do-not-look-at-the-object-but-read-the-footnote

Artist statement:   

Rehearse on rehearsal his practice-based research investigates the parameters of proposal versus object, the mechanics of language and the ambiguity of meaning and perceiving. Mohamed works with a wide range of medium; drawing, painting, sculpture, installation, performance, video and photography; as ‘a sort of discursive argument.’ he presents a distinct, poetic and imaginative sensibility towards anthropological and political matters. His work explores intensely relevant and deeply pressing issues, such as the impact of conflict and violence on public space, the dynamics that govern the formation of individual and collective memory, the way both history and intellectual meanings are written, displayed and negotiated, the veracity of historical and present events, the nature of artistic experiences in comparison to the pervasive influence of politics and economics, and the role of art today, with particular reference to the global context. Many of his works involve intense observation and recording of the social, cultural and economic conditions of particular places, usually conceived through engagement with urban areas.

 

His research reflects alertness to transform creative practice from ‘applying’ a concept into ‘performing’ actual urgencies: catalysing the positions of the author and audience toward participating in the progress of the concept and the working strategy, in order to respond rapidly and effectively to the local and global challenges within cultural practice and society in constant transformation. From the beginning of his career he adopted a way of working that tends to reject conclusions in favour of exploring and challenging the boundaries of cultural practices. He has, that is, placed the idea of rehearsal as the core of his practice.

 

 

 

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