You will notice that one shape is dominant; the circle. The circle is a continuous round, a revolutionary shape, one that signifies movement and speed and, it is a fitting metaphor for the pace at which we are hurtling into the brave new world of crypto art.
Hazem Harb’s ‘Survey For a Colonial Map’ morphs an early map of Palestine that was published in 1883 into a whirlpool shape questioning the impermanence of boundaries and the erasure of cultural narratives. Huma Shoaib uses the circle as a formal construct to echo her interest in Islamic geometry and the creatures in her pieces circumnavigate in the same patterns. Bashar Alhroub’s spherical sculpture mirrors the shape of the planet upon which we are all living while Fink 22’s layered piece plays with perception by taking the eye on a rounded pathway.
There are also a few pieces that depict the spirit of revolution and rebellion across the region. Abdullah Dhiaa Al-Deen’s photo is taken from a series depicting an army of vigilante soldiers in Iraq who dedicate themselves to stopping tear gas bombs. In Fethi Sahraoui’s work, he has captured a gang of young football supporters in Algiers, who gather around the stadiums to claim power over outdated social systems. The collage work by Saule Suleimenova was made during peaceful protests within Kazakh civil society in 2019. The piece is made of recycled plastic bags, which is another form of revolution because the material itself has been on a cyclical journey before ending up on the canvas.
Welcome to the revolution.
Abdullah Dhiaa Al-Deen