots. By extension, my personal investigation seems to apply also to the formal context of your looking at the essence of being rather than at identity opened the way to a larger question, that of the place and obviously work. You are always trying to reinvent, to change. in the socio-political sense. of Christians in Egypt. One of the first photo- Can you talk to us about this? documentary essay I did was on Egypt’s Christian addressed to every LB Ihavenevermadetheseassociationsbutitis SB, TF What was it like when you decided to settle in communities, especially the minorities, the Greek- Egyptian not to me interesting to think about the correlation between my Cairo? How good was your Arabic at that point? Catholic, the Protestants and the Melkites, which my multiple identities and the fact that I use various LB For many years, every time the plane landed in family is a part of, these are minorities within the only.” mediums in my work. Having no roots is my strength. Cairo, I felt reborn. All the smells, the sights and larger minority of Coptic Christians. It has enabled me to live in any environment and sounds of the city were familiar to me yet also foreign; Immediately after the fall of President Mubarak, the gave me great freedom; “le salut est dans le it was emotionally intense and overwhelming, like a first emotion people expressed in Tahrir, was the movement”. This expression, “salvation is in love affair. sense of belonging to Egypt: “Ana Masri” (“I am movement” is almost a motto for me. When I embrace Cairo always felt like home. My grandmother’s house Egyptian”) was written everywhere, on T-shirts, on LB Idon’tknowifIviewPhotoshopasanessential that state, I can replace habits with curiosity and fear and garden till this day hold my happiest childhood badges, on stickers, on the walls… Open, proud chests tool but I certainly embrace its capacities to alter with love of adventure. The same applies in my work. memories and those of several generations before were the symbol of regained Egyptian dignity. But and/or create images when I need to. It is not as much mine. In 1997, I moved back to Cairo and traveled very quickly, the Egyptian revolution slipped from about Photoshop as it is about working with the tool SB, TF How Egyptian / Lebanese / French do you across Egypt to the most remote villages hardly patriotism to neo-nationalism (Egypt has always been that is best suited for a project. Since I moved away feel? Who are you? You are so involved in the speaking Arabic. I did my most wonderful famously nationalistic), from a radicalised form of from classic documentary photography, I have community here yet you are an outsider… documentary photography then. nationalism into a xenophobic – doubled with a experimented with many mediums and many art LB IneverfeltlikeanoutsiderinEgypt,onthe Ire-learnedArabicthroughouttheyearsbyengaging misogynistic – state, ruled by the Muslim forms, creating software for installations, architectural contrary, Cairo is where I feel most at home but some with people I photographed but it was only when the Brotherhood, from a neo military conservatism / constructions, performing the Donkey Symphony with people refuse to see the Lebanese-Egyptian revolution started that my non-existent reading skills liberalism into a fascist state. And now Egyptians are the Kamera Orchestra in Kiev, etc. In the case of community I belong to as an integrated part of became a serious handicap. I could barely understand re-embarking into an era of renewed patriarchal Photoshop, and especially with the Diary of Future Egyptian society. I am Egyptian Lebanese but in the the political signs that the protesters were holding in regime, thus repeating the same old psycho-politico- series, I used, with the assistance of a Photoshop end I am the accumulation of all my experiences Tahrir Square. In retrospect, the shock of the pathological pattern. Master, Ahmad Ammar, Photoshop with the wherever they took place. revolution forced a new level of consciousness on all In such a volatile context, the question of identity is

40 | Lara Baladi 41 | Lara Baladi pressing, more than relevant, and obviously addressed archive Vox Populi.Duringthesummer-2011Tahrirsit- audience. Tahrir Cinema was humbling, an invaluable MY WORLD to every Egyptian, not to me only. It is in fact one of in, there was much screaming and shouting into and unforgettable experience. the core issues that surfaced since the beginning of microphones on stage. Tahrir Cinema inevitably contributed to the the revolution. Defining and redefining one’s identity, Diffuse information floated about but with no focus. continuing process of collecting and archiving footage “In the last two one’s political identity and finding one’s space, is part In all this noise, I felt a strong need for imagery in the on the revolution. Ultimately, both Tahrir Cinema and of the process of this on-going revolution that Egypt square. Yet again, serendipity brought