Manal Al Dowayan: Difference between revisions
Content deleted Content added
m changed the spelling of AlDowayan name to the correct one Tags: Reverted Visual edit |
|||
| Line 1: | Line 1: | ||
{{short description|Saudi Arabian contemporary artist|bot=PearBOT 5}} |
{{short description|Saudi Arabian contemporary artist|bot=PearBOT 5}} |
||
{{Use dmy dates|date=April 2022}} |
{{Use dmy dates|date=April 2022}} |
||
[[ |
[[file:Manal_Al_Dowayan_Soft_Power.jpg|thumb|Manal Al Dowayan in 2012]] |
||
'''Manal |
'''Manal Al Dowayan''' ({{lang-ar|منال الضويان}} ''Manāl aḍ-Ḍawayān''; born 1973)<ref name="Edge Of Arabia">{{cite web |title=Manal AlDowayan |url=http://edgeofarabia.com/artists/manal-al-dowayan |website=Edge Of Arabia - Contemporary art and creative movements from the Arab World |access-date=21 December 2021}}</ref> is a [[Saudi Arabia|Saudi]] Arabian [[contemporary art]]ist, best known for her installation piece ''Suspended Together'' from the Home Ground Exhibition at the [[Barjeel Art Foundation]] in 2011. She has shown work in a number of shows including the 2012 ''Soft Power'' show at Alan Art Center in [[Riyadh]], Saudi Arabia, the 2013 ''Journey of Belonging'', a solo show at Athr Gallery in [[Jeddah]], Saudi Arabia, the 2017 ''100 Masterpieces of Modern and Contemporary Arab Art'' in [[Paris]], [[France]], as well as having her work exhibited in the 2014 [[United States|USA]] Biennial in [[Houston]], the 2015 P.3: Prospect New Orleans USA Biennial ''Notes For Now'', and the Venice Biennale in the ''Future of a Promise'' Exhibition.<ref>{{cite web|title=MANAL ALDOWAYAN {{!}} EXHIBITIONS|url=http://www.manaldowayan.com/exhibitions.html|website=www.manaldowayan.com|accessdate=30 March 2018}}</ref> Her work spans many mediums from photography to installation and focuses on a progressive examination and critique women's roles in Saudi society. |
||
AlDowayan’s work has been exhibited regionally and internationally in institutions such as the Solomon R. Guggenheim Museum, USA (2023); the Royal Ontario Museum, Canada (2023); Los Angeles County Museum of Art, USA (2023); Misk Art Institute, Saudi Arabia (2023, 2022); Setouchi Triennale, Japan (2022); Louvre Abu Dhabi, UAE (2023); Diriyah Biennale, Saudi Arabia (2022); Taehwa River Eco Festival, Korea (2021); V&A Museum, UK (2021); British Museum, UK (2021); Desert X AlUla, Saudi Arabia (2020); the Aga Khan Museum, Canada (2018); Institut du monde arabe, France (2017); the Sharjah Art Foundation, UAE (2016); Santander Art Gallery, Spain (2016); Prospect New Orleans, American Biennial, USA (2014); Gwangju Museum of Art, South Korea (2014); Mathaf: Arab Museum of Modern Art, Qatar (2014); and in collateral shows at the Venice Biennale (2009–2011), among others. Her works can be found in the collections of the British Museum, UK; Louisiana Museum of Modern Art, Denmark; the Centre Pompidou, France; Mathaf: Arab Museum of Modern Art, Qatar; and the Solomon R. Guggenheim, USA. She participated in the Robert Rauschenberg Residency, USA (2015), and the artist-in-residence program at the Delfina Foundation, UK (2009). |
|||
Her work particularly focuses on a progressive examination and critique of women's roles in Saudi society. AlDowayan delves into themes of archives, collective memory, and Saudi women's representation. |
|||
== Early life == |
== Early life == |
||
Al Dowayan was born in 1973 in [[Dhahran]] in Saudi Arabia's Eastern Province. She attended university, graduating with a Masters in [[Systems analysis|Systems Analysis]] and Design. She began her career working for an oil company before transitioning full-time to an artistic practice<ref name="Contemporary Arts Center New Orleans">{{cite web |title=Manal AlDowayan |url=https://cacno.org/artists/manal-aldowayan-0 |website=Contemporary Arts Center New Orleans |access-date=21 December 2021}}</ref> which primarily examines personal and political issues related to women's rights in the context of ultra-conservative Saudi Arabian laws that include banning women from travelling, driving, or speaking a woman's name in public. Manal Al Dowayan currently resides in London, England where she is working on her Masters in Contemporary Art Practice in the Public Sphere at the [[Royal College of Art]] in London.<ref name="auto">{{cite web|title=MANAL ALDOWAYAN {{!}} CONTEMPORARY ARTIST|url=https://www.manaldowayan.com/and-we-had-no-shared-dreams.htm|website=www.manaldowayan.com}}</ref> |
|||
==Photography== |
==Photography== |
||
Manal |
