Aseel AlYaqoub

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<channel>
	<title>Aseel AlYaqoub</title>
	<link>https://aseelalyaqoub.com</link>
	<description>Aseel AlYaqoub</description>
	<pubDate>Sat, 03 Sep 2022 17:09:49 +0000</pubDate>
	<generator>https://aseelalyaqoub.com</generator>
	<language>en</language>
	
		
	<item>
		<title>Homepage</title>
				
		<link>https://aseelalyaqoub.com/Homepage</link>

		<pubDate>Tue, 30 Aug 2022 15:42:27 +0000</pubDate>

		<dc:creator>Aseel AlYaqoub</dc:creator>

		<guid isPermaLink="true">https://aseelalyaqoub.com/Homepage</guid>

		<description>
Aseel AlYaqoub
research-based and interdisciplinary artist


	Exhibitions
	Text
	Video

	
Talks
	About
	Contact

Selected Works


	&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/b164015c7eb81db011b94c8c23310eec9692c89fd63ed0a3a7ffe5cd580e713d/DX24-Aseel-Al-Yaquob-6-Lance-Gerber---3000px.jpg" data-mid="217733607" border="0"  src="https://freight.cargo.site/w/1000/i/b164015c7eb81db011b94c8c23310eec9692c89fd63ed0a3a7ffe5cd580e713d/DX24-Aseel-Al-Yaquob-6-Lance-Gerber---3000px.jpg" /&#62;
	Weird Life: An ode to desert varnish
2024

	In the Presence of Absence
steel super-structure, 3D printed PLA, CNC model-board, 200 kg pigmented resin


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	Congratulations2022
	Graduation Ceremony
hand-stitched shemaq garland, gold-plated emblem

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	Dodging Bullets IV2021
	Graduation Ceremonyblown glass


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	Imagining the Imagined in the Imaginary2021
	Stories We Tell Ourselves
graphite on paper

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Space Wars2021
	How will we live together?
The 17th International Architecture Exhibition of the Venice Architecture Biennale
Kuwait Pavilion
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	A Hundred Soldiers Somersaulting2020
	A Hundred Soldiers Sommersaulting
45:00 (film still)

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	Contrary Life: A botnaical light garden devoted to trees2018
	Art Jameel Commission
32 artificial trees, concrete islands
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	Prevent Mixing2018
	Culture Fair: Yesterday, Today and Tomorrow
four-layer stamp collage
ⓒ Aseel AlYaqoub, 2024</description>
		
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	<item>
		<title>Exhibitions-Homepage</title>
				
		<link>https://aseelalyaqoub.com/Exhibitions-Homepage</link>

		<pubDate>Thu, 01 Sep 2022 12:23:04 +0000</pubDate>

		<dc:creator>Aseel AlYaqoub</dc:creator>

		<guid isPermaLink="true">https://aseelalyaqoub.com/Exhibitions-Homepage</guid>

		<description>
Aseel AlYaqoub
research-based and interdisciplinary artist


	Exhibitions
	Text
	Video

	
Talks
	About
	Contact

Selected Exhibitions


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	The View From Above
solo exhibition
curated by Anca RujiouBildmuseet, Sweden2024


	︎Press Release
︎Interview︎Press︎Talk


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	Weird Life: An ode to desert varnish
commission
curated by Maya El Khalil &#38;amp; Marcello DantasDesert X AlUla, KSA2024


	︎Press Release
︎Artist Note
︎Press

	
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	Graduation Ceremony

solo show
The Sultan Gallery, Kuwait
2022


	︎Press Release
︎Works
︎Exhibition Catalogue


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&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/40380d8195ee082f261b525d74f91b06d2b60309d0fc02390ab8f6b2208b2443/AFP_KuwaitPad_Exhibition-120.jpg" data-mid="151833404" border="0"  src="https://freight.cargo.site/w/1000/i/40380d8195ee082f261b525d74f91b06d2b60309d0fc02390ab8f6b2208b2443/AFP_KuwaitPad_Exhibition-120.jpg" /&#62;
&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/6440cbf8681ec33731d31f58fdf6828fb154ccbc6a28a603cb43128c991a0c0f/AFP_KuwaitPad_Exhibition-223.jpg" data-mid="151833431" border="0"  src="https://freight.cargo.site/w/1000/i/6440cbf8681ec33731d31f58fdf6828fb154ccbc6a28a603cb43128c991a0c0f/AFP_KuwaitPad_Exhibition-223.jpg" /&#62;

	
	Space Wars
commission
Kuwait Pavilion, 17th International Architecture Exhibition2021
	︎Press Release︎Publication︎Talks︎Press

	
&#60;img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/46ab4466d68f060eecbc286c8f5e070443b2ab3f213b779a005f0ffbe3601726/_FL47301.jpg" data-mid="151836346" border="0"  src="https://freight.cargo.site/w/1000/i/46ab4466d68f060eecbc286c8f5e070443b2ab3f213b779a005f0ffbe3601726/_FL47301.jpg" /&#62;
&#60;img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/332ad720607533a109d673ca7707533545cfbe4b83e3d2a25c47a50ae5f249cf/_FL47292.jpg" data-mid="151836345" border="0"  src="https://freight.cargo.site/w/1000/i/332ad720607533a109d673ca7707533545cfbe4b83e3d2a25c47a50ae5f249cf/_FL47292.jpg" /&#62;
&#60;img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/e1b6a0728660cdd106b6667e9a48f662dbdcff4698bd8bf59753c5960d49d390/_FL47338.jpg" data-mid="151836347" border="0"  src="https://freight.cargo.site/w/1000/i/e1b6a0728660cdd106b6667e9a48f662dbdcff4698bd8bf59753c5960d49d390/_FL47338.jpg" /&#62;

