Marcos Mena Cruz on October 18, 2024
Peggy is proud to feature works by Salim Al Kadi in its Pushing Boundaries auction, offering collectors a unique opportunity to acquire pieces by this innovative architect and multimedia artist. Born in 1979 in Beirut, Lebanon, Al Kadi's creations have earned a place in the MoMA permanent collection. His career, which began with studies at the American University of Beirut from 1997 to 2004 and later at Columbia University in New York from 2005 to 2006, has been marked by a multidisciplinary approach that blends architecture, art, and social commentary. Since returning to Beirut in 2009, he has designed and built various architectural projects both locally and internationally, while maintaining a decade-long teaching career at the American University of Beirut. Al Kadi's practice extends beyond traditional architecture into self-initiated, non-building interventions, challenging conventional boundaries in the field.
A pivotal moment in Al Kadi's career came in 2016 with the creation of the K29 Keffiyeh, a groundbreaking piece that merged the traditional Arab headdress with Kevlar fabric. This innovative work, which challenges conventions and merges cultural symbolism with cutting-edge materials, was exhibited at the Museum of Modern Art in New York in 2017 at the “Is Fashion Modern” Exhibit and has since become part of MoMA's permanent collection. The inclusion of K29 Keffiyeh in MoMA's collection underscores Al Kadi's significant contribution to contemporary art and design, highlighting his ability to reinterpret cultural artifacts through a lens of modern materiality and socio-political commentary.
Al Kadi's innovative approach to urban representation is exemplified in his groundbreaking project "Beirut 001," the first openly accessible digital 3D model of Beirut. Released in January 2020, during Lebanon's October Revolution, this meticulously crafted model represents a significant leap in the democratization of urban data and planning tools. The model's importance was dramatically underscored in the wake of the devastating August 4, 2020 Beirut port explosion. In the aftermath of this tragedy, "Beirut 001" became an invaluable resource. Architects, urban planners, and engineers, leveraged the model to assess damage, plan reconstruction efforts, and propose urban interventions. Activists and researchers utilized it to document the impact of the explosion and it now serves as a sort of archaeological map of the destruction.
By making this detailed 3D model freely available, Al Kadi has not only provided a practical tool but also challenged traditional notions of who has the right to access and shape urban information. "Beirut 001" stands as a powerful example of how technology and open-source principles can be harnessed to empower communities and foster collaborative approaches to urban challenges. This project underscores Al Kadi's commitment to using his architectural expertise and artistic vision to address pressing social and urban issues, further blurring the lines between art, activism, and urban planning.
In his latest work, "Stretch Mark 01," part of the Pushing Boundaries Auction, Al Kadi further challenges the foundations of artistic creation. He begins by stretching a canvas and weighing it down with an object, creating an initial deformation. He then introduces cyanotype, pouring it over the manipulated canvas, imbuing the work with striking azure tones and capturing a moment in time.
The true magic of "Stretch Mark 01" unfolds as the canvas is allowed to relax and then re-stretched. Despite returning to its regular form, the fabric retains a ghostly imprint of the object that once weighed upon it. This permanent "memory" serves as a metaphor for the lasting impact of our experiences, even as we return to our original state.
Al Kadi's innovative approach in "Stretch Mark 01" speaks to a broader dialogue in contemporary art about the nature of creation, the permanence of memory, and the interplay between physical objects and their representations. By merging traditional materials with unconventional techniques, he creates a work that exists in a liminal space, capturing both the temporality of a photograph and the lasting impact of trauma.
The theme of generational trauma, deeply rooted in Al Kadi's Lebanese heritage, permeates much of his work. Lebanon's tumultuous history, marked by civil war, political instability, and economic crises, has left indelible marks on its people, creating a collective memory of struggle and resilience. Al Kadi's art serves as a powerful medium to explore and express these inherited traumas, offering a visual language to articulate the often unspoken burdens carried across generations. His work not only acknowledges this painful legacy but also seeks to transform it, using art as a tool for healing and reimagining a future unbounded by past conflicts.
This exploration of generational trauma is particularly evident in the interplay between Al Kadi's K29 Keffiyeh project and Stretch Mark 01. The K29 Keffiyeh, by incorporating Kevlar into the traditional Arab headdress, symbolizes the need for protection in the face of ongoing conflict, while also representing the resilience and adaptability of cultural identity. Similarly, Stretch Mark 01, with its imprinted canvas bearing the memory of past pressure, mirrors the way trauma leaves lasting impressions on individuals and societies. Together, these works form a cohesive narrative within Al Kadi's artistic practice, exploring how cultural artifacts and personal experiences alike carry the weight of history. By manipulating familiar forms and materials, Al Kadi invites viewers to consider how the past shapes our present, and how we might transform these inheritances into sources of strength and innovation for the future.
Viewers are invited to reflect on their own resilience to adversity and understand how challenges have shaped them. Through his diverse body of work, from digital urban models to fabric-based art installations, Salim Al Kadi continues to challenge our perceptions and push the boundaries of contemporary art.
While Salim Al Kadi has exhibited at MoMA, the auction is independent of MoMA and not a partnership with the museum.
