10 Questions with
Farah Abushullaih and Adel Abidin

5th Ithra Art Prize

Farah Abushullaih
Head of Ithra Museum, Ithra

The Head of Museum at the King Abdulaziz Center for World Culture (Ithra). She holds an MA in Museum Anthropology from Columbia University in New York, USA, and a BA in International Business and Intercultural Communications from Aston University in Birmingham, UK. Abushullaih joined the Ithra team in 2012 and worked as Lead Curator of the Great Hall exhibition space. During her time at Ithra, Abushullaih led the launching of a number of programs and initiatives that support the development of the Kingdom’s creative sector and provide a platform for cross-cultural engagement. With her team, she curated and developed several local and international exhibitions in collaboration and partnership with distinguished institutions. Abushullaih has led bringing global art to the Kingdom. In 2021, she introduced the first immersive art exhibition in the Kingdom that addresses the topic of sustainability.

ithra.com

Adel Abidin
5th Ithra Art Prize winner

Adel Abidin is an Iraqi-Finnish artist living in Helsinki. He holds a BA in painting from the Academy of Fine Arts in Baghdad and an MFA in Time and Space Art from Helsinki’s Academy of Fine Arts. Abidin works across mediums to explore contemporary issues.

Abidin’s intention is always to investigate the complex relationship between visual art, politics, memory, and identity. He uses sarcasm and humor to gravitate towards different social situations dealing with elusive experiences and cultural alienation.

Abidin’s cross-cultural background allows him to create a distinct visual language often laced with sarcasm and paradox while maintaining an ultimately humanistic approach.

adelabidin.com | @adel_abidin

INTERVIEW with FARAH ABUSHULLAIH

Ithra focuses on cross-cultural initiatives, promoting art and creativity. How does the Ithra Art Prize align with those values?

The Art Prize perfectly aligns with our museum's core values of promoting cross-cultural initiatives and fostering creativity. By awarding funds to artists, we allow them to explore and express their unique cultural perspectives, bridging gaps between different societies. This initiative not only encourages artists to delve into their heritage but also facilitates meaningful cultural exchange. Through their work, artists showcase a rich interconnected world, reinforcing the importance of diversity and shared experiences. Ultimately, the Art Prize embodies our commitment to nurturing creativity and inspires a deeper understanding of the global cultural mosaic.

5th Ithra Art Prize Ceremony - Photo courtesy Ithra, ph. Yasir Alqunais

Much like Ithra, we at Al-Tiba9 focus on creating a platform where East and West can meet and exchange ideas. In your case, what are the main aspects you focus on? And how is it helping you in developing the project?

At Ithra’s museum, our focus is fostering cultural exchange and promoting cross-cultural dialogue. We curate exhibitions that showcase the intersection of global artistic traditions, highlighting shared themes and unique perspectives. This approach not only enriches our visitors' understanding of art but also serves as a source of inspiration for the Ithra Art Prize project. By facilitating a dynamic exchange of ideas between artists from diverse backgrounds, the Art Prize aims to nurture innovation and foster collaborations that transcend geographic and cultural boundaries. Ultimately, this synergy between our museum's mission and the Art Prize allows us to support artists who push the boundaries of creativity, resulting in ground-breaking works of art.

This year’s winner, Adel Abidin, works at the convergence of East and West, addressing themes that are closely related to his own experience as an Iraqi artist living in Finland. Why did you choose him specifically? And what in particular guided you in this choice?

Adel Abidin was selected from over 10,000 submissions by a jury of local and international academics, gallerists, curators and artists. He was chosen as this year's winner because of the profound and authentic work way his work expresses. His art resonated deeply with the jury, as it skillfully addressed themes stemming from his unique background as an Iraqi artist living in Finland. What guided our choice was the powerful narrative embedded in his art, evoking a sense of universal connection. Adel's ability to convey the complexity of his experiences through his work, while simultaneously forging bridges between cultures, made him a standout choice. We believe his art exemplifies the mission of our museum, celebrating diversity and promoting cross-cultural understanding through art.

The Ithra Art Prize initiative has a far-reaching resonance, being the largest art grant in the MENA region. How does it impact your work and recognition in the art world? How do you plan to further develop this initiative?

The Art Prize is a transformative endeavor that significantly elevates Ithra’s standing in the art world. It not only solidifies our commitment to supporting artists in the MENA region but also enhances our reputation as a patron of cultural innovation. The fact that the winning artwork becomes part of our permanent collection underscores our dedication to preserving and promoting the region's artistic heritage. Looking forward, we aim to expand the initiative's reach and impact by engaging in partnerships, hosting international exhibitions and developing the Art Prize further. We envision the Art Prize becoming a global beacon for artistic talent, fostering cross-cultural dialogue, and continuously enriching our museum's collection with exceptional works of art.

You are already preparing for next year’s prize. Which aspects do you focus on for the next edition? In what direction do you see the prize and your contribution to the project developing towards?

