Tag: Contemporary Art Platform


Ghadah Alkandari. UNTIL

Contemporary Art Platform (CAP) is pleased to announce the opening night of “UNTIL” exhibition by Ghadah Alkandari taking place on Wednesday the 11th of January 2017.

About the exhibition

Two years ago I constructed my first origami polyhedron. I was unaware that this one object would be instrumental in shaping many paintings and stories to come. And many, many polyhedra to follow. But such is the pattern that plays itself out in my life as an artist: creations are influenced by both the banal and the important in life, not imitating art but mirroring it.

As I prepared for this exhibition, the mood of my work kept shifting from purpose to purpose. Until love, until peace, until I’m settled in a place I want to be. Always waiting for the big Until.

About the artist

Ghadah Alkandari is a Kuwaiti artist born in Delhi in 1969. In 1992 she received a BA in Mass Communications from the American University in Cairo. But it was a six-week painting course at the School of Visual Arts that “shaped my current painting style, which was also influenced early on by both classical painters: Cezanne, Matisse, Schiele, Modigliani and Klimt, and comic books: Mad Magazine, Archie and Asterix.”

Her body of work ranges from large-scale acrylic paintings, primarily figurative, exploring the wide spectrum of human emotion and familial complexities, to smaller intimate pen and ink surreal drawings detached and focused on everyday happenings.

The artist had numerous solo exhibitions in Kuwait, and has participated in several group exhibitions locally and internationally, including the Arab Culture in Diaspora exhibition in Kuwait, Femmes Artistes Du Koweit at the Institut du Monde Arabe in Paris (2006), Approaches to Figurative Practices at the Third Line Gallery, Dubai (2007), and JAMM Contemporary Art Auction in Kuwait (2010).

Since 2009, Ghadah Alkandari uses her blog ‘prettygreenbullet’ as a platform to display her work on a daily basis.Continue Reading..


Tagreed Darghouth. Ain’t nowhere to hide

Contemporary Art Platform (CAP) is pleased to announce Tagreed Darghouth’s first exhibition in Kuwait called AIN’T NOWHERE TO HIDE

Exhibition is available till Saturday the 3rd of December 2016

About the exhibition

The human-less war

In 2011, Tagreed Darghouth presented Canticle of Death[1]. This solo exhibition at Agial Art Gallery in Beirut, consisted of two series of paintings, apparently independent and ultimately linked by the idea of death: nuclear weapons and skulls. Skulls are not something especially new in art history. In the 17th century, French, Spanish, Flemish and Dutch still life masters applied their virtuosity to depict these anatomical shapes inside compositions that included a multiplicity of objects related to arts, science and wealth. These were the vanities, symbolic artworks taking their name from a verse in the Ecclesiastes:

Vanitas vanitatum dixit Ecclesiastes vanitas vanitatum omnia vanitas

The Vanitas allege that everything, except the love of God, is futile. In opposition with these sophisticated accumulations, Darghouth’s skulls do not cohabit with anything. They float over an abstract pattern composed of flowers, stars, leaves or dots. Their sinister and frightening presences convey a fundamental menace towards humanity and should be seen in accordance with what (or who) the young artist previously painted. In 2010, Darghouth showed Fair and Lovely, a series of portraits of domestic maids. Fair and Lovely also included pictures of women having been subject to plastic surgery. These were already the main topic of Mirror, Mirror! in 2008. From Mirror, Mirror! to Fair and Lovely, Darghouth was revealing the Lebanese society through its extremes: foreign workers – let’s not say slaves – who only exist to serve their masters, and plastic surgery, very popular among the same masters of these workers. We have a confrontation between the inexistent body and the transformed body that attempted to defy time and death. In this perspective, the Vanitasis an absolute and definitive response.

[1] Tagreed Darghouth, Canticle of Death (Beirut: Agial Art Gallery), 2011. Essays by Joe Tarrab and Myrna Ayad.

About the artist

Tagreed Darghouth was born in 1979. She received a Diploma of higher education in Painting and Sculpting from the Lebanese University’s Institute of Fine Arts, and did a year of graduate studies in Space Art from at the École Nationale Supérieure des Arts Décoratifs (ENSAD), Paris in 2003. She won the Boghossian Foundation Prize, in the catagory of painting, in 2012. She has held a number of solo exhibitions, including Vision Machines: Shall You See Me Better Now?, 2015,Rehearsals, 2013, Canticle of Death, 2011, Fair & Lovely, 2010, and Mirror, Mirror!, 2008, all at Agial Art Gallery, Beirut. And she has participated in various group exhibitions, including “Thin Skin: Six Artists from Beirut,” Taymour Grahne Gallery, New York, 2015; “Insondable Surface,” French Cultural Center, Beirut, 2013; “Re-Orientations I,” Rose Issa Projects, London, 2012; and “10th Anniversary of Kasa Art Gallery,” Kasa Gallery, Istanbul, 2010.Continue Reading..



CAP Contemporary Art Platform Kuwait
Installation by Mohammad Al-Hemd

Opening september 21, 2016

History repeats itself in similar cycles no matter how long those cycles are; whether they are days, years, decades, centuries, or even millenniums. We may not notice these repetitions as they occur because of the changes in time or the new pattern that they may take, yet we only notice them once they become part of history. This installation attempts to relate what is happening now in the Middle East to what was happening in the past. In particular, this installation emphasizes the similarities between the current events in the Middle East and the events in Europe during the dark ages. During the dark ages, Catholic priests had the ultimate power. They preyed on the trust of the common man, which was hindered by the spread of illiteracy. Priests promised sinners salvation for a levy. In a similar fashion, some groups are misusing the name of religion in the Middle East, where poverty and paucity of the good education are also ubiquitous.

In this installation, the similarity between both periods is underscored. In particular, the video highlights the dark ritual elements in a suicide bombers’ preparation. Furthermore, the insertion of elements from a catholic sacramental service underlines the twisted notion that religion can be used to justify the commitment of cruel actions.

The suicide vests are the contemporary equivalent to the indulgences from the dark ages. Both are utilized by the so-called religious men and marketed as the key to salvation and god’s forgiveness. Moreover, this installation can be seen in two perspectives. First, it explains to non-Muslims that the current violence is the fruit of abusing religion and following a false path and in some ways, it’s a revival of the indulgences. Second, it warns Muslims that they are living in their own dark age and they need an awakening.

Contemporary Art Platform Kuwait
Industrial Shuwaikh, Block 2, Street 28
Life Center (same building as Eureka), Mezzanine
T: +965 2492 5636

image: installation view, 2016 ph.amaliadilanno

report by amaliadilanno




Quentin Carnaille. ATTRACTION

ATTRACTION by Quentin Carnaille

CAP Contemporary Art Platform in Kuwait

extended until the 28th of October 2016

Two systems separated by a void: one dives from on high, the other emerges from the earth, going towards one another, without ever meeting. Controlled by an invincible mutual attraction, each one is looking for the other, but cannot find it, in a common effort to bridge a distance that keeps them apart.

This work evokes the difficulty of meeting through the experience of a painful separation, an unceasing effort to meet, but in vain. An impossible object of desire still ardently coveted, the unhappy but visible union implicitly reveals an unseen connection, one of the strongest, through which the subjects develop the hope of an encounter.

“Without contraries there is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human existence.” William BlakeContinue Reading..