As far as the eye can see, from Al-Tonssy flyover (the Autostrad), there is, or more correctly was, the chaotic sprawl of Souq El-Gomaa (or the Friday Market). One would be hard-pressed to find any beauty in the profusion of wooden crates, rusted metal and kerchiefs being used as tabletops to display second-hand and stolen goods over abandoned railway tracks and winding alleys.
But artist and photographer May El-Hossamy found the market to be visually attractive and inspiring, “even if there is rubble and rubbish all around.” Form her first visit to the souq in 2008, she was overwhelmed by its sounds, sights and smells.
Over the course of the next two years, she visited the market regularly to capture the people and the buzz of the place with her camera, the outcome of which, “Kan ya…makan,” is currently on display at Darb 1718 Contemporary Art and Culture Center.
But the experience was not smooth sailing and El-Hossamy had to work hard to gain the confidence of the vendors as they often regarded her with suspicion; as one out to “expose” them. Her focus on interactions and communications with the people has resulted in some candid shots like the one of “Gameela Eating Kiwi” or “Gameela with Her Wares.” My favorite is that of a young girl with sugarcane in one hand and a bag of koshary in the other, staring cheekily into the camera.
One of the photographs is a vivid portrayal of vast array of knick-knacks and discarded items on sale at the souq — the vendors can recycle and find a use for anything.
Still, there were some who did not want to be photographed, like the group of people playing cards and gambling, which El-Hossamy clicked from the bridge. She had to take the shot quickly, before she was pushed aside roughly, resulting in a blurred-at–the-edges image.
There is the portrait titled “Forbidden,” where the face of the person is hidden behind his hand signaling a ‘no’ and a photo of live snakes on sale whose owner did not want photographed.
The captions describing the photos are intuitive and add to the experience of viewing the exhibit, like the one titled “Mohammed Louis V” for a photograph of a French-made antique sofa on sale at the souq.
One section of the exhibit has been devoted to photos that were taken after the freak fire that ravaged the market towards the end of June this year, destroying much of Souq El-Gomaa. Adding an interesting element to this section is the carpet of glass shards that El-Hossamy has laid out in front of the exhibit; gathered from the debris left behind by the fire.
The video installation captures the reactions, agonies and stories of the victims who had lost their livelihoods in the fire, some of whom complained: “It has become like Israel and Palestine,” commenting on the police presence that now prevents people from strolling into the market and perhaps giving it a new lease on life.
There is nothing average or ordinary about the other exhibition upstairs, “A Voice from the Clouds.” Your interest is piqued the moment you read the artist’s profile which insolently tells you not to waste time reading the biography of the artist but to go ahead and check out the exhibits.
Ali Abdel Mohsen’s drawings may not be pretty but they definitely are the handiwork of a very talented artist. His people often resemble extra-terrestrial figures with monstrous features and limbs. The underlying theme seems to be that the growing urbanization contributes to destruction and corruption of the mind, body and spirit.
A map of Egypt has tentacle-like etchings spreading out from the city of Cairo as the megacity continues its encroachment on the surroundings.
The growing civilization brings with it corruption, greed and destruction. One drawing shows around 15 bodies buried underneath the urban sprawl. The looming pyramids in the background bear mute testimony to the ill-effects of the growing urbanization and civilization.
With no external aids and even the colors kept to a minimum, Mohsen’s drawings are often crafted on A4 paper mounted on brown carton paper.
There are two installations — one of a pyramid designed of paper and colored black with concentric red circles above it, reaching up to the ceiling. The concentric circles are reflection of the pyramid with the largest circle at the top corresponding to the broad base of the pyramid.
The other installation is of a profusion of cardboard buildings with tentacles like branches reaching out from between and around them.
Together El-Hossamy’s “Kan ya…makan” and Mohsen’s “A Voice from the Clouds” makes for a pleasant and thought-provoking afternoon at the gallery.
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“Gamila Eating Kiwi?”
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“Fire.”
