Cairo is a metropolitan city. Millions of people from every face of the earth visit the Egyptian capital each year, in groups or individually. Some stay longer than others, but ultimately, everyone sees it in a different light.
Using art to mirror this multi-layered experience is not an easy feat. While many such attempts land their creators in the pitfall of cliché, few succeed to lure the viewer with a fresh display, one that is perhaps more abstract.
“Where are you? a group exhibition currently showing at the Townhouse Gallery, is the product of the Artists-in-Residence exchange program organized by the Cairo liaison office of Pro Helvetia, Swiss Arts Council. The exhibit is an innovative endeavor by Swiss, Egyptian, Jordanian and Lebanese artists to put into perspective their impression of the city in the larger context of society, entwining social, political and scientific realities in their analysis of Cairo.
Besides the impeccable curation that is the highlight of this show, its forte lies in the variety of presentations on hand: photos, collages, a video complemented by paintings, a double-projection video, an animation video, abstract geometrical installations and one artist performing in silence.
On the buzzing opening night, I walked through the factory and around the rooms of the first floor, stopping at each station for a few minutes. As I tried to decipher the message each artist attempts to convey, I started thinking about the real purpose of art.
Art is essentially a tool for both personal expression and communication. The latter purpose, however, could often be lost when the mode of expression is so all-consuming it overshadows the communicative element, leaving the viewer weary of the whole creation.
Surely, abstract art is not unembellished; in order to fully grasp it, a lot of effort is required on the viewer’s part. But how much abstract is overplayed and how much is genuinely so, is almost impossible to tell.
One of the first creations the viewer lays eyes on in the exhibit is Guido Reichlin’s series of aluminum fences, hanging from the wall, nailed against a thick strip of red oil paint. The only direct indication that this is in fact part of the exhibition is a little piece of paper bearing the materials used in the installation.
A prolonged look reveals the following: this piece is inspired by the existing streetscapes. By repositioning it, the artist is bringing an ornament of the street, typically situated at a distance, to the viewer’s eye level as if paying homage to a symbol often neglected.
Next, and equally peculiar, is the work of Davide Cascio: a green carpet laid out in a sharp, geometric form. Paper masking tape is used to trace the lines of the ground figure. The space is brightly lit with neon lights as metal strings hang from the ceiling.
To the artist, this could be any meeting point where people can interact. The green color and florescent lights are reminiscent of the mosques that fill up the city. Striving for simplicity, the artist replaced a dust-caked Cairo with a clean, serene space.
Pascal Hachem from Jordan takes the viewer on a different journey. His project is based on a solo performance; his props are four tables, four chairs, four notebooks, a pen and an eraser.
Both the chairs and tables are positioned around the room at a three or so meter distance from each other. He moves silently between seats, writes a few lines then instantly erases them.
Titled “Banned Words, Hachem writes in Arabic of male-dominance, protesting a society that has succumbed to such a division. Although such barriers have been openly challenged in the Arab World, the way in which he represents sensitive issues that call for a change remains unusual and worthy of applause.
“Another Member is a digital installation by the Lebanese duo Ziayd Bitar and Nayla Dabaji. During their residency in the Swiss capital Bern, they participated in street protests adoring a fictional flag that represents the “Union of West Asia, a design inspired by the colors of flags across the Middle East.
The creation reflects a long struggle for democracy and an ideal, harmonious Middle East; both artists appear lost somewhere between both dreams.
Upstairs, a flickering display of photos shot in iconic places of the city is a striking yet direct representation of everything that is Cairo; chaos, color, noise.
In another room on the first floor, Ala’ Younis is a woman living in the 1950s depicted as a prisoner in her own world. In the absence of neighbors in the adjacent balconies, she finds refuge in delicate crochet pieces. Described as a video installation, this part of the exhibition is comprised of small and intimate stills from Younis’ video, making it the quietest and most personal of all showrooms.
“Where are you? hosts more than a mere reading of Cairo; the artists have placed themselves as part of the wider universe with pieces suggesting the earth is standing on the back of a giant tortoise.