Manal Al Dowayan's early work primarily utilized black and white photography, including images from her ''I AM'' collection, ''Drive-By Shootings'', and ''Nostalgia Carries Us''.<ref name="auto"/> The ''I Am'' collection from 2005 was inspired by a speech given by King [[Abdullah Al Saud]] when he took the Saudi throne in 2005 in which he emphasized the importance of women's participation in building and enriching Saudi society. The controversial statement was interpreted in many ways by critics both for and against women's rights. Al Dowayan, from the statement, was inspired to photograph the women she believed the king was referring to from engineers to mothers to scientists, her series promoted the visibility and importance of Saudi Arabian women.<ref>{{cite web|title=Manal Al-Dowayan|url=https://universes.art/nafas/articles/2011/manal-al-dowayan/|website=universes.art|language=en-EN}}</ref> Photographs from the ''Drive-By Shootings'' collection (2011) demonstrate the difficulty female artists working in Saudi Arabia face as their public movements are heavily restricted by the government. As a female, Al-Dowayan [[women to drive movement#Background|could not legally drive]], but had a male drive her as she took photographs from the passenger seat of the moving vehicle. The resulting blurred images emphasize that she cannot simply step out of the car in order to create her art, but is subject to maintaining gender-appropriate behavior as an aspect of her creative process. |
||
Photographs from The Choice collection (2005), unveil simple black-and-white portraits of Saudi women who aspire to reshape traditional norms and customs. Identity preservation among all cultures is linked to traditions and with societies evolving some hold onto certain traditions for a sense of security. Women, representing half of all communities, have the potential to add value to society, thus, if tradition acts as a tool to suppress and control communities will not grow. Unleashing women’s dreams and embracing their achievements is essential to reaching a needed state of societal balance. |
|||
Landscapes of the Mind (2009-2010) is another prominent photographic collection that tells a remarkable story of Saudi women and landscapes. The collection uses landscape as a form of representation of Saudi Arabia to exchange the expression between the mind and nature. The media stereotypes Saudi women as black figures that are floating in a space of absence, demonstrating a landscape of conflict in itself. In Landscapes of the Mind, AlDowayan finds that she can alter, redefine, and retell the reality of her geography and space without physically changing it. |
|||
AlDowyan also works with video installation. I Had No Wings (2015) consists of a 7 channel video and sound installation that is an exploration of the concept of time and its impact on the pace of change. As a female, Al-Dowayan [[women to drive movement#Background|could not legally drive]] just yet in Saudi, sitting in the backseat separated from the driver, she began to find comfort in the solitude and lack of noise. She saw movement frozen and change negated. She recounts her life over the years and found that she had lost her feet and had no wings, despite the wheels turning. The video installation explores the passage of time, However, in her current reality, a conflict unfolds within the realm where time and movement intersect, negating each other. In September 2017, King Salman issued a decree that allowed women to drive. This lifted the decades-old ban on female driving. This marked a new era for Saudi women's liberation and a chance for women to gain their wings back. |
|||
==Installation art== |
==Installation art== |
||
[[File: |
[[File:Manal Al Dowayan born 73.png|thumb|left|Manal Al Dowayan with the Soft Power show behind]] |
||
In 2012 |
In 2012 Al Dowayan's installation work was featured in the [[Edge of Arabia]] show ''We Need to Talk'' in Jeddah, Saudi Arabia. The show highlighted the need for progressive reform in Saudi Arabia as perceived by the artists. At the time it was the largest and most radical exhibit of contemporary Saudi artists, all of whom ran the risk of political backlash for their dissident artistic expressions. Al Dowayan's work ''Esmi My Name'' featured larger than life wooden worry beads with the names of women painted on them, hung from wool rope woven by [[Bedouin]] women. Saudi Arabians believe to utter a woman's name in public is a shameful or embarrassing taboo, casting Saudi women into obscurity and removing their unique identity, which according to Al Dowayan "is deeply linked to several elements of an individual's personality and one's name is integral among these elements<ref>{{cite web|title=ArtAsiaPacific: Edge Of Arabia We Need To Talk|url=http://artasiapacific.com/Blog/EdgeOfArabiaWeNeedToTalk|website=artasiapacific.com|accessdate=30 March 2018|language=en}}</ref> thus by making women's names public. Al Dowayan's work seeks to question and change women's roles and treatment in Saudi society. |
