Heba Farid©2009
In Egypt, mixing and/or multiple language usage are commonplace; historically, the Egyptian language developed first by colloquial written scripts, and then was transformed and replaced as other languages were introduced, like Coptic, Greek, Arabic, Turkish, French, Italian and English. Conversely, an Auxiliary Language or auxlang, is intended to be an additional language, rather than one to replace a native language. It is in itself an exercise in cross cultural communication; a single fabricated language used by speakers of different languages to communicate with one another. Still, languages of dominant societies serve as auxlangs at the international level. French, English and indeed Arabic were used, promoted and also transformed, especially within the Middle East. Since these languages are associated with the cultural, political, and economic dominance (or colonialism) that popularized them, they often encounter strong debate. Their use, or disuse, critically put into question our cultural identity, memory and nationalism. This specific work is inspired by the decoding process of the Rosetta Stone. It has an animated yet text-based aesthetic, using phrases from live input. The language sources are Arabic, English and French. Visitors create a short phrase, adding to a text/discussion already posted on an infinitely expanding "wall", which can then be read in another language through a "lens" before it fades away and is inevitably forgotten. Instead of relying on a fabricated language, the work plays with the idea that we can somehow — inherently, through futuristic evolution — read, write and speak any language, trans-literally, using any characters available. For example, the phrase “I like to play with language” is readable in different ways in Cairo — spatially, between two dominant languages. (ENGLISH LANGUAGE– LATIN & ARABIC CHARACTERS) Connect to "LangMACHINuage" Heba Farid (1966, Cairo) is a multidisciplinary artist based in Cairo, with a background in landscape architecture, fine arts and theory. Farid works in an interdisciplinary style involving photography and mixed/multimedia installation. Identity and “land,” as two territories where various idea battles are fought, have been primary aspects of her work. Currently Farid is working on a multidisciplinary art/research project about Na’ima al-Misriyya, an early 20th century Egyptian performer (www.naima-project.org), is a founding board member of the Contemporary Image Collective (CiC) (www.ciccairo.com), and coordinates the Photographic Heritage program for the Center for Documentation of Cultural and Natural Heritage, CULTNAT/Biblioteca Alexandrina (www.cultnat.org). Her work has been included in numerous exhibitions in the Arab World, Africa, Europe and North America, such as: 3rd Fotofestival Mannheim Heidelberg Ludwigshafen (2009); IFA Gallery, Berlin & Stuttgart (2009); Institut Français de Fès, Morocco (2008); Palais des Arts de Marseille (2008); Nouvelles Rencontres Africaines de la Photographie 7e édition, Bamako (2007); Espace Karim Francis, Cairo (2007); PROGR Zentrum für Kulturproduktion, Bern (2006); MUSAC, Museo de Arte Contemporáneo de Castilla y León (2006); Alexandria Contemporary Arts Forum (2005); Diyarbakir Art Centre (2005); Contact, Beirut (2005); Le Pont Gallery, Aleppo (2005); PhotoForum Pasquart, Biel (2002); Townhouse Gallery, Cairo (2002); Gallery of Southwestern Manitoba, Brandon (1998); ARC Gallery, Albuquerque (1995); FEUL Gallery, Seattle (1993); Fringe Theatre Festival, Winnipeg (1992); Floating Gallery, Winnipeg (1992); Ace Art Inc., Winnipeg (1992). For more information about the artist and her work: |
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