Public Art Abu Dhabi Biennial is in the second stretch of its inaugural event, having rolled out several new works across the capital.
Running until April 30, the biennial has effectively transformed sections of Abu Dhabi and Al Ain into open-air galleries. However, the initiative is not merely an attempt at “beautifying” these public spaces, says Alia Lootah, a curator of the biennial. Rather, the works reflect upon specific aspects of the sites they are located in. They celebrate existing features across Abu Dhabi’s public spaces by introducing new, often surprising elements.
“Public art creates an opportunity for residents to stop and truly take stock of the places they call home,” Lootah says. “Through these installations, artworks and interventions, we can challenge people to develop deeper connections and understanding of their relationship to public spaces they may otherwise take for granted."
It was also important to have a roster of artists that reflected the cosmopolitan nature of Abu Dhabi, Lootah says. “Abu Dhabi is home to such a diverse population, and as a public art biennial, it was important to reflect that diversity through our programming,” she says. "Our artists hail from all parts of the world, and bring with them a broad range of perspectives on our theme and locations.”
More than 70 artists are participating in the biennial, and each of them brings a unique perspective to the event, often touching upon socio-economic and environmental topics. Seema Nusrat’s Floating Fragments, for instance, presents a cautionary tale in the centre of the waters of Lake Park on the corniche. Terracotta roofs peek out the body of water, reimagining the lake as the scene of a flood that has submerged entire homes. The installation highlights the risks of extreme weather changes incurred by climate change.
In Kombwelo 504, Sammy Baloji recreates a Peugeot 504 car, once regarded as a status symbol in the Democratic Republic of Congo. The car, however, has been made using copper wires, reflecting a practice by Congolese children to fashion toys from discarded materials. Plants from the Congo and the UAE grow within Baloji’s copper car, nourished by the municipal irrigation system. Tentarium by Paweł Althamer, on the other hand, is a whimsical homage to the city's cats, with a tent structure shaped like a feline – complete with ears, eyes and tail.
Khalil Rabah’s Among Trees is another striking example. The installation comprises 15 olive trees presented in metal containers. Some of the trees remain stationary, others rotate on platforms. While the piece is inspired by the cyclical dances of Sufi rituals, it also brings to mind the human relationship to land, highlighting experiences of movement and displacement.
While developing a robust international presence was important, it was also vital to showcase homegrown works and include representation from the Emirati community. “We are proud to have a strong selection of emerging and established Emiratis artists, including many who have exhibited all over the world,” Lootah says.
Afra Al Dhaheri’s installation offers refuge from the bustle and pace of city life. D-Constructing Collective Exhaustion is made of wooden structures, tangled ropes, light and sound. The installation aims to instil a meditative feeling among visitors, helping them establish a balance between their physical and mental space.
Homesickness by Farah Al Qasimi, meanwhile, depicts five large oysters on a platform on the Corniche. The oysters are fitted with concealed speakers that play a piece of music inspired by Tob, Tob Ya Bahar, a traditional chant once sung by the wives of pearl divers.
Rawdha Al Ketbi’s Al Gaidh, located in a farm in Al Ain Oasis, reflects upon the ancestral relationships with the oasis and date palms.
“Using chemicals and acids to accelerate the aging process, she explores the effects of time and decay on these objects, breathing new life into them and weaving fascinating narratives about transformation and preservation through them,” Lootah says.
Shaikha Al Ketbi is another multidisciplinary artist, whose work treads along the seams of reality and fiction. Her work, Imagine it’s Foggy, is made up of a series of whimsical street lamps that take their cue from the city’s idiosyncratic light posts.
“Among her references is a giraffe reminiscent of the carousel at Al Hili Archaeological Park – one of many nostalgic symbols she weaves into her work,” Lootah says. “These installations present a fascinating juxtaposition between collective memory, imagination, and possibilities; all deeply inspired by a strong sense of place and cultural context.”
In fact, all the works within the biennale, Lootah says, aim towards “contributing towards our collective memory and identity". The installations, she adds, will inspire new audiences and generations to delve deeper into this emirate’s rich cultural landscape.
“We believe this biennial is long overdue for Abu Dhabi and Al Ain, two unique cities with fascinatingly unique urban fabrics, and important stories to tell.”
