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The titles of Abdalla's theatrical vignettes point to the beginning of a narrative, yet they don't give everything away.
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While the regulations around the pandemic prevented Abdalla from attending her London opening, she seized the opportunity to activate her latest body of work with a visceral performance that evoked pre-pandemic days.
Visitors lined up against the walls to watch the Emirati artist, sporting a grey featureless mask, engage with Dubai-based artist Camilla Singh in Tabari Artspace. Singh, wearing the sculptural head of an amber-coloured cow, writhed to an amplified hissing sound; whenever Abdalla played the flute, Singh would withdraw, breathing deeply. The atmosphere was primal.
The titles of Abdalla's theatrical vignettes point to the beginning of a narrative, yet they don't give everything away.
The performance's signifiers resonated with the painting The Silence in Carnivals (2021), which takes up a wall of the gallery. In it, the outlines of a naked woman crouching on baby pink tiles appear next to a squatting figure with a bright yellow cow mask, which occupies the centre of the painting. A green silhouette, perched on a small table, appears to play an unknown instrument.
Pink tiles (in physical form) appear inside the gallery as well, in an installation comprising a bathroom wall and floor, a sink on legs, and a photograph of Abdalla, in a pig head this time, guiding a few roosters. The photograph is installed behind a transparent plastic shower curtain, completing the bathroom-like cutout.
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