The Big Picture

Day 3


Writing Workshops at Mathaf: Arab Museum of Modern Art, Doha

Mathaf's lobby with portraits of Sheikh Hassan bin Mohammed bin Ali al-Thani, founder of Mathaf, and his wife, by Yan Pei Ming. The rocks are part of Cai Guo-Qiang's piece Homecoming.   

Thursday evening we got down to serious business at Mathaf: how to review an entire exhibition, and one, in this case, that fills the museum. This is not an easy thing. With so many works to consider, how do we start making generalizations about the whole without losing sight of the smaller moments of the exhibition? 


A review is like one of those digital photomosaics, where there's a big picture made up of thousands of tiny images (thanks Rashid Rana for making mid-1990s digital technology into mid-2000s contemporary art). Fortunately, there's a formula or structure underlying every good review—or any piece of writing, for that matter—so we were able to build up a "big picture" from lots of little pieces. 


But first we had to see the show and gather all the information we were going to need. So with a checklist of the major works and short questions about them, we looked intensely at every piece for 3-4 minutes, writing 1-2 sentences about them in his very rapid walkthrough of "Saraab." 


We started outside the museum, where the rocks of Homecoming spill out to the parking lot. One of the questions on our worksheet was: How many rocks are in the piece? I was surprised and then impressed to see everyone counting them individually — but then I spoiled the fun by pointing out that the number was listed on the wall label in the lobby. From then on, we paid more attention to the wall labels and to the exhibition guide as sources of information to supplement what we were seeing — and those helped inform the reviews, as you will see in the texts produced today. 

A range of reactions to Ninety-Nine Horses: from skeptical to quizzical and overwhelmed.

Ninety-Nine Horses, was a definite favorite of the group

I think we spent closer to 6 or 7 minutes with Ninety-Nine Horses

We also explored the first floor of the museum, where we looked at Cai's paintings (who knew Cai also made more traditional oil paintings?) as well as videos of his pyrotechnic displays.

Reading the wall label (yes!). 

In general, our workshop group was wowed by these past projects. 

Beanbag chairs in the gallery—good touch Mathaf. The black fireworks that Cai set off in Doha are seen in the background. 

After a break — following our rapid walk-through—we talked about our overall impressions of the show. To generalize, the response was positive but there was a consensus that some of the pieces were much better than others, and that at times the themes in the show (these connections between Arab and Chinese culture) felt repetitive. 


I really wanted everyone to write something like a whole review, but it's not easy to set down thoughts on a blank page in a short amount of time. And as I said, there's a hidden structure underneath most reviews that looks something like this: 
1. An engaging opening. 
2. Context and background about the artist and the exhibition. 
3. An over-all summary of the works in the show (are they new or old? what kind of media is used? what are the big themes?)
4. First impressions at the beginning of the show. 
5. A description and explanation of two (or more) examples of works that the reviewer likes or doesn't like.                       
6. A summarization or comparison of these works. 
7. What the reviewer learned or felt after seeing this exhibition. 
8. Thoughts that the reviewer has for the artist (or curator) about the show, and perhaps for future endeavors. 


So, to overcome the intimidation of starting out: we filled out another sheet, with 11 questions that fleshed out these topics in more detail. And then, we read our answers aloud, one answer at a time, going around the room, so that a kind of collective review emerged. 


Back at the hotel later, I typed up the responses to these 11 questions (omitting the questions themselves), and as you'll see below, they really do feel like mini-reviews of the show. I'm very happy about that, and impressed by what everyone had to say. In some cases I added the titles or missing works in square brackets; otherwise I haven't changed anything. 

Short reviews:

“Saraab,” Cai Guo-Qiang’s first solo exhibition in the Arab world, shows a great variety of work that will surprise you and question your way to see art. Cai is a contemporary artist from China, who lives in New York. The exhibition was commissioned by Mathaf: the Arab Museum of Modern Art in the city of Doha, Qatar. The artist explores the history between his hometown and Doha. In his works, he explored the mining, history and tradition of both cultures through the use of objects and materials from these cultures, trying to understand their relationship.

            The exhibition contains 10 main works. Cai surprises us with a variety of new and traditional media and styles. When you arrive at the exhibition, you are welcomed by 62 big sandstones, all engraved with different calligraphy. Fragile, a group of 680 tiles of flowers, is made out of porcelain manufactured near the artist’s hometown. The word hash, “fragile” in Arabic, has been written with an explosion of gunpowder. This could suggest the fragility in human relationships. Cai surprises us with Flying Together, where you can see the life[-like] models of a camel suspended in the room of a gallery together with falcons. They suggest a disbelief or the idea of [ . . . ].