||
Among |
Among Al-Dowayan's most well-known work is ''Suspended Together'' (2011),<ref>{{cite web|title=Suspended Together – Design of The World|url=http://www.designoftheworld.com/suspended-together/|website=Design of the World|date=27 February 2012}}</ref> a series consisting of 200 white fiberglass doves suspended from the ceiling. Each dove, a traditional symbol of freedom, has reproduced on it a permission-to-travel document that all Saudi women must have in order to travel. The certificate must be issued and [[Saudi anti male-guardianship campaign#Background|signed by their appointed male guardian]], be it their father, brother, or husband. The certificates Al Dowayan chose to reproduce were sent to her from a variety of Saudi women. The certificates range from six months to sixty years old, documenting a history of women's restricted rights. Al Dowayan describes the piece: "In this installation of doves, I explore the concept of suspended movement. Many leading women from Saudi, wonderful scientists, educators, engineers, artists and leaders, have donated their papers to be included in this artwork. These women are breaking new ground and achieving for their society, but when it comes to travel they are still treated 'like a flock of suspended doves.'"<ref>{{cite web|title=A flight of identity|url=http://www.arabnews.com/node/371888|website=Arab News|accessdate=30 March 2018|language=en|date=23 March 2011}}</ref> |
||
Al-Dowayan's work ''O'Sister'' (2021) was created in celebration of women in Saudi Arabia gaining full rights as citizens in 2017. The work uses text from books published in the 1990s by the Saudi religious establishment which told women how to behave in public.<ref>{{Cite book |title=Being and belonging: contemporary women artists from the Islamic world and beyond |date=2023 |publisher=ROM |isbn=978-0-300-27509-4 |editor-last=Suleman |editor-first=Fahmida |location=Toronto |editor-last2=Royal Ontario Museum}}</ref> |
|||
These women are breaking new ground and achieving for their society, but when it comes to travel they are still treated 'like a flock of suspended doves.'"<ref>{{cite web|title=A flight of identity|url=http://www.arabnews.com/node/371888|website=Arab News|accessdate=30 March 2018|language=en|date=23 March 2011}}</ref> The Law changed in 2019, when the king of Saudi Arabia issued a Royal Decree that allowed Saudi women to travel abroad without the need for male guardianship permission. This put them on an equal footing with men. |
|||
| ⚫ | Al-Dowayan's work has been exhibited at the [[British Museum]], [[Los Angeles County Museum of Art]] (LACMA), New York’s Guggenheim Museum,<ref>{{Cite news |title=Saudi artist Manal AlDowayan wows audience in New York’s Guggenheim Museum |work=Arab News |url=https://www.arabnews.pk/node/2348851/lifestyle}}</ref> and [[Mathaf: Arab Museum of Modern Art]] in Qatar among others.<ref>{{Citation |
||
AlDowayan is also known for her work Tree of Guardians (2014), an installation consisting of brass leaves, ink drawings created through participatory workshops with women in Saudi, as well as sound recording of oral histories. The work contains 2000 inscribed leaves and 400 maternal family tree drawings. |
|||
AlDowayans question the state of the disappearance of forgotten women. It is an aim to preserve the identities of generations of women and reclaim their legacy, that otherwise is lost to memory. In society, it was often the women; mothers, grandmothers, aunts, and older sisters who became the ones to convey traditional culture, ethics, and ideals orally. The installation captures the experiences and stories of a new generation of women who reflect on their family histories to construct a new narrative from fragments of the past. The making of this work relied on telling the stories of Saudi women across different regions in Saudi Arabia. The participants were asked to respond to the question “When do women disappear from memory?” Reflecting on this, women began to draw and map out their maternal family tree going as far back as they could remember. This work was later exhibited at the first Diriyah Biennale in 2021, inviting the viewers to reflect on the history of the maternal side of their families. It aims to inspire the visitors to engage and reflect on narratives and conversations about the past to preserve it for the upcoming generation of women. |
