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Should
I be laughing at this?...
is what most people wonder when confronted with Yara
El-Sherbini's work.
PC
(political correctness) as a cultural phenomenon which has
taught us to repress our reactions to "the other" in case we
offend, is a major consideration in our society.
Although in theory it's been designed to generate a climate of
tolerance and respect in a world full of diversity; in practice
it often acts as a device for systematically disengaging
ourselves from certain "issues", leaving us with "taboo
subjects" which block our freedom to respond naturally. We
refrain from questioning and entering into a dialogue... we stop
thinking.
The works Yara El-Sherbini presents in her first solo exhibition
rely heavily on humour, and are far from politically correct.
With the characteristic defiance of youth, Yara's artistic
discourse homes in on so called "sensitive issues", and invites
the viewer to temporarily suspend disengagement.
Laughter is a reaction we have when we "get it", when we
suddenly become aware of the incongruity and utter absurdity of
a situation. This is how Yara uses humour, not as a device to
ridicule, attack, or criticize, but as a method of engagement, a
device to provoke her audience to take another look at the
idiosyncrasies of contemporary society... to have the audacity
to engage with "difficult" issues and to think again.
The Artist's Intention
As
one of the most bold and intellectually provocative artists
emerging onto the UK arts scene in 2005, Yara El-Sherbini has
generated equal amounts of praise for her challenging approach,
and criticism for her audacity to express what some viewers have
interpreted as anger towards The West.
The truth is, that while her works can provoke laughter (this
was the intention with which they were created) they leave a
sediment of unease and discomfort for all viewers, admirers and
detractors included. Yara uses different artistic mechanisms
(Video, photography, text, sculpture, etc...) as a means of
inviting her audience to take another look at the idiosyncrasies
of contemporary society... to have the audacity to think again.
...And so, when the laughter wears off, you are left chomping on
a new thought, and what you do with it is entirely up to you.
Background to the Artist
Yara graduated from the Slade (University College London), with
an MA in Fine Art Media in spring 2005. Ever since, her career
has taken off with numerous prestigious awards, commissions and
invitations from across the world. These include: Breathing
Space (Anolfini Commission), Invitation to exhibit in
East International (Norwich, UK), In Between Time
Festival (Anolfini, Bristol), and an invitation to
participate in a prestigious international art festival (yet to
be confirmed).
Her work has been followed closely in the international press;
commentaries and articles appearing in a number of generalist
and specialised publications including the Times Higher
Education Supplement [Have you heard the one about the veil?],
The Times [Move over Brit Art, Here's Grit Art], Tate
What's on Guide [June-July 2005 edition], Tate Publishing [Live
art and performance], Flash Art International [March 2005
issue], 9th Cairo International Biennale Catalogue, Frieze
Magazine [April 2005 issue], A-N Magazine [November 2003], The
New York Times [February 2003], Net Territories Catalogue,
Evening Post, CDA Fine Art Catalogue.
Awards received include: Arts and Humanities Research Board,
Prankers-Jones Memorial Award in fine art (Slade), Arts Council
England (touring work), Research and Development Fund from the
Arts Council UK.
Selected recent activities: In the past few months she has
published a joke book titled "Sheik n' Vac" with Book Works,
offered a conference in the Tate Britain (A quiet tradition,
The Muslim Vernacular), participated in Loop 2005 (One of
the most important international video art festivals held yearly
in Barcelona, Spain), Transart (Italy), Bienal de Jafre (Spain),
and exhibited in the Royal College of Art (Do not interrupt
your activities, UK). |