Today's Edition
SARA ALZAABI (ABU DHABI)
As part of the first edition of the Public Art Abu Dhabi Biennial, Farah Al Qasimi's exhibition, entitled "Homesickness", brings together sound, sculpture and memory to honour the legacy of pearl diving in the Emirates - a deeply rooted tradition that has shaped the region's cultural and economic fabric.
On display along the Corniche, the installation features five shimmering oyster forms, each concealing a speaker that plays a layered chorus of synthetic voices.
The soundscape is based on Tob, Tob Ya Bahar — a chant historically sung by the wives of pearl divers — a choice that carries both emotional and symbolic weight.
The Biennial showcases site-specific installations and performances across Abu Dhabi and Al Ain, exploring how public spaces, influenced by the environment, architecture and community life, shape the emirate's identity.
Organised by the Department of Culture and Tourism – Abu Dhabi (DCT Abu Dhabi), the initiative, being held under the theme "Public Matter" and with the participation of over 70 UAE-based and international artists, is running until April 30.
The initiative also aims to enhance cultural infrastructure, community engagement, and wellbeing through large-scale installations, sculptures, and performances across multiple outdoor venues.
Speaking to Aletihad, Al Qasimi said: "I made this particular piece for Abu Dhabi, and I don't think it would have the same resonance anywhere else. I try to be as conscious as possible of context and location, but more and more, my practice is shifting beyond the hyper-local."
The project reflects her cross-cultural perspective, shaped by living between Dubai and New York.
"Abu Dhabi was pretty globalised when I was growing up," she said.
"But I also spent a lot of time in the US with my mother's family, so my upbringing was naturally informed by many different cultures and social dynamics. I do not think it is a conscious balancing, but rather an extension of my natural worldview."
Gender and identity also play an integral role in her art.
"Every artist is informed by their identities whether it is foregrounded in the work or not," she noted.
"Many of the people I photograph are other women, because there are shared experiences we have that I feel inherently comfortable translating into an artwork. For example, in this biennial piece, I chose to highlight the wives of pearl divers rather than the divers themselves."
Although visually striking, the piece remains rooted in the documentary; an approach Al Qasimi feels naturally lends itself to addressing present-day concerns.
"My work is rooted in the documentary, so by nature, it is addressing contemporary issues unfolding around me," she explained.
Technology, too, plays a quiet but essential role. The use of iridescent paint and LED lights adds a modern layer to a traditional subject, while also reflecting shifting modes of visual communication.
"I use a digital camera," she said, "and I am very aware of how our relationship to image-making is shifting with social media."
Asked about the impact of globalisation in the wider Biennial, she pointed to Lawrence Abu Hamdan's work.
"I have not yet seen all the works," she admitted, "but I have really appreciated seeing the general public engage with his rhythmic work."
Ultimately, Al Qasimi hopes her practice contributes to a broader conversation around cultural globalisation.
"I hope that my work will function in a way that transcends the specificity of a singular place, and that it may contain surprising familiarities to people that will invite them to rethink their relationship to the broader world," she added.