The open call for the 6th edition of the Ithra Art Prize, Art in the Landscape, launched on August 2, 2023 in collaboration with Arts AlUla, as part of a wider strategic partnership with the Royal Commission for AlUla (RCU), calling for submissions of public artwork proposals that are site-specific to AlUla and that present interpretations of the region’s unique landscapes and outstanding natural heritage.

Ithra hosts temporary exhibitions as well, with a strong focus on sustainability, as in the exhibition Net Zero. What are your goals in that regard, and how is your experience contributing to the achievement of these goals?

Our goal is to start a conversation on sustainability through artistic perspectives. In the case of the Net Zero exhibit, the artworks are expected to encourage further dialogue and ideation in the region, which we hope will contribute to the global conversation around environmental challenges. Our future forward approach to exhibitions and museums will also be educational for our audiences. The Net Zero exhibit showcases the concepts of low carbon and zero waste in design, production and artwork which we hope will be inspirational for our audiences as well as the museums and exhibitions industry at large. the art community and contribute to a greener, more environmentally conscious future.

INTERVIEW with ADEL ABIDIN

You are originally from Iraq, but you are currently living in Finland. How has this helped you develop your current practice as an artist?

Living in Finland has undeniably been a transformative experience that has deeply shaped my path as an artist. When I made the decision to immigrate in 2001 and pursue my master's degree at the Academy of Fine Arts in Helsinki in 2003, I could not have anticipated the profound impact it would have on my artistic journey.
Coming from Iraq, where the art scene was constrained by the political and economic challenges of the 1990s, Finland offered a breath of fresh air. It was a gateway to a world of artistic possibilities that expanded my creative horizons. The Academy of Fine Arts in Helsinki introduced me to a dynamic and contemporary art scene, exposing me to new ideas, techniques, and approaches to art.
What struck me most about Finland was the freedom it provided. It granted me access to art, museums, and the opportunity to travel, serving as a boundless playground for my imagination. I began to develop a more international perspective on art, opening up new vistas of creativity.
However, there was a pivotal moment during my time in Finland when I encountered a creative roadblock. The stark contrast between what I had learned in Baghdad and the new artistic landscape I was navigating led me to temporarily halt my art practice. It was during this hiatus that I decided to shift my focus to the Time and Space department, a transition that required me to independently acquire the knowledge and skills necessary for video and video installation art. This challenging period ultimately marked a significant turning point in my career.
In 2007, a remarkable opportunity came my way when I was selected to represent Finland in the Nordic Pavilion at the 52nd Venice Biennale, despite still holding Iraqi nationality at the time. This experience was a game-changer, propelling my career forward and affirming that my artistic voice transcended borders, even when some of my work was rooted in local contexts.
Finland, with its open-mindedness, thriving art scene, and the support of my true friends, continues to be a driving force behind my artistic practice. It remains a place of growth, exploration, and inspiration, and I am profoundly grateful for the doors it has opened in my artistic journey.

Adel Abidin, _ON_ | 5th Ithra Art Prize winner - Photo courtesy Ithra

Adel Abidin, _ON_ (detail) | 5th Ithra Art Prize winner - Photo courtesy Ithra

Regarding your practice, can you tell us more about your creative process in general? Where do you get your inspiration from? And how do you translate it into the final work?

As a visual artist, I consider my work to be a series of visual arguments that invite viewers into a thought-provoking dialogue. Rather than providing definitive answers, I aim to present hypotheses of various situations – that's where my true fascination lies.
Inspiration for me is an ever-present force; it's as natural as breathing. I find it in the rich tapestry of life itself – in history, memories, and enduring themes that have transcended time. These timeless themes, such as idolization, prejudice, religion, faith, love, and more, continue to resonate with people across different eras.
My sources of inspiration are diverse and unpredictable. Sometimes, a casual conversation sparks an idea. At other times, it might be a reaction to a political event, a seemingly insignificant detail from a movie, or even something as ephemeral as a dream.
I place a significant amount of trust in my intuition as an artist. When an idea forms, I follow my gut feeling and embark on extensive research to ensure that I can express it in the most effective way possible. I view each artwork not as a final destination but as a step in an ongoing creative process. With time, these steps evolve and become part of a larger artistic journey.

You work with different mediums, from works on paper to videos. How do you choose which medium suits a certain project better? And why do you use different mediums in your practice?