            It is interesting the way Cai is able to approach the subject of his journey between two cultures using a variety of media and tradition as well as contemporary forms of art, and how he recreates the history and tradition of two dissimilar cultures.

—Marcela

Cai Guo-Qiang, the famous explosive artist, came to Qatar. Cai is a Chinese artist from Quanzhou, and made an exhibition entitled “Saraab” at the Arab Museum of Modern Art (Mathaf). The exhibition is about the ideas of history, present day and imaginary travels between Doha and Quanzhou. The show includes 12 works, old, new and in different media.

            When standing outside the museum, I could not access the entrance because of the large stones blocking the path. I really liked Endless, because of the story behind it. I disliked Miniature [Memories]; it has no meaning behind it, only shapes. Flying Together I liked because the artist made us think and because the work is hanging (a new way to install the work). It is very related to nature.

            [From the exhibition] I learned that art could be made by this explosion technique. [For his next exhibition] Cai could think about making more complex meaning to his artwork rather than simplicity.

—Manal

Internationally renowned Chinese artist Cai Guo-Qiang presents his specially commissioned works at Mathaf in his first exhibition in the Gulf. The exhibition is significant for the artist because it is his first in the Arab region. Mostly it aims to educate and reinforce the long standing ties between China and the Gulf. The exhibition includes both smaller works and more importantly several large-scale installations. The commissioned works incorporate the use of gunpowder, as well as native materials to the Arab and Chinese regions, and new media, including the use of video.

            The size and scale of the installation [Homecoming] gave new meaning to the phrase “it leaves a big impression.” The piece Ninety-Nine Horses was by far my favorite for its use of mixed media and for its multi-dimensional aspect. The negative and positive spaces in the drawing added layers of visual interest. The suspended horse and their shadows impressed the importance of the horse culture for both the Arabic and Chinese people. There are many historical and cultural references within this particular piece, which tie together both peoples. However the reference to the number 99, as a number, creates associations with the mystical.

            I was not impressed by Route. I found it to be obvious and simplistic. Route doesn’t really say much except showing an obvious historical connection. Where Route falls short is in its attempt to show a complex connection between China and the Arab world, Ninety-Nine Horses literally soars and gives the audience a desire to see and learn more from the piece.

            The exhibition gave me more knowledge of the importance of cultural and personal connections historically and presently. [For his next exhibition] Cai should avoid falling into the pitfalls of becoming repetitive and simplistic.

—Bebe

Exploring explosions and the link between east and east, Cai Guo-Qiang’s exhibition “Saraab” (Mirage) was held at Mathaf, Arab Museum of Modern Art. The artist comes from Quanzhou, the start of the silk road. [The exhibition explored] the link between east and east (the silk road, tea, spices), using creativity in explosions. [The show] had mostly new work with some older pieces including older sculptures and new videos, like the daytime fireworks and gunpowder pictures.

            [My first impression outside the museum] was “not another one of these.” I loved the presentation of his firework displays, the creativity, effort of his mind to compose these dynamic pieces in real time really blew me away. One clip in particular was a line of fireworks exploding along a building’s glass facade. Unique, creative to the extreme and mind-blowing. Miniature [Memories] a creative way to show how women can be oppressed even by the outline of gunpowder masks on canvas, although I didn’t really like it.

            I learned that contrasting media can sometimes combine well. I really didn’t feel that much because I felt overall there not too much effort put into individual pieces. I learned that the artist has an extremely good sense of space composition and awareness. But that he doesn’t use it in every piece. He should try to play more to his strengths.

—Thomas

Extraordinary gunpowder art by Cai Guo-Qiang [is on view] in “Saraab.” A Chinese-born contemporary artist, Cai’s exhibition was organized by Mathaf, the Arab Museum of Modern Art. [The show highlighted] the connection of Chinese traders to the Gulf and the silk trade to the Gulf. There were 12 major pieces, using a mix of fabrics, recycled paper, videos, resin and porcelain.

            [My first impression outside the museum was] “Where do these rocks come from and what do they mean?” I liked Black Ceremony, using a material known for destruction for expression. It felt like an expression of oneself using various kinds of materials. I didn’t like the camel and birds [Flying Together]. I also liked Fragile because [I realized] there are many ways to express what you want.

            There are some artworks you think you understand and there are some that just aren’t interesting enough to dissect. Humans are gifted in many more ways than you may think. I learned about the artist as a person. [For his next exhibition Cai should] surprise the world.

