the black snapper

On ‘Presence:’ Like in Dalia Khamissy’s work presented here two days ago, Lamya Gargash’ series Presence confronts us with empty homes. But this time the abandonement is not caused by war, but by that other great force, the global market economy. No doubt, for the inhabitants this reason to leave is luxurious, compared by the reasons people left their houses in Beirut. In the work presented here today, we see no need to hide, we feel no for one’s life or that of one’s beloved ones. Yet the buildings themselves, built not too long ago and kept in a relatively good condition, often face the same fate as those photographed in Beirut by Khamissy: destruction. They are to make way for ambitious development schemes or a complete remodelling. With their disappearance, a way of living that has its own ideals and aesthetics will be erased as well, leaving us with questions about the lack of permanence that permeates our modern dwellings.

On ‘Majlis:’ The culture of the majlis, the Arabian version of the classical ‘drawing room,’ is a relatively local one, rooted in the Bedouin heritage of the Arabian peninsula, but like everything it is affected by changes brought about by the economy becoming global. Although the spaces are still exclusively reserved for the male guests of a house, and the traditional hierarchies are still maintained, I have noticed the arrival of more and more foreigners (like myself) at the receptions held there. It is a privilige to be a guest at these strictly ritualized gatherings, with its own set of rules to be observed, certain movements of the hands to be noted, respects to be paid etc. At the same time, the atmosphere is very informal and relaxing, as it is a place for men to meet outside work or business hours, to chat, to hang out, or to share their worries with elders. We find such highly regulated forms of social interaction in many different cultures around the world, including the royal courts of Europe, and in that respect there is nothing particularly exotic or quaint about these rituals. What is remarkable about Lamya’s series is that she, an Emirati herself, has opened up this predominantly male space and its adherent architectural peculiarities to the public eye. In carefully composed images, using only the available light and all taken from an eyelevel position of a seated or standing person, the photographer invites us to imagine ourselves as visitors, surveying this unfamiliair domain at a first encounter, tasting the atmosphere, wondering how the evening might be spent, hoping you won’t make a faux pas and if you do, that you will be forgiven.