DUBAI.- The Third Line hosts as of today Toy World, the fourth solo exhibition with Farah Al Qasimi. The exhibition debuts a collection of still and moving images in black and white and color.

A horse bucks when it senses danger and fears it cannot escape (Horse Bucking Teeth, n.d.). When danger is real, fear abounds. The powers that be recognize it as ammunition for a system of control. State becomes God. You enter the always-panopticon, subject to forever surveillance that does not guarantee safety any more than a fake security camera from the local dollar store (Security Camera, 2017).

This is Farah’s first exhibition featuring black and white images. “Black and white images automatically historicize,” she says. The glossy veneer of history allows us to indulge in theory immune from personal responsibility. Too often, we forget that the now we live is but prototype for future history.

The carrier pigeon, once used by the military to deliver messages, is now obsolete. And yet a trace of the true self exists in the new self: her descendent, the city pigeon, is itself a message — that of the enshittification of the messages in the images that surround us (Pigeons on Pink Building, 2024).

We decode messages in the images we obtain through multiple degrees of separation necessarily mediated by a trust in the network. We do not have access to the reality that dances forth the images: we must content ourselves with only the images. Eventually, the choreography halts (Baton Girls, 2023). The image-flood makes it easy to feel nothing when confronted with reality in the second degree. The luridity of pain is no longer inherited. Yet the ghosts of the images penetrate our consciousness, reverberating ad infinitum: chicken bones in basmati rice take on the aura of death by drone (Machboos, 2024). I know that the camel bones lying in the barren grass are innocuous victims of the cycle of life, but all I can think of are anonymous human remains, lying forgotten in decimated battlefields that will never bear another rose (Camel Bones, n.d.).

Yet all we have are our sigils, these images. Without them, we lie alone, prostrate in the desert under a starless sky (Sand Dune, 2023).

Text by Sarah Chekfa

This exhibition is dedicated to the memory of Hamed Butti Altamimi.

Farah Al Qasimi

Farah Al Qasimi (b. 1991, Abu Dhabi, United Arab Emirates; lives and works in Brooklyn, NY) makes photographs, films and music. Often working with large-scale vinyl imagery and a multiplicity of photographic prints and screens, Farah is interested in the internet and its hierarchies of information and emotion. Farah also loves the complexity of storytelling and value-building in children's cartoons, and many of her video works include primary narrators who are anthropomorphized. She has a highly collaborative practice and has worked with hand-sewn puppets, falcons, African Land Snails, exorcists, and most recently, a Jack Sparrow impersonator.

Selected solo exhibitions include; Abort, Retry, Fail, Delfina Foundation, London, UK (2023); The Swarm, Plug in Institute of Contemporary Art, Winnipeg, Canada (2023); Poltergeist, C/O Berlin, Germany (2023); Star Machine, Art Gallery of Western Australia, Perth, Australia (2023); General Behaviour, Cultural Foundation, Abu Dhabi, UAE (2022); Surge, François Ghebaly, Los Angeles, USA (2022); Everywhere there is splendor, Contemporary Art Museum St. Louis, USA (2021); Funhouse, Helena Anrather Gallery, NY, USA (2020); Back and Forth Disco, Public Art Fund, New York, NY, USA (2020); Open Arm Sea, Houston Center for Photography, Houston, TX, USA (2020); Arrival, The Third Line, Dubai, UAE (2019); List Projects: Farah Al Qasimi, MIT List Visual Arts Center, Cambridge, MA, USA (2019); Artist's Rooms, Jameel Arts Centre, Dubai, UAE (2019); More Good News, Helena Anrather, New York (2017).

Farah Al Qasimi
Toy World
27th February - 19th April 2024