|||
Her influential work, Sidelines (2016), was one of the shortlisted artists for the Richard Mille Prize and part of the exhibition ICONIC ICONIC at Louvre Abu Dhabi, curated by Reem Fadda. Consisting of twill cotton, wool, and thread, the installation tells the story of the generation of women who witnessed a societal transformation that in one generation has pushed them from the center to the sidelines of their communities. Highlighting the beauty of a generation of women artists and their craft, AlDowayan juxtaposes this by aiming to highlight the neglect, suffering, and poverty they endure due to the past-passed modernization of Saudi Arabia and the urbanization of Bedouins. In the past women used their craft to earn money and have financial independence however the chance that was brought by oil-fueled modernity has, in one generation, made these jobs obsolete for women. Despite women obtaining monetary independence, today it is women who live in poverty and rely on the earnings of the male members of their families. |
|||
AlDowayan has also been working recently with various communities in Japan in the creation of participatory artworks that tell the story of diverse cultures and practices. |
|||
Songs from the Shore (2022), was presented at Ibuki Island in Japan, as part of the Setouchi Triennale Curated by Fran Kitagawa. Songs from the Shore is a participatory artwork sent from Saudi Arabia to Japan. It acts as a statement about the shared love and hate that women have had with the sea over centuries and a gesture to plant Earth, to heal from the impact that humans created in light of climate change. Saudi Arabia has a long history of fishing and pearl trading as well as music culture. Every boat had a professional musician who created and spread beautiful poetry and sounds to help the sailors through the months away in the sea. This greatly influenced the women who awaited the return of their loved ones. They created rituals and songs, asking the sea to bring back their family members. One ritual involved burning palm leaves in the water, similar to ancient healing practices, aiming to purify the sea and keep sailors safe. Songs from the Shore is experienced by walking through a tunnel that carries the traces of a ritual performed by the people who live on the shore. The basket edges were burned and then smothered in the seawater, leaving the baskets charred at the edges. This was conducted during a participatory session involving the community and residents of the Island of Ibuki, Japan. The work also includes a video projection of the performance and songs in Arabic performed by the artist and a song in Japanese performed by the women of Ibuki Island. |
|||
Illuminate Me is another one of AlDowan's participatory acts in Japan. She was inspired by the Shinto shrine that is dedicated to the goddess of light; Amaterasu, focusing on her relationship and story with the rice straw rope. Through this, AlDowayan aims to illustrate the act of resistance against darkness and its lifelong human struggle. With the help of the community, ropes were made and painted in an illuminating silver color. Japanese paper lamps are positioned within the work to create a path of light. |
|||
| ⚫ | |||
| first = Alexandra | last = Bregman | title = I Am Here: Manal AlDowayan Challenges Boundaries at Rojas + Rubensteen | publisher = Cultbytes | year = 2017}}</ref> |
| first = Alexandra | last = Bregman | title = I Am Here: Manal AlDowayan Challenges Boundaries at Rojas + Rubensteen | publisher = Cultbytes | year = 2017}}</ref> |
||
== Land Art Projects == |
|||
Now You See Me Now You Don’t (2020) is a trampoline installation that was part of Desert X Alula 2021, consisting of 21 trampolines and light. Puddles in the desert of Saudi Arabia know that she is only there momentarily, where she is formed by accident and that space she occupies will not be her permanent home. This means that any information or stories this puddle carries can disappear at any moment in time. In the desert, puddles often fade away. |
|||