me together Radio Tahrir countered official media propaganda by decades, I lived an has been experiencing, a crucial necessity in a with people with a similar impulse. I co-founded offering different perspectives on the political country that is today divided and pretty much lawless. Tahrir Cinema with the non-profit Egyptian media situation, particularly the role of the army. These were extraordinary time initiative Mosireen. I fabricated a screen with an old my strategies as a citizen/artist during the revolution. watching and being SB, TF During the revolution, you shared a collective plastic banner and bits and pieces of wood, I Beyond the confines of artistic discourse and museum experience and seemed to really embrace it. How did borrowed equipment from the Townhouse Gallery of spaces, these projects were born spontaneously on part of a developing you connect with others during that time? Contemporary Art and together we organized, in the spur of the moment, self-evidently. While the LB On January 28, 2011, I joined the people in Tahrir Tahrir, day by day, the program and the screenings. It eighteen days had been a collective intake of breath, regional art scene as a regular citizen. Soon I began to be involved was an immediate success. We showed, shared, and now we were all holding it. This was the core, turning proactively. Serendipitous encounters in the square exchanged films on the revolution, recalling and point of the revolution. Today, the demands of the and most of all I lived bore fruit in the form of an online radio station, which reflecting on the events unfolding since January, not revolution have yet to be met. we called Radio Tahrir.Simultaneously,inthefirst only in Cairo, but also in Alexandria, Mahalla, the Two years later, Alone, Together… In Media Res (‘in arevolution!Ihave days of the revolution, just as the YouTube video Canal cities, etc – Suez in particular fought hard and a the midst of things’) emerged as one of the first pieces absolutely no regrets. Tiananmen-Cairo Courage in Cairo went viral, a lot of blood was, and still is shed for the revolution. derived from the archive I have continued to build. friend posted on Facebook a speech Jean-Paul Sartre We invited journalists from Al Masry El Youm to share This visual commentary, a 42-minute, three-channel Iwouldnothave had delivered to an audience of striking French their experiences on filming the revolution, we asked video installation, weaves video excerpts together to autoworkers 40 years earlier. As the political tension the activists of the No To Military Trials campaign to narrate and reflect on many of the questions raised wanted to live these grew, more and more images and videos of a packed screen testimonies of the violence inflicted by the during the Arab uprisings. These revolutions signaled Tahrir Square were uploaded. They echoed footage army on civilians. We created a space where the beginning of the unraveling of a major historical years anywhere else.” from other uprisings across the Middle East and filmmakers could tell their stories to the people in the period, in the middle of which, I, like Alice in North Africa, as well as a vast array of past social square and where in turn, people could respond. Wonderland,fellintoahole:exceptminewasthe movements. It was as though Sartre was protesting Every evening, the atmosphere around the screenings YouTube hole. Similar to Al Fanous El Sehry, Alone, with us in Tahrir. Processing it all at the time was was unique. Together… In Media Res attempts to recognise impossible. patterns within historical processes, and find that consider myself a feminist, my concerns about the In an attempt to keep track of it, I set about SB, TF What impact did Tahrir Cinema have? innate quality that impels human beings to pursue barely hidden misogyny bubbling to the surface documenting, gathering and organizing, in LB Between the summer heat, the political tension freedom. across the world have been amplified by the use of chronological order, videos, articles and photographs and the violence of the previous months, people were sexual abuse as a counter-revolution tool in Egypt, related to the events and debates unfolding on the angry and ready to explode. Tahrir Cinema became SB, TF Many female artists, even if they are not and by consequence my position in relation to ground, while also collecting material on major events an oasis within the oasis of freedom that Tahrir overtly feminist, grapple with femininity and female women’s rights has changed. Expressions such as, “we taking place around the world at that time. I also Square was then, a platform for discussions and sexuality, but you don’t seem to touch these issues. are returning to the dark ages”, were recurrent in researched and amassed footage that resonated with exchange. We sat together – men and women, young LB While I identify with being an Arab and with everyday conversations in Cairo and on social Tahrir Square