Redefining Women’s Work: New Exhibition at BEEAH HQ

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by Sophie She

Redefining Women’s Work: New Exhibition at BEEAH HQ

14 Nov 2024

Mahrous Abdou — Fields by the Canal, 2021

There are a lot of mysterious buildings in the UAE, but I guess this one wins the competition. The BEEAH Group Headquarters, that you could have read about here, is now open with the new exhibition. Of course I had to know what was going on there and so I am excited to give you a glimpse!

The fabulous BEEAH Headquarters, designed by Zaha Hadid, is now a home to Women’s Work: From Craft to Fine Art, Reclaiming Arab Textile Art — a compelling exhibition showcasing the intricate yet bold evolution of Arab textile art.

Curated by Nour Hage in partnership with Barjeel Art Foundation, the exhibition runs from November 9, 2024, to January 16, 2025, and features works from the mid-20th century to today by leading women artists across the Arab world. So yes, officially, you can come into this mystery ford up until January 16.

This exhibition is set to redefine the narrative around textiles — from “women’s work” to an artistic powerhouse. These pieces, made with techniques like embroidery, weaving, and even video tapes, delve into themes of identity, memory, and heritage.

Featured artists, like Stephanie Saadé and Bouchra Khalili, reclaim textiles to convey personal and cultural histories. Khalili’s “The Weaver” (2022) uniquely combines traditional weaving with magnetic tapes, symbolising knowledge passed through generations, while Saadé’s “The Encounter of the First and Last Particles of Dust” (2020) weaves together Lebanese history with her family’s own narrative.

Hind Zulfa — Untitled, 1985; Esther Cécile Bendaoud — Weaving, n.d.; Nazek Hamdy — Untitled, n.d.

“Barjeel Art Foundation already has an extensive and impressive artwork collection, which made my job a lot easier,” says Nour Hage. “I wanted to show a few pieces that are considered more "traditional" in terms of technique and/or material and a selection of pieces that had more innovative or experimental aspects to them. This selection made it possible to show the journey that textile art has taken throughout the decades, from a domestic context to the realms of fine arts.

Some of the artists that are part of this exhibition have built their practice on the preservation of their heritage and traditional ways of creating textiles. I am thinking in particular of Safia Farhat, who was the director of the Tunis institute of Fine Arts while collaborating with artisans to create tapestries following the traditional way of weaving. Safia Farhat was an advocate for the preservation of North African cultural heritage and believed that textiles were part of that.

Women in the Arab world have often used textiles as a mode of expression, sometimes because it is the only form available to them, but somehow that has been overlooked as a form of art and therefore undervalued. If we continue to overlook and undervalue these works we would be minimising an expansive and rich body of work from our culture and therefore devaluing a big part of our history.”

Mona Al Munajjed — Untitled, 1984

When asking Nour about framing the textile as a medium in a fine arts context, she responded, “In my own textile practice as an artist I often talk about these notions — of how textile art had been considered more of a craft than actual art until recent years. We are now seeing more and more textile pieces in art fairs and exhibitions, which is fantastic. But I still think it is important to highlight the trajectory that got us to the point where textile art is part of the contemporary art world.

Women have used textile work as a form of expression but also as a way to transmit knowledge and cultural identity from one generation to another. Women artists have been the primary practitioners in the medium and have elevated it from something considered as domestic labour to the realms of fine art.

We see an example of that transmission of knowledge in Fatima Shnesheh's artwork in the exhibition, Village. The artist embroidered the everyday happenings of a village life as a way to memorialise it for future generations. This generational transmission of knowledge and identity is also shown in contemporary artworks such as Bouchra Khalili's The Weaver, where the artist draws a parallel between filmmaking she admires and her own weaving, as techniques that allow transmission of knowledge from generation to generation.”

Fatima Shnesheh — Village, n.d.

Women’s Work turns textiles into a medium for storytelling, where threads carry cultural pride and individual resilience. The setting, Sharjah’s own architectural marvel by Zaha Hadid, deepens the exhibition’s homage to women’s influence in both art and design.

