Project Native Informant

Sophia Al-Maria,

Busan Biennale 2024 | Seeing In The Dark

Busan Modern & Contemporary History Museum, Busan

Installation View

Sophia Al-Maria
Busan Biennale, 2024
Busan

Sophia Al-Maria

Bull and Bear

2023
Diptych c-type print on metallic paper, aluminium frame
Each: 44 x 64 x 4 cm (17 3/8 x 25 1/4 x 1 5/8 in)

At the Busan Biennale 2024, Sophia Al-Maria presents Bull and Bear (2023), a preparation in photography and sound for a future video-work. The pictures capture the back of a man in a suit, walking through an urban landscape. The man is Richard Quest, a British journalist working for the American channel CNN who acquired quasi-mythological fame through his program Quest Means Business. Quest’s characteristic voice became associated with the fluctuations of the market, hence the title of Al-Maria’s work 'Bull and Bear' referring to the rising (bull) and falling (bear) trends in the financial market. Al-Maria asked Richard Quest to read T.S. Elliot’s The Hollow Men (1925) which forms her new audio work Between the Essence and the Descent (2024). The fragmented poem, alluding to a certain canon of world literature but also to modern life vernaculars, draws an emotional landscape of collapse, brokenness, loss, despair, apathy, and spiritual emptiness in the aftermath of the First World War, suggesting an end of civilisation. By letting Quest read The Hollow Men, Al-Maria creates a powerful association between acquising to the omnipotency of capitalism as the only viable system, and powerlessness of all the great creations of human civilisation referred to in The Hollow Men to infuse life with meaning. At some point the poem references the Buddhist Fire Sermon, learning us to restrain our worldly desires and passions in order to attain spiritual enlightenment.

The 2024 edition of the Busan Biennale, called Seeing in the Dark is imagined in the mental space between notions of 'Pirate Enlightenment’ on the one hand and ‘Buddhist Enlightenment’ on the other. We consider these spaces as offering an alternative to the demands for transparency by the surveillance-industrial complex. We liken artistic activity to the fugitive strategy of deception as a way to invoke what theorists Fred Moten and Stefano Harney call ‘fugitive enlightenment’. We see tactics of operating surreptitiously as part of ‘another tradition of cultural experiment, and of perversion’. 

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