and everything that followed, from and old, villagers, lawyers and street kids and more. being a woman, I reject any definition of myself as a networks especially during president Mohammed historical footage (of which the Sartre speech is an As soon as the screen lit up a corner of the square, female Arab artist. It does no more than state the Morsi’s one-year presidency. These fleeting example) to philosophical discourses, to banned the faces in the silence glowed revealing the obvious in a way that reveals little or nothing. statements reflect a deeper fear that we are returning cartoons, to political satire… I called this on-going mesmerized expressions of the people in the However, since the revolution, although I don’t to a time in which social hierarchies and systems of

42 | Lara Baladi 43 | Lara Baladi power are policed through sexual repression, revolution and an extreme resistance to the possibility revolution! I would not have wanted to live these (2013) commissioned by Dior for an exhibition on the harassment, and control. The policy of sexual of an entirely new world. Liberals and secularists are years anywhere else. In reality, I have all these years theme of Miss Dior. Today, what matters is the present repression that men live by consequence, creates a becoming the minority, finding it necessary to hide been based in Egypt but I also spent a lot of time and where to go to from here. closed circle in which people descend into a spiral of and protect themselves. Ultimately, the belt elsewhere, in Japan, Pakistan, Spain, India… I The question of geography at this point in my career mutual oppression. One could see my work El Horeya represents this greater danger, this loss of freedom at produced most of my works in Cairo but also had is a very different one than it was twenty years ago. Gayya Labod (‘Freedom is Coming’, 2013), comprising large for women but also for men. tapestries made from my collages in Belgium (Oum El Then, I needed to position myself geographically. alargerthanlife-size(2.40meter-high)chastitybelt, Dounia and Sandouk El Dounia,2000-2001).I Now I need to continue to expand my horizons as a straightforward response to the increasingly SB, TF You moved from London and Paris, two experimented, thanks to Factum Arte in Madrid, with regardless of where the commercial and creative hubs mediatised sexual repression and oppression of epicenters of the art world, to Cairo, where several printing techniques (gesso coated aluminium, are. I will develop and produce my next project at women promoted by reactionary religious movements comparatively few artists are practicing and there is acetate prints laminated on mirror polished stainless MIT University ’s (Massachusetts Institute of particularly prevalent in the Middle East. If only it little infrastructure for exhibiting your work. Yet, steel, lenticular lens prints). More recently, in Technology) Open Documentary Lab from which I were that simple. As a cultural tradition and device of you’ve had a successful career. Do you think it matters Lebanon, I worked with the leather designer Johnny received a fellowship for the Fall 2014 and Spring sexual control, the chastity belt first appeared in whether an artist lives at the center or the periphery Farah to make the leather part of my chastity belt. In 2015. Regardless of the Geography, what drives me is ancient Egypt. The Pharaonic version was simply a of global commercial/creative hubs? Might have you Paris, with Bastien Brenot, a master in computer to research subjects and develop ideas, to produce string tied around a slave’s waist, signaling her sexual been even more successful if you’d stayed in London graphics, I have created my most recent work, a video my art where it seems most appropriate. unavailability while also reinforcing her social status or gone to New York? installation, Don’t Touch Me Tomatoes & Chachacha as inferior. Today, the chastity belt is commonly LB There was no doubt when I moved to Cairo that associated with European medieval culture. The this was where I needed to be. Whatever the outcome Lara Baladi representations of paradise in popular iconography. Within her brutal period from which it arises is a shocking on the long run would turn out to be, I felt that unlike Baladi is internationally recognised for an expansive body of artistic practice, Baladi is active in socially engaged projects. reminder of how history is repeating itself. The rape in the West, where the art scenes was saturated, in work that crafts physical and psychological environments for She has been a board member of the AIF (Arab Image and sexual abuse, of women and also of children and Egypt I could be a sort of pioneer in the field of audiences, a process that simultaneously creates a context Foundation) since its creation in 1997. She curated several men, is used systematically to control dissent and photography that seemed to have lost its glory. Cairo and an experience. Baladi applies