we are all familiar with the legendary Egyptian black and white films, those which featured cinematic giants such as Faten Hamama and Shadia. At the peak of their careers in the 1940s and 50s, and up until today, such heroines have become quintessential icons of the dramatic nature of Egyptian women.
In an exhibition that combines both video installation and still frames, Amira Mehrez transports viewers back to the era when femininity took center stage in Egyptian cinema. By recreating Egyptian heroines in signature scenes through a series of graphic installations, the young artist is striving to wash off stereotypical notions of Egyptian women.
It is customary for Mehrez to combine photography with graphic design, but this is her first time to venture into the world of printed art work.
In her latest collection showcased at Hanfaninha Gallery, Mehrez, herself the subject, captures dramatic compositions that once conquered the silver screen. Occupying the gallery’s outdoor area, the show is comprised of a loop video, nine small framed stills and four main canvases combining scanned blotches of paint digitally integrated with stills from the video.
In a dark corner at the end of the display space, separated by a white sheet, the movie is projected on a line of clean white clothing. The use of white clothing is particularly interesting as it resembles a clean slate void of preconceived, or expected, behavior; it is the pure, untainted state that Mehrez attempts to create by wiping off society’s stigmas.
In one of the scenes, she is seen squatting over a container full of soapy water in the traditional posture of washerwomen. The focus here is on Mehrez’s wrists, around which golden bangles jingle loudly just like her femininity.
Another episode sees Mehrez in a bath tub covered in foam engaged in a seemingly steamed-up argument with someone not captured by the camera. In a subsequent scene, she is lying on a bed, as if grumbling about her relationship, then suddenly takes off her wedding band, throws it to the ground, and sighs theatrically.
The choice of such dramatic scenes stems from a common categorizing of Egyptian women as hot-blooded and emotional, a notion Mehrez has gathered through her personal encounters abroad. This short yet encompassing video shows Mehrez’s stubborn nature, and a profound determination to break away from what’s ordinary, or for that matter, expected, of Egyptian women.
The printed artwork is derived from the video and is placed along three walls that make up the gazebo-like showroom. The small still frames are the first collection you see upon entrance.
Nine different scenes are captured from the video encompassed by black antique frames and placed unevenly against the wall. As opposed to the video, this collection captures single instances which allows the viewer to interpret them individually.
Next are four major canvases of scanned prints merged with splashes of paint denoting the stains society inflicts on women. The first of four major pieces depicts a sexy Mehrez in a strapless dress, a turban and dropdown earrings, laughing fervently with a drink in her hand. Her digital, grey figure is set against a background of purple stains. “Fee Sehetak (Cheers) is printed in Arabic on the top left corner of the canvas.
In a similar composition, Mehrez is flicking a cigarette. With a “Yana Yanta (It s Me or You) printed in black against green splashes of paint, Mehrez strikes a notorious pose that is an accurate embodiment of her rebellious nature. The Arabic text “Yana Yanta, one could argue, carries a threatening tone, as if the artist is waging war against society and its existing preconceptions.
The remaining two major pieces are of her in the bathtub and lying down on a bed, singly fused with blotches of yellow and orange. The use of fiery colors reflects the extent to which such stereotypes are engraved in society’s perception of women.
Although the exhibition suffers from limited pieces, Mehrez managed to capture an emotion, yield a reaction and prove a point: we are not all the same.
An Egyptian artist who received her undergraduate degree in the United Arab Emirates, Mehrez’s work was exhibited in the UAE, Bahrain, Italy and the United States.
The video component of “Deterge was previously showcased in Dubai, but the accompanying stills were completed specifically for this show.
“Deterge is currently on display at Hanfaninha Studio/Gallery, Villa Dorra, 41 Mohamed Mazhar St., Zamalek, Cairo. Open Saturday-Thursday: 12 pm – 9 pm.