In urban environments, puddles often carry a negative connotation; they are not merely innocent natural occurrences. Within cities, puddles are typically regarded as indicators of design flaws or engineering shortcomings. In the installation, the puddles are made of trampolines that can be touched, laid, jumped on, and observed. In the evening they become ‘Moon Circles’ through a series of lighting techniques used to create this effect. The puddles also serve as indicators of the impending water crisis and the disappearance of these puddles. |
|||
For 2026, AlDowayan is currently creating a major new installation Oasis of Stories for Wadi AlFann (Valley of the Arts) in Alula, inspired by the 900-year-old settlement of AlUla and its history. The work will consist of sculpted walls that retrace the footprint of the old town, appearing like a labyrinth and mirage in the desert. |
|||
AlDowayan asked local communities in AlUla through a series of workshops to create pictograms that symbolize their life in AlUla. These will later be inscribed on the walls of the installation. Each drawing tells a story and creates a new narrative. The engraving will be connected with a pre-historic tradition of rock art as travelers once carved animals, goods, prayers, and salutations into Wadi AlFann's cliffs, so the people of AlUla will leave their mark in the desert for future generations. |
|||
== Guggenheim New York Performance == |
|||
[[File:2023 From Shattered Ruins Performance.jpg|thumb|2023 From Shattered Ruins Performance_New York]] |
|||
From Shattered Ruins New Life Shall Bloom is a participatory action artwork that took place on May 22, 2023 at Solomon R. Guggenheim Museum in New York. |
|||
It discusses ideas related to the marginalization of feminist movements, the division of efforts, and the necessity of a diverse approach in assisting women and girls around the world. The form, images, and participatory element of the works is a collective action that encourages thoughtful thinking into why we see each other differently. |
|||
The work is activated through the action of the participating audience. After taking time to observe the artwork, images, and texts imprinted on small porcelain rolls resembling paper, participants are encouraged to crush the artwork. Through this act of crushing, and erasing all legibility, AlDowayan encourages the audience to reconsider the outdated models and to realize that the power to change lies within us. The scrolls with their texts and images are now broken, making words lose their potency as their meaning fades away. |
|||
The content featured on the scrolls and totems was taken from a variety of sources such as Guggenheim's archives, magazines found in local supermarkets, social media platforms, and news websites from both Arabic and American sources. These texts vividly depicted narratives that have historically reinforced systems of oppression against women and girls. |
|||
As visitors explored the installation, they were encouraged to walk through a network of totems, each differing in height and width. This act of observation symbolized the ongoing negotiation that women experience in terms of their presence in public spaces across the globe. |
|||
==Publications== |
==Publications== |
||
| Line 82: | Line 38: | ||
*2014 Arab Women Awards in Art<ref>{{cite web|title=A Dialogue With Artist Manal AlDowayan On The Identity & Disappearance Of The Saudi Woman|url=https://www.aus.edu/media/events/a-dialogue-with-artist-manal-aldowayan-on-the-identity-disappearance-of-the-saudi-woman|website=American University of Sharjah|language=en|date=1 October 2012}}</ref> |
*2014 Arab Women Awards in Art<ref>{{cite web|title=A Dialogue With Artist Manal AlDowayan On The Identity & Disappearance Of The Saudi Woman|url=https://www.aus.edu/media/events/a-dialogue-with-artist-manal-aldowayan-on-the-identity-disappearance-of-the-saudi-woman|website=American University of Sharjah|language=en|date=1 October 2012}}</ref> |
||
*2019 Manal was named as one of the [[BBC 100 Women]], a list of 100 inspiring and influential women from around the world, for 2019.<ref>{{cite news |title=BBC 100 Women 2019 |work=BBC News |date=15 October 2019 |url=https://www.bbc.co.uk/news/world-50042279 }}</ref> |
*2019 Manal was named as one of the [[BBC 100 Women]], a list of 100 inspiring and influential women from around the world, for 2019.<ref>{{cite news |title=BBC 100 Women 2019 |work=BBC News |date=15 October 2019 |url=https://www.bbc.co.uk/news/world-50042279 }}</ref> |
||
*2023 |
