I passed my first driving test!
The final is next month.
Born in Alexandria, Egypt, Batool grew up in Kuwait and currently lives in Sharjah, United Arab Emirates, where she works at the Sharjah Art Foundation. She completed a four year BFA at the College of Fine Art and Design at the University of Sharjah and graduated in 2012.
Batool is not on Hiatus by choice, in fact, making art has proven a frustrating challenge after she graduated from university. However being officially on Hiatus, she hopes, will take the pressure of needing to make art off of her shoulders, allowing her to resume making it after the period of this residency is over.
Also given the fact that she works at the Sharjah Art Foundation, she often finds herself sarcastically nitpicking at artist statements, biographies and the general wording of art texts; what has been called International Art English (IAE). She also spends lots of time doing conceptual research for upcoming events, which surprisingly results in similar sarcastic deconstruction of texts by established philosophers that she would usually be fascinated by.
For the duration of this residency she proposes to compile all her notes on readings and texts as a series of scans and word documents or other means of entering text on the web page. She will also document her daily life on hiatus which would include the process of furnishing her flat, getting a drivers license, going to art events in Sharjah and Dubai and hopefully not making any art secretly.
One day before the start of March Meeting 2014, I met Farid (Rakun) at the office to say hi and get some formalities out of the way. During the few minutes we spoke I manage to condense my experience on RFAOH to one sentence that I paraphrase as accurately as I can; I can be okay with not making anything and still call myself an artist.
This is not to be confused with laziness (please). The anxiety of feeling obliged to make work was enough to drive me away from it, not unlike a stubborn child, but also, the art world’s [implied] obsession of producing a spectacle – even if not visual – factored into the equation. It blew my mind, and perhaps naively so, that there still needs to be a final entity to fund/produce/document/archive/perform/record/etc.
This remains an open question to me, and perhaps the closest of an answer to this issue, is the one reached by the organizers behind RFAOH when they decided to start the residency. I took the time at RFAOH to focus on none of that, hoping that by not searching for it, I’ll notice it sitting outside the doorstep. I can’t say I’ve succeeded too finitely (how ironic) but I have at least, identified my preferred way to work, of having many disconnected things simultaneously going until they all condense into ‘a practice’. Accordingly, going to class, work and anything else I do will factor into said practice; and parallel to that, I’m starting to work on a text-based project similar to my initial proposal for RFAOH which I did not carry out during the residency because it felt too much like… work. Also I was afraid of starting it within RFAOH then not being able to extrapolate from it after the end of the residency since nothing on RFAOH is to be considered art/work. However, I don’t intent to embark on this research with the same smirk on the face of the initial proposal to RFAOH, but rather with a genuine questioning approach that may or may not culminate into a resolute end.
I am also considering documenting said research on my own – now dormant – blog that I started some time back for this very reason, but never got to really take it on. It was also due to being at RFAOH that I came to be more comfortable with the idea- that of virtual space and internet content.
Note on “Image Fundamentalists and Image Neoliberals”: I wonder why there cannot be a middle ground, where the context of a work is vital, but does not necessarily have to be grounded in the physical location of the work, And at the same time not have success be measured be selling ability of the work but rather in the degree of relevance it acquires.
Note on “It’s important to remember the accidental audience doesn’t think it’s in the first place. For them, these images are not bad art so much as the epitome of randomness”: why should there be an excuse to be baffled by art? The ‘WTF I don’t even…’ response does not need to be justified; art is essentially useless, if it weren’t, its function won’t make it the epitome and randomness and wouldn’t invoke bafflement.
This finally arrived in the mail a couple of days ago, its a Whitechapel Gallery publication, part of the Documents of Contemporary Art series. Essays included in this edition date from 1900 to 2012, and discuss, on several levels, the Art-Business conjuncture.
Will start posting notes and annotations soon, also, the ‘life map’ mentioned in the previous post will be scanned and posted.
Before I post any more snippets of my notes and pictures I thought it appropriate to first give a general update on the status of my life on hiatus. Right now I’m in Kuwait, spending the Eid holidays with my parents and little sisters.
I’m half way into my driving classes (I’ve delayed this for four years out of procrastination), and my test is scheduled for the 27th of this month, my admission test for University is scheduled for the 7th of November, and the TOEFL test for the 24th of November (I’m applying for a part-time MBA at the American University of Sharjah). Motives behind and intentions of this cannot really be articulated at the moment, but it would be safe to say that its part of my life-long self-enrichment research project. Do feel free to insert a snigger here.
Part of my Hiatus plan was to move away from the obligation of making art, to churn out objects in order to feel relevant. The alternative to that, I’ve found, is to only pursue things that I find will add value to my life. Some of which are related to my practice and research, two of which are mentioned above, and the rest are mostly things like getting a drivers license, furnishing my place, and other self indulgent activities. Soon to come is a life map with all the things I feel like doing, whether or not I’ll end up doing them, and whether I will during the time of the Residency is something I don’t know and am not particular about.
“…I’m not sure if Kanye West, or any of his close associates (what up Virgil!) have ever read Captial, or if they’re even aware that he’s approaching a specifically Marxist critique of Capitalism in many of his latest interviews. I can speculate that with all their current European explorations, they’ve run into some kind of Marxist philosophy, even while the engage with the upper echelon of the Capitalist design machine. But it fascinates me that he’s approximating to some of the same points as a 200 year-old German philosopher, via the commercial rap industry.”
The whole life of those societies in which modern conditions of production prevail presents itself as an immense accumulation of spectacles. All that once was directly lived becomes mere representation.
Other people have a shit, unsubstantial life and I will judge them because I am better.
There is a walking path across the street from the building. Every day, two people who live at opposite ends of the path go for a jog, meet each other half way, high five, and jog back.