Tuesday: 12:00 – 17:00
Sat & Holidays: 10:00-14:00
Sundays: Groups only
Manar Zuabi’s new video and installation work, Humma (Fever), continues to solidify the unique language she has been weaving during fifteen years of artistic practice. Her works oscillate between the given space and the memory concealed in it, between white and black, in the tension between the body’s presence and its absence.
In the installation, Zuabi hangs white threads from the ceiling, nearly reaching the bottom of a white pool into which black fluid drips. The strings gradually soak the black liquid up at varying degrees. A leak of black paint is projected on the strings, generating yet another layer in the space between illusion and reality. The strings remain white despite the black liquid projected on them, like a bush burned with fire, yet not consumed.
For Zuabi, walking on the thin line between black and white enables one to come to terms with the existence of contradictions, to present them, contain them, and even break free from the fixed thought patterns that generate them. While her previous works echoed the pain and physical struggle behind the actions that brought them into being, the current installation presents a slow and silent act of absorption devoid of force. The black is fused into the white string, indicating its containment capacity at a given moment.
The work conveys a feminine quality which embraces pain as is, thereby appeasing it. It is underlain by a profound understanding of the inseparability of poles contained in one another. The white string absorbs the black paint. Their encounter is inevitable. The white takes in some of the otherness, the foreignness, the refugeeism. The black blind spot becomes an integral part of it. Perhaps it has always been a part of it. Zuabi challenges the