—Nina

An outstanding range of artworks are exhibited in Mathaf, and embrace the personality of Chinese artist, Cai Guo-Qiang. Many hands helped him set up the show called “Saraab” and he invites everyone to indulge in his extraordinary works. The broad range of artworks identify his perspective of Qatar. He used gunpowder, fireworks, ink, oil paint and gold leaf in his works.

            At first, I expected nothing great, but by the end of it, I was bow down in awe to his magnificence. Describing an art piece in this writing would take away the excitement of you witnessing it for yourself. So, I won’t spoil the fun and definitely recommend you to visit it before June 2012.

            After seeing his work I got inspired and motivated to be as good as him in the furture. My only advice for Cai Guo-Qiang would be to never stop doing what he does best.

—Emelina

Art history is full of deep relationships. Cai Guo-Qiang is a Chinese artist. The show was organized by Mathaf and students. It is called “Saraab.” The exhibition was unique and it was the first time I attended. The artist showed the relationship between Doha and his hometown, as well as the old history of Qatar and China. The show included many works, in different media, new and old. The artist used all types of artworks, which is great to not let the viewer get bored.

            From the outside, the museum looks more like a school. I was feeling excited about what I will take from the exhibition. I like the nine figures that are wearing abayas [Memories]. I had a strong and deep feeling while looking at them. I felt that each and everyone had something to say and show. I liked the camel with the falcons [Flying Together]. To me, this artwork is showing our world and what is going on around us. The camel represents the Arab worlds and the falcons are those who are trying to harm us or are helping us. What attracted me is that the camel had no expression on its face. It did not have anything to do or say.

            I felt happy. I enjoyed each and every minute in the exhibition. I’ve learned a lot of things from Mr. HG Masters, one is how to describe the artworks [thanks Maha! (HGM)]. Insha’Allah everything goes great with Cai and he is going on the right path.

—Maha

Cai Guo-Qiang is inspiring. He is a Chinese artist who is having a show at Mathaf called “Saraab.” The exhibition presents the relationship between the artist’s hometown in China and the Gulf. It informs the public about the other part of the history and gives the museum publicity. The exhibition includes so many beautiful works. The artworks include new and old works that are presented in video, painting, sculpture, etc.

            What an amazing entrance [Homecoming]! I liked Ninety-Nine Horses because it includes my favorite animal, which is the horse. It’s a very unique impression, talented and very creative to joint the painting with a subject that is not on the painting. The work is about running to freedom. I didn’t like Memories. From my point of view, it is meaningless and has no creation in it and I can’t get what the artist wanted to deliver. A piece of art should be complex and that’s how it will be attacked by the viewers. [The works says to me that that] “ghosts will get you!” Ninety-Nine Horses shows how I can be free by running forwards to my goal in life. The second one makes me feel silly if I one or two seconds to look at it.

            I feel inspiration from this exhibition. Cai, keep the gunpowder in your work and no more oil painting!

—Heba

The use of new ways to express modern art has resulted in the artwork of Cai Guo-Qiang. In his exhibition called “Saraab,” he has shown his mastership in the use of fireworks in art, together with different materials. Cai is a Chinese artist who lives in New York. Mathaf: the Arab Museum of Modern Art in Doha, Qatar, has commissioned him to make some work for the show. He has also made a connection between the two big cultures, on one side the Arab world and on the other the Chinese. Through this exhibition the artist is trying to make a connection between the Arab and Chinese cultures, according to his own experience, knowledge and background. More than 10 artworks and pieces are included: oil paintings, gunpowder works on different material, three-dimensional artworks like the rocks [Homecoming], the boats [Endless] and the camel and the hawks [Flying Together].

            On arriving at the museum, you have the impression of looking at a procession of shadows walking toward the building [Homecoming]. The most impressive artwork Endless was a boat installation. Three boats of different sizes, anchored in a foggy shallow bay evoke peace and reflection. The artwork about the horses also imposes in you a feeling of grandeur and majesty because of its dimensions. It is very evocative and inviting.

            Walking through the exhibition you can be really moved and impressed or completely thrown off or uninterested.

—Pilar

the critics' corner

writing those reviews

I think I had just mentioned that I was going to post what they wrote on this blog — that's right, make it good

Joking around on our break — thanks for this picture, Heba!

I also got my portrait drawn, courtesy of Emelina. I'll come review your first show. 

Thanks to everyone who came to day three of the workshops. It's been great to see some of you on multiple evenings. It's fun talking to you all about the exhibition, what you like and what you don't, and I'm very happy with your reviews and comments about the show. You're very candid and thoughtful. Hope to see you again for the workshops Saturday and Sunday, and then for the Global Art Forum on Sunday and Monday. — HG Masters