When I step into one of the two large skylight halls in Kunstnernes hus, I feel both dizzy, confused and fascinated. The room is empty and crowded at the same time: there is nothing standing on the floor or hanging from the ceiling, but the walls are densely covered with small, enigmatic sculptures. EXCEPTIONAL: Kunstnernes hus is currently offering an exhibition completely out of the ordinary: “Glowing Phalanges” with works by the celebrated Norwegian-Sudanese artist Ahmed Umar. Photo: Uli Holz / Kunstnernes hus When I get closer, I see that each of the strange objects has a man’s hand cast in plaster as a starting point. According to the press release, this is artist Ahmed Umar’s own right hand. The sculptures are made of wood, ivory, mother of pearl, animal horn and bone, fur and glass. Here, Umar has combined elements he has created with parts of Asian and African souvenirs through impressive craftsmanship. Each of the 98 sculptures represents a personal prayer. Surrounded by hands I stand in the middle of the hall and feel what it’s like to be surrounded by all these hands that carry, point and touch. What exactly is the hand for a symbol? Clearly an image of struggle, vigor and resilience, of giving and taking, of caresses as well as blows. In this case, it is also about the hand as a tool for prayer and religious practice. ENVIRONMENTAL PROTECTION: By using precious materials such as mother-of-pearl and ebony, Ahmed Umar refers to the exploitation of natural resources. OPEN TO INTERPRETATION: I like that the objects resist any clear interpretation. Only the hands are legible and figurative. What they hold consistently defies any categorization. WHALE FROM SMØLA: In the exhibition, he includes Norwegian natural materials such as reindeer antlers, but also an old whale skeleton that he has retrieved from the seabed at Smøla in Nordmøre. The title “Glowing Phalanges” means glowing joints, and refers to the artist’s own upbringing in Sudan, in a rift between two different branches of Islam. In the Sufi tradition that his family represents, the use of prayer chains and protective amulets features strongly. Through his schooling in Mecca, however, he is exposed to Wahhabism, which maintains that the only correct way to pray is to use the knuckles of the right hand – which on the Day of Judgment will glow as a reward for this praiseworthy practice. It fascinates me how he weaves souvenirs into a beautiful handmade whole with natural materials taken from different parts of the world. Here he also uses Norwegian materials such as reindeer horn. TALENTED: Ahmed Umar came to Norway from Sudan in 2008 as a political refugee. Within a few years, he has distinguished himself as a clear voice on the art scene. He has already been purchased by the National Museum and is this year nominated for the Lorck Schive Art Prize. Photo: Julie Hrncirova Bits of memory Souvenirs are a strange type of object. The word itself comes from French and means memory. When we take a souvenir with us, it is precisely to remember. It is an object that represents a culture or a place. But often the souvenir is a pointed formulation or a caricature of the culture it represents. We can only take a look into a Norwegian souvenir shop to realize just this: Here, everything Norwegian is summed up in a hideous, gaudy troll, as a banalization of folk fantasy and the fairy tale tradition. IN YOUR FACE: Sometimes you can feel that the hand is pointing straight at you, as a kind of invitation or rebuke. In similar ways, both Asian and African culture is simplified and exoticized through objects created for Western tourists. When Ahmed Umar takes apart these souvenirs and reassembles them in new ways, combined with new materials, he challenges the image of the East and Africa as a foreign, exotic reality as an inverted reflection of the West. An Arabic version of the Sistine Chapel The last of the 99 visual prayer forms is displayed in the second skylight hall. From the ceiling hangs a wonderful yellow-white, embroidered carpet made in appliqué technique with what looks like Arabic characters. I think it’s a bit like a modern Arabic version of the Sistine Chapel, where pictures have been replaced with writing. The light in the ceiling falls beautifully through the carpet and emphasizes the clear, calligraphic quality of the expression. MEMORIES OF MICHELANGELO: Ahmed Umar’s embroidered carpet. Photo: Uli Holz / Kunstnernes hus Nostalgia and criticism On the way out, I think that perhaps the hand also symbolizes the normative and the admonishing in religion. Ahmed Umar originally comes from a country where his own homosexual orientation is punishable by life in prison in the worst case scenario. His project carries a heartfelt nostalgia, but also a criticism linked to his complex religious background. It is about the strong community, but also the limited individual freedom that religious affiliation creates. “Glowing Phalanges” is an important and thought-provoking exhibition that allows us to get to know a young voice from whom we will hear much more in the years to come. VIDEO: Mona Pahle Bjerke gives Ahmed Umar’s exhibition a clear recommendation in Nyhetsmorgen. news reviews Photo: Uli Holz Title: “Glowing Phalanges” Artist: Ahmed Umar Place: Kunstnernes hus, Oslo When: 17 February–16 April 2023
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“Glowing Phalanges” by Ahmed Umar at Kunstnernes hus, Oslo – Reviews and recommendations
