Sandy Desert: These leather tents are the only homes of the nomadic Arab herdsmen
Nour Bishouty: Walkers Watchers
- Pan and Move: Left-Click + Drag or Arrow Keys
- Rotate View: Right-Click + Drag
Extraordinarily tattooed and lined face of Fathiya
Mohammad and me in a tent
skinning a goat for a wedding feast
deities of thunder and lightning
as solid as the earth
* * * * * * * * * * * *
“Hens and roosters have lived in domestic partnership with us for 4,000 years or more. Until recently, the domesticated birds lived much as their wild ancestors had—in small flocks with a distinct power hierarchy, or "pecking order," and with a dominant rooster, "the cock of the walk, prevailing over the hens and the immature males.
Aggressive, lusty, strutting, gorgeously feathered especially with their plangent, early-morning cries. It was an ancient belief that because evil spirits are most active in the darkness of night, the cock's crow before sunrise dispelled demons and signaled the welcome arrival of dawn.”
Raami in the ‘high’ chair that Mohammad made; A wonderful adaptation of a western innovation
“Hindu myth tells us that the universe was supported by the legs of a bull, signifying the four directions. The symbolic range of the bull is so encompassing that it is associated with all the four elements, indicating the tremendous power of nature, beyond human control.”
Helpers (nishama) skinning a goat for a wedding feast
On our Wadi Sabra adventure with Ali-f and Raweya
"I am thy mother who formed thy limbs and created thy beauties"
Her entire being radiates the gentleness of a mother's care.
The ultimate provider of riches.
“Her bull calves are the workers of the fields, her manure becomes fertiliser, fuel and building materials for houses; her sinews and bones turn into tools, her hide is used for clothing, her milk the ultimate nourishment, making her a wet nurse for millions of people.
In ancient imaginations, the cow embodied the double transformation mysteries where the mother's blood created or built the young and then changed into milk at birth.”
Nour Bishouty’s Walkers Watchers is an interactive 3D-projection of an oil–on-canvas landscape Al Wadi (c. 1981-83), where select elements are reimagined as virtual reproductions then located in relation to Qusayr Amra, the Umayyad castle also identified in the original painting. The projection was realized by simulating a three-dimensional space of the landscape, taking as a source the publicly available architectural drawings and geographical data on the castle.
This project expands on Nour Bishouty’s solo exhibition Nothing is lost except nothing at all except what is not had, in which she explores the resistive potential of fabulation and combines her interest in questioning the desire for knowledge as a colonial impulse with a counter-gesture embodied in a poetic practice of extracting, exposing, providing and withholding information.ENTER
Nothing is lost except nothing at all except what is not had - Exhibition (Feb 2022), Gallery 44 Co-produced with SAVAC. More information can be found here.
This site is part of G44 Digital.
Exhibition curators: Toleen Touq and Lillian O’Brien Davis.
Web platform design: Matt Nish-Lapidus.
3D map projection: Andre Markovic.
Exhibition essay by Toleen Touq & Lillian O’Brien Davis [PDF].
Essay by Tammer El-Sheikh.
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