*2023 Al Dowayan was nominated for the second Richard Mille Art Prize.<ref>{{Cite news |title=We meet the artist nominated for the Richard Mille Art Prize |work=The Art Newspaper |url=https://www.theartnewspaper.com/2023/03/16/manal-aldowayanone-of-saudi-arabias-best-known-artistson-moving-from-beautiful-aesthetics-to-harsh-concepts}}</ref> |
||
*2023 AlDowayan received the award of Visual Arts as part of the National Cultural Awards, an annual initiative by the Ministry of Culture, Saudi Arabia. |
|||
*2023 AlDowayan was chosen to represent Saudi Arabia at the 60th International Venice Biennale |
|||
==References== |
==References== |
||
Revision as of 13:54, 21 May 2024
Manal Al Dowayan (Arabic: منال الضويان Manāl aḍ-Ḍawayān; born 1973)[1] is a Saudi Arabian contemporary artist, best known for her installation piece Suspended Together from the Home Ground Exhibition at the Barjeel Art Foundation in 2011. She has shown work in a number of shows including the 2012 Soft Power show at Alan Art Center in Riyadh, Saudi Arabia, the 2013 Journey of Belonging, a solo show at Athr Gallery in Jeddah, Saudi Arabia, the 2017 100 Masterpieces of Modern and Contemporary Arab Art in Paris, France, as well as having her work exhibited in the 2014 USA Biennial in Houston, the 2015 P.3: Prospect New Orleans USA Biennial Notes For Now, and the Venice Biennale in the Future of a Promise Exhibition.[2] Her work spans many mediums from photography to installation and focuses on a progressive examination and critique women's roles in Saudi society.
Early life
Al Dowayan was born in 1973 in Dhahran in Saudi Arabia's Eastern Province. She attended university, graduating with a Masters in Systems Analysis and Design. She began her career working for an oil company before transitioning full-time to an artistic practice[3] which primarily examines personal and political issues related to women's rights in the context of ultra-conservative Saudi Arabian laws that include banning women from travelling, driving, or speaking a woman's name in public. Manal Al Dowayan currently resides in London, England where she is working on her Masters in Contemporary Art Practice in the Public Sphere at the Royal College of Art in London.[4]
Photography
Manal Al Dowayan's early work primarily utilized black and white photography, including images from her I AM collection, Drive-By Shootings, and Nostalgia Carries Us.[4] The I Am collection from 2005 was inspired by a speech given by King Abdullah Al Saud when he took the Saudi throne in 2005 in which he emphasized the importance of women's participation in building and enriching Saudi society. The controversial statement was interpreted in many ways by critics both for and against women's rights. Al Dowayan, from the statement, was inspired to photograph the women she believed the king was referring to from engineers to mothers to scientists, her series promoted the visibility and importance of Saudi Arabian women.[5] Photographs from the Drive-By Shootings collection (2011) demonstrate the difficulty female artists working in Saudi Arabia face as their public movements are heavily restricted by the government. As a female, Al-Dowayan could not legally drive, but had a male drive her as she took photographs from the passenger seat of the moving vehicle. The resulting blurred images emphasize that she cannot simply step out of the car in order to create her art, but is subject to maintaining gender-appropriate behavior as an aspect of her creative process.
Installation art
In 2012 Al Dowayan's installation work was featured in the Edge of Arabia show We Need to Talk in Jeddah, Saudi Arabia. The show highlighted the need for progressive reform in Saudi Arabia as perceived by the artists. At the time it was the largest and most radical exhibit of contemporary Saudi artists, all of whom ran the risk of political backlash for their dissident artistic expressions. Al Dowayan's work Esmi My Name featured larger than life wooden worry beads with the names of women painted on them, hung from wool rope woven by Bedouin women. Saudi Arabians believe to utter a woman's name in public is a shameful or embarrassing taboo, casting Saudi women into obscurity and removing their unique identity, which according to Al Dowayan "is deeply linked to several elements of an individual's personality and one's name is integral among these elements[6] thus by making women's names public. Al Dowayan's work seeks to question and change women's roles and treatment in Saudi society.