investigations of myths, projects including the artist residency Fenenin el Rehal archives and personal narratives to multiple expressions and a (‘Nomadic Artists’) in the Libyan Desert in 2006. During the defiance the world all over. In such an oppressive offered me the possibility to develop my voice first as range of mediums that include performance, architectural 2011 Egyptian uprising, Baladi accumulated a massive digital atmosphere, the need to erect a shield is obvious. The aphotographerthanlaterasavisualartist,itallowed installations, photography, collage, tapestry, perfume and archive -named Vox Populi-ofYoutubevideos,photographs chastity belt becomes both an agent of repression me to contribute to the cultural changes that were sculpture, often culminating in a monumental conclusion. and press articles, which documented the events on the and protection against such abuse. A French taking place in the Arab world. There were many Works that have emerged out of such trajectories include Don’t ground and around the world. The artist co-founded two media seventeenth-century chastity belt is the model for my initiatives sprouting and an increasing critical mass. I Touch Me Tomatoes & Chachacha commissioned by Dior initiatives in Tahrir Square as a result of this archive: Radio (Paris, Grand Palais, 2013, Museum of Sculpture, Shanghai, Tahrir and Tahrir Cinema.Thegrowingarchivehasresultedin leather and iron sculpture. As an artwork it addresses was lucky to be one of the first artists to show at the 2014), Roba Vecchia (Ragman),alife-sizedkaleidoscopefirst aseriesofworksincludingAlone, Together…In Media Res and not only notions of freedom but also the question of Townhouse Gallery of Contemporary Art when it exhibited at the Townhouse Gallery of Contemporary Art Don’t Touch Me Tomatoes & Chachacha.FortheFall2014and boundaries. The title of the work is a direct reference opened. It immediately set me off on the road to build (Cairo 2006), as well as Oum el Donia (‘The Mother of the Spring 2015 Baladi received a fellowship from the Open to a piece of graffiti painted on one of the walls an international career. I became part of a new and World’) commissioned by Fondation Cartier pour l’Art Documentary Lab at MIT University (Massachusetts Institute of erected against protesters by the Egyptian army in fast growing generation of Arab artists. I participated Contemporain (Paris, 2000) for the exhibition Desert. Qabr al Technology) to produce her next project, Archiving a Zaman (‘The Tomb of Time’) commissioned by Mathaf: Arab Revolution in the Digital Age also born from the wealth of November 2011 following the Mohamed Mahmoud in the creation of the Arab Image Foundation in Museum of Modern Art (Qatar, 2010) became the final content generated on and about the Egyptian revolution. Her street clashes. The sculpture is large enough to engulf Lebanon of which I have been a board member since. expression for Diary of the Future.HerworkBorg el Amal archive, Vox Populi will serve as a case study and model to ahumanbeing,andinsodoingbecomesacage.Itis Who knows where I would be today if I had stayed in (‘Tower of Hope’), an ephemeral construction and sound create an architectural frame for other archives on Arab aprisonmadeofiron,asubstancethatisobdurate Paris or moved to New York instead of Cairo? What installation, won the Grand Nile Award at the 2008/2009 Revolutions, occupy movements and more historical events. and resistant to change, resonating with how people matters is to look ahead. Egypt gave me so much and Cairo Biennale. In 2012, she collaborated with the Kiev Kamera Her works can be found in a number of institutional and Orchestra to perform the Donkey Symphony, Borg el Amal’s private collections including Fondation LVMH, Mathaf: Arab can become trapped by the historical circumstances continues to. In the last two decades, I lived an sound component, at the first Kiev Biennial. In 2003, she Museum of Modern Art (Qatar), Bulgari (Italy), Chase of their era. What we’re experiencing now, especially extraordinary time watching and being part of a received a fellowship from the Japan Foundation to pursue Collection (New York), Fondation Cartier pour l'Art in Egypt after the revolution, is a full-on counter- developing Arab art scene and most of all I lived a research in Tokyo on anime, and in 2010, took part in the VASL Contemporain (Paris), Kamel Lazaar Foundation (Tunisia), Pori residency program in Karachi, Pakistan to research Museum (Finland), among others.

44 | Lara Baladi Lara Baladi Qabr Al-Zaman (‘The Tomb of Time’) 2010 Architectural installation comprising photographs printed on porcelain embedded into grey marble and digital montage printed on gesso-coated aluminium 350 x 350 x 300 cm Courtesy of the artist and Mathaf, Arab Museum of Modern Art, Doha Installation view from Told Untold Retold at Mathaf, Arab Museum of Modern Art, Doha, 2013

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