“Hosting an exhibition that celebrates the contributions of Arab women artists in a building designed by Zaha Hadid, a hugely influential female architect, is profoundly symbolic.

The fluid and innovative design of the building complements the themes of creativity and transformation present in the exhibition, enhancing the overall visitor experience. The space itself becomes part of the narrative, highlighting the synergy between architecture and art, and reinforcing the idea that both can challenge and redefine traditional boundaries.

It underscores the importance of recognising and honouring the achievements of women across various fields, from art to architecture. This confluence of female creativity and innovation serves as a powerful statement about the role of women in shaping cultural and artistic landscapes”, says Nada Taryam, CEO at Real Estate at BEEAH.

Reflecting on the exhibition, Nada Taryam added, “The exhibition highlights the often overlooked contributions of women in traditionally female-coded crafts, drawing parallels to the broader role of women in fields like architecture and design.

Just as the artists in the exhibition have reimagined and elevated textile practices, women in architecture and design are challenging and redefining their fields. This connection underscores the importance of recognizing and valuing the diverse contributions of women across all creative disciplines, and the impact they have on shaping our cultural and built environments.”

Louay Kayyali — Woman Sewing, 1974; Nadia Mohamed — Palms and Fields, 2021; Leila Jabre Jureidini — Kilim III, 2023

Sultan Sooud Al Qassemi, Founder of Barjeel Art Foundation, also highlighted the synergy between all parties, that recognised the importance of the chosen theme:

“The collaboration was inspired by a shared vision between Barjeel Art Foundation and BEEAH to explore themes of sustainability and cultural heritage. We recognised a unique opportunity to celebrate Arab art and textile traditions through contemporary perspectives, and to put together an exhibition that resonates with local and regional audiences.

At Barjeel Art Foundation, our mission is to highlight diverse narratives within Arab art, and this exhibition is a perfect reflection of that. We are committed to amplifying voices, especially those of women, who have contributed to regional art histories. This exhibit allows us to both honour textile practices and explore their significance within the modern Arab art context.

Over the years, Barjeel has aimed to build an accessible collection of modern and contemporary Arab art. We have prioritised works that bear historical significance in the region, many of which delve into questions of identity, collective memory and fostering dialogue. Through our exhibitions, we hope to bridge the past with the present and inspire a deeper understanding of Arab culture.”

Safia Farhat — La Mariée, 1963; Lamis Dachwali — Weavers of Aleppo, 1968; Amina Saoudi — Rêve Kelim, 2006

On the last note, these are what takeaways the creators would like you to keep in mind, while exploring the exhibition:

“We live everyday with textiles, they are part of our lives in various forms. They bring us physical and emotional warmth. They also spark memories and emotions, whether in texture, colour or patterns. I would love for the viewers to see themselves or their lineage in some of the pieces, the way I see my grandmother or my mother in some of them, and through that to see the importance of textiles as an art form that they can connect with.”

— Nour Hage, Curator of the Exhibition

“We hope visitors leave with a deeper appreciation for the rich cultural heritage and artistic innovation of Arab women artists. The unique space of Beach's headquarters, with its inspiring design by Zaha Hadid, serves as a reminder of the power of textile in art and the importance of challenging traditional boundaries.

We want visitors to feel inspired by the resilience and creativity of the artists, and to recognise the broader significance of their work in promoting cultural preservation and dialogue. Ultimately, we hope the exhibition encourages visitors to reflect on the interconnectedness of art, culture, and identity, and to consider their own roles in supporting and celebrating these narratives.”

— Nada Taryam, CEO at Real Estate at BEEAH

“We hope visitors leave with an appreciation for the artistic legacies within Arab textile art, particularly those shaped by women. This exhibition is more than just an art display, it is a space to reflect on heritage, sustainability and innovation. Our aim is for audiences to feel a sense of pride in these traditions and a renewed perspective on how they continue to Evolve.”

— Sultan Sooud Al Qassemi, Founder of Barjeel Art Foundation

All artworks are part of the Barjeel Art Foundation Collection, Sharjah, UAE

by Sophie She