Among Al-Dowayan's most well-known work is Suspended Together (2011),[7] a series consisting of 200 white fiberglass doves suspended from the ceiling. Each dove, a traditional symbol of freedom, has reproduced on it a permission-to-travel document that all Saudi women must have in order to travel. The certificate must be issued and signed by their appointed male guardian, be it their father, brother, or husband. The certificates Al Dowayan chose to reproduce were sent to her from a variety of Saudi women. The certificates range from six months to sixty years old, documenting a history of women's restricted rights. Al Dowayan describes the piece: "In this installation of doves, I explore the concept of suspended movement. Many leading women from Saudi, wonderful scientists, educators, engineers, artists and leaders, have donated their papers to be included in this artwork. These women are breaking new ground and achieving for their society, but when it comes to travel they are still treated 'like a flock of suspended doves.'"[8]
Al-Dowayan's work O'Sister (2021) was created in celebration of women in Saudi Arabia gaining full rights as citizens in 2017. The work uses text from books published in the 1990s by the Saudi religious establishment which told women how to behave in public.[9]
Al-Dowayan's work has been exhibited at the British Museum, Los Angeles County Museum of Art (LACMA), New York’s Guggenheim Museum,[10] and Mathaf: Arab Museum of Modern Art in Qatar among others.[11]
Publications
Home Ground Contemporary Art from the Barjeel Art Foundation - Published in Canada in 2015 by The Aga Khan Museum - ISBN 978-1-926473-05-5
Color and Line - The Naqvi Collection - ISBN 978-9948-18-110-1
"Hitting the Road (Driving)" - By Manal AlDowayan - "The Forecast Issue: A View Beyond The Horizon," Issue 07, 2018 - Published by The Monocle Magazine.
"I Am" – By Manal AlDowayan, the "Visual Research and Social Justice" special issue of Studies in Social Justice Journal. Published December 2017.
Imperfect Chronology: Arab Art from the Modern to the Contemporary - Works from the Barjeel Foundation - Edited by Omar Kholeif with Candy Stobbs - Published by Whitechapel Gallery, London, UK, 2015 - ISBN 978-3-7913-5485-9
Do It (in Arabic) - Edited by Hans Ulrich Obrist and Hoor AlQassimi - Published by the Sharjah Art Foundation 2016 - ISBN 978-9948-446-72-9[12]
Awards & Nominations
- 2014 Arab Women Awards in Art[13]
- 2019 Manal was named as one of the BBC 100 Women, a list of 100 inspiring and influential women from around the world, for 2019.[14]
- 2023 Al Dowayan was nominated for the second Richard Mille Art Prize.[15]
References
- ^ "Manal AlDowayan". Edge Of Arabia - Contemporary art and creative movements from the Arab World. Retrieved 21 December 2021.
- ^ "MANAL ALDOWAYAN | EXHIBITIONS". www.manaldowayan.com. Retrieved 30 March 2018.
- ^ "Manal AlDowayan". Contemporary Arts Center New Orleans. Retrieved 21 December 2021.
- ^ a b "MANAL ALDOWAYAN | CONTEMPORARY ARTIST". www.manaldowayan.com.
- ^ "Manal Al-Dowayan". universes.art.
- ^ "ArtAsiaPacific: Edge Of Arabia We Need To Talk". artasiapacific.com. Retrieved 30 March 2018.
- ^ "Suspended Together – Design of The World". Design of the World. 27 February 2012.
- ^ "A flight of identity". Arab News. 23 March 2011. Retrieved 30 March 2018.
- ^ Suleman, Fahmida; Royal Ontario Museum, eds. (2023). Being and belonging: contemporary women artists from the Islamic world and beyond. Toronto: ROM. ISBN 978-0-300-27509-4.
- ^ "Saudi artist Manal AlDowayan wows audience in New York's Guggenheim Museum". Arab News.
- ^ Bregman, Alexandra (2017), I Am Here: Manal AlDowayan Challenges Boundaries at Rojas + Rubensteen, Cultbytes
- ^ "MANAL ALDOWAYAN | CONTEMPORARY ARTIST". www.manaldowayan.com.
- ^ "A Dialogue With Artist Manal AlDowayan On The Identity & Disappearance Of The Saudi Woman". American University of Sharjah. 1 October 2012.
- ^ "BBC 100 Women 2019". BBC News. 15 October 2019.
- ^ "We meet the artist nominated for the Richard Mille Art Prize". The Art Newspaper.
External links
Media related to Manal Al Dowayan at Wikimedia Commons