In my artistic journey, I've always viewed mediums as mere tools – instruments that help give shape and form to the ideas I wish to convey. For me, the essence of art lies in the idea itself – the concept I pursue, dissect, and study from every angle. The choice of medium follows naturally, as it serves to realize the idea in the most appropriate manner.
To continually expand my artistic horizons, I deliberately venture beyond my comfort zone. I seek out new techniques and mediums, not just to broaden my skill set, but to unlock fresh avenues of creative expression. Even in my video work, I insist on meticulously crafting hand-drawn storyboards with intricate shading. These storyboards not only aid in clarifying my concept but also serve as a foundation for a potential future retrospective – a collection of visual narratives in their raw, unrefined form.
I approach my creative process much like diving into a captivating book. I unleash my imagination, allowing it to navigate the narrative of the idea. As the concept unfolds, I intuitively discern the most suitable visual presentation. For instance, if sculpting appears to be the ideal medium to convey the concept's essence, I eagerly embrace the opportunity to master this technique. It's about translating my thoughts into tangible forms for the audience.
Art, for me, transcends the confines of a single medium. It's a journey guided by the artist's capacity to connect deeply with the viewer. I don't limit myself to mere aesthetics. Instead, I follow the threads of my thoughts, engaging in a dialogue with a particular concept. This unwavering approach accumulates the wealth of experience I've acquired, ensuring that the final presentation resonates profoundly with the viewer. And if it defies conventional aesthetics, that's perfectly acceptable, as long as the core idea remains clear and evocative—an unfiltered, raw expression that can communicate on its own.

Ithra and the Ithra Art Prize strongly focus on cross-cultural experiences, as does your work. How much did your background and personal experiences help you develop the winning project for this prize?

When I first learned about the Ithra Art Prize, I was already deep in the research trenches, delving into a subject matter that held both conceptual and technical challenges. My exploration centered around the Zanj rebellion, a historical event with significant aims, despite its controversial methods. As I delved further into this narrative, I felt a burning desire to create a body of work that could encapsulate its multifaceted aspects and provide a contemporary perspective on a tale primarily passed down through oral traditions.
The prospect of participating in the Ithra Art Prize presented itself as the perfect opportunity to translate my vision into reality. I saw it as a chance not only to enrich my own artistic journey but also to contribute to the narrative of history. After all, much of what I encountered during my research relied on the oral tradition of storytelling. I wanted to bridge the gap between the past and the present, sharing what I personally observed and felt from my vantage point in the contemporary world.
The work I submitted, "ON," in the form you've seen, was a significant step in this direction. However, my exploration of the Zanj rebellion doesn't stop there. I'm committed to expanding and evolving this presentation. In my upcoming solo exhibition in Helsinki in March 2024, I plan to explore this subject through various mediums, including drawings, sculptures, tapestry-like pieces, and video works. Each element will add new dimensions to the narrative, allowing me to further dissect and share my perspective on this compelling historical event. In essence, the Ithra Art Prize fueled my determination to pursue this subject and provided me with the encouragement and platform to delve deeper and elaborate on it.

Speaking of your project, what is the main concept? And how did you develop it?

"ON" is a project that delves deep into the intricate interplay of history, memory, and identity. My journey into this concept began with a profound curiosity about the intangible aspects of history, particularly within the context of Arab history, where reliable archival sources are often scarce, leaving much veiled in ambiguity and open to various interpretations.
As I embarked on my research, I became captivated by the Zanj rebellion of 869 AD in Iraq—a rebellion that endured for a staggering fourteen years. It was driven by a noble quest: the pursuit of freedom for enslaved individuals and the desire for land ownership rights equal to their fellow citizens. Yet, what truly fascinated me was the way this historical event had been depicted and reshaped over time through a chain of oral accounts. The rebellion's reality had been continually interrupted, modified, and reimagined, depending on the perspectives of those chronicling its history.
In response to this intricate historical narrative, I knew I had to find a unique way to represent my own interpretation while offering a fresh perspective on this significant event. Thus, the innovative stamping process was born, using the Arabic word "ON" to distinguish between reliable and less reliable accounts. This method allowed me to breathe new life into the narrative, emphasizing the fragility of history and the organic nature of memory.
Incorporating an old traditional Japanese technique of layering thin rice paper on canvas, my aim was to craft a visual dance—a dynamic tapestry that captures the complexity of the past. These layers of paper also served to intensify the mythical anamorphic illusion, providing viewers with a distinctive and captivating insight into the remnants of this ancient event.
Therefore, "ON" isn't merely an art piece; it's a voyage through time, a reimagining of history, and a testament to the ever-evolving nature of our comprehension of the past.

What was it like to participate in the Ithra Art Prize? And how will it impact or help your career moving forward?

Participating in the Ithra Art Prize has been an incredible and rewarding experience for me. Winning this prestigious prize holds immense importance for any artist, not just for the recognition it brings but also for the boost in confidence and belief. It's a validation of the artistic journey and the dedication poured into the artistic process and chosen subject matter.
However, my connection with the Ithra Art Prize runs deeper than professional recognition. Personally, I hold a profound admiration for the cultural renaissance that Saudi Arabia is currently fostering. It's like witnessing a vibrant rebirth of creativity and artistic expression within the Arabic and global cultural landscape, and I'm fortunate to be a part of it. Being able to contribute to this cultural awakening is a tremendous honor, and it fills me with a sense of purpose and pride.
In essence, the Ithra Art Prize has not only opened doors for my career but has also allowed me to be part of a transformative cultural movement that I deeply respect and admire. It's a privilege that will continue to inspire and shape my artistic journey moving forward.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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