In ART
Following the last issue of Selections, Frequently Asked Questions in Art, we continue our quest to analyse what surrounds us in the art world. However, this time, for our 21 Artists and a Biennial issue, we take you backstage to expose you to the world of research in the 21st century. Because the most important part of our work is research, we analyse both the material we receive and what we find, basing ourselves on today’s most common search tools: online search engines, online encyclopaedia, social media, carefully written press releases, email exchanges with the artist’s gallery and the artist him/herself. After laying down the information we’ve gathered onto our pages, we invite you to make your own analysis.

Photo of Nujoom Alghanem. Photo by Augustine Parades of Seeing Things. Courtesy of the National Pavilion UAE – La Biennale di

b.Dubai, United Arab Emirates, 1962

Photo of Nujoom Alghanem. Photo by Augustine Parades of Seeing Things. Courtesy of the National Pavilion UAE – La Biennale di Venezia

 

 

Nujoom Alghanem, Between Heaven & Earth, the Body I Borrowed, 1994, Text, documentary photographs of performance, sound (sound rerecorded 2017). Courtesy of the artist.

Nujoom Alghanem, Between Heaven & Earth, the Body I Borrowed, 1994, Text, documentary photographs of performance, sound (sound rerecorded 2017). Courtesy of the artist.

Education:
Bachelor’s in Video
Production, Ohio
University, USA (1996)
Master’s in Media Production,
School of Film, Griffith University,
Australia (1999)

Nujoom Alghanem is an Emirati poet, scriptwriter and
award-winning director. She has produced several
short fictions and documentaries. In addition to
producing her own films, she is also a film, media and
cultural consultant to educational and professional
institutes and organisations in the UAE.

 

 

Nujoom Alghanem, Still from Sharp Tools, 2017, Documentary, 1 hour 24 minutes. Courtesy of the artist.


Nujoom Alghanem, Still from Sharp Tools, 2017, Documentary, 1 hour 24 minutes. Courtesy of the artist.

SHE IS A BOARD MEMBER
OF THE INTERNATIONAL
PRIZE FOR ARABIC FICTION, MANAGED
IN ASSOCIATION
WITH THE BOOKER PRIZE
FOUNDATION IN LONDON.
SHE HAS ALSO BEEN
INVOLVED AS HEAD
OF JURY AND
JURY MEMBER
IN NUMEROUS
INTERNATIONAL FILM
FESTIVALS.

 

SHE IS WIDELY REGARDED AS ONE OF THE BEST
MODERN EMIRATI POETS
ALIVE.

 

Poetry collection:

Nujoom Alghanem, Space, 1984. Typed manuscript (reproduced 2017) (details). Courtesy of the National Pavilion UAE – la Biennale di Venezia

Nujoom Alghanem, Space, 1984. Typed manuscript (reproduced 2017) (details). Courtesy of the National Pavilion UAE – la Biennale di Venezia

– Masaa Al Janah (Evening
of Heaven), 1989
– Al-Jarair (The
consequences), 1991
– Rawahel (Journeying), 1996

– Manazel Al-Jilnaar (Homes of
Pomegrante Blossoms), 2000

– La Wasf Lima Ana Feeh
(No Description for
What I Am In), 2005
– Malaikat Al -Ashwaaq Al-Baeeda
(Angels of Distant Longing), 2008
– Laylon Thaqeelon 3la Alayel
(Heavy Night on the Night), 2010
– Asqoto Fi Nafsi (I Fall
Into Myself) 2012

Nujoom Alghanem, Cover of Silsilat Al Ramad, Issue no. 1, 1985 (reproduced 2017). Photocopied zine with poetry, writing and drawings by Khalid Albudoor, Nujoom Alghanem, Yousif Khalil and Hassan Sharif. Courtesy of the National Pavilion UAE – la Biennale di Venezia.

CURATORS OF THE NATIONAL PAVILION UAE AT THE 2019 VENICE BIENNALE, SAM BARDAOUIL AND TILL FELLRATH,  HAVE INVITED AWARD-WINNING POET AND FILMMAKER NUJOOM ALGHANEM TO REPRESENT THE UAE WITH A MAJOR SITE SPECIFIC VIDEO INSTALLATION COMMISSIONED FOR THE PAVILION.

VENICE BIENNALE – NUJOOM ALGHANEM
LOCATION: ARSENALE


This is the artist’s second time participating at the Venice Biennale.
She previously participated in the Emirati Pavillion in 2017

Filmed in the UAE and Venice, the site-specific work Passage has been closely conceived and developed with the curators, Sam Bardaouil and Till Fellrath, and incorporates contemporary Arabic poetry into the language of film, providing a poignant reflection on the experience of displacement. It is structured along two distinct narratives, one “real,” the other “fictional,” simultaneously projected on the opposite sides of the same screen.

A VERSION OF THIS ARTICLE APPEARED IN PRINT IN SELECTIONS, 21 ARTISTS AND A BIENNIAL #49, PAGES 110-115.

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