	Stories We Tell Ourselves
group show
Foreman Gallery at Bishops University, Quebec2021
	︎Press Release︎Works︎Exhibition Catalogue︎Press


&#60;img width="3274" height="2182" width_o="3274" height_o="2182" data-src="https://freight.cargo.site/t/original/i/3438ad9091adbea8ef87c1ef02c8ab1bc98563016e60783af6f6a4ed2d800d4f/install.jpeg" data-mid="151837460" border="0"  src="https://freight.cargo.site/w/1000/i/3438ad9091adbea8ef87c1ef02c8ab1bc98563016e60783af6f6a4ed2d800d4f/install.jpeg" /&#62;
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&#60;img width="1440" height="960" width_o="1440" height_o="960" data-src="https://freight.cargo.site/t/original/i/64fa78b701910e35859a544715d03cc4c47ec0d6747979f142cd269c124078d5/For-Sacrifices.jpeg" data-mid="151837513" border="0"  src="https://freight.cargo.site/w/1000/i/64fa78b701910e35859a544715d03cc4c47ec0d6747979f142cd269c124078d5/For-Sacrifices.jpeg" /&#62;
&#60;img width="1440" height="960" width_o="1440" height_o="960" data-src="https://freight.cargo.site/t/original/i/7aa145456298621591c6d2bdb2ee2fe4bfc1bd937b830bc906b08f505a3a5554/I-will-surprise-you.jpeg" data-mid="151837526" border="0"  src="https://freight.cargo.site/w/1000/i/7aa145456298621591c6d2bdb2ee2fe4bfc1bd937b830bc906b08f505a3a5554/I-will-surprise-you.jpeg" /&#62;
&#60;img width="4805" height="3203" width_o="4805" height_o="3203" data-src="https://freight.cargo.site/t/original/i/376dd3f453afb1df33ea03c67941d396e6c6aa5a73b8780b5c7b520ebad4aa2e/still.jpg" data-mid="151837461" border="0"  src="https://freight.cargo.site/w/1000/i/376dd3f453afb1df33ea03c67941d396e6c6aa5a73b8780b5c7b520ebad4aa2e/still.jpg" /&#62;

	A Hundred Soldiers Somersaulting
screeningThe Contemporary Art Platform, Kuwait2020
	︎Press Release︎Exhibition Catalogue︎Video

	
&#60;img width="3000" height="2001" width_o="3000" height_o="2001" data-src="https://freight.cargo.site/t/original/i/60302bc9f657fe903e23c90e3f2eed5ccee2ec466be0c67f5d130a9fdaa0a034/contrarylife-copy.jpg" data-mid="151843147" border="0"  src="https://freight.cargo.site/w/1000/i/60302bc9f657fe903e23c90e3f2eed5ccee2ec466be0c67f5d130a9fdaa0a034/contrarylife-copy.jpg" /&#62;
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&#60;img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/fbca0708106d3d321e0b2bd284e7f7bab4e23f069e2dc0ac3977e523f100687f/contrarylife5.jpg" data-mid="151842404" border="0"  src="https://freight.cargo.site/w/1000/i/fbca0708106d3d321e0b2bd284e7f7bab4e23f069e2dc0ac3977e523f100687f/contrarylife5.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/0f567b1342ea6d2d9fa14a351487c6caeb43e80ba0cbf91f482dbd32f41207d3/photo-00482.jpg" data-mid="151842528" border="0"  src="https://freight.cargo.site/w/1000/i/0f567b1342ea6d2d9fa14a351487c6caeb43e80ba0cbf91f482dbd32f41207d3/photo-00482.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/31f1cf77f8d8c11c54b99029c027f5c934bbf517a9b84eb980b1e3964af9df0e/photo-00483.jpg" data-mid="151842529" border="0"  src="https://freight.cargo.site/w/1000/i/31f1cf77f8d8c11c54b99029c027f5c934bbf517a9b84eb980b1e3964af9df0e/photo-00483.jpg" /&#62;

	Contrary Life: A botanical light garden devoted to trees
commisionJameel Art Centre, Dubai2018
	︎Press Release︎Artist Note
︎Press

&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/72fb58f20d28ef6b5f6acf4ccaf0b4319b935385ae29302fe32fecd2ba413eb2/_MG_0983-copy.jpg" data-mid="151841737" border="0"  src="https://freight.cargo.site/w/1000/i/72fb58f20d28ef6b5f6acf4ccaf0b4319b935385ae29302fe32fecd2ba413eb2/_MG_0983-copy.jpg" /&#62;
&#60;img width="5208" height="3472" width_o="5208" height_o="3472" data-src="https://freight.cargo.site/t/original/i/310b00e553056503c1dfb32fa3529688ee44dd8247dc6a08f018c7ad380aa0c7/_MG_0949-copy.jpg" data-mid="151841736" border="0"  src="https://freight.cargo.site/w/1000/i/310b00e553056503c1dfb32fa3529688ee44dd8247dc6a08f018c7ad380aa0c7/_MG_0949-copy.jpg" /&#62;
&#60;img width="4340" height="2893" width_o="4340" height_o="2893" data-src="https://freight.cargo.site/t/original/i/246a84c8fd37930536bfefd9049be488e7907fa8231febf8db94614d5c823825/_MG_0976-copy.jpg" data-mid="151841286" border="0"  src="https://freight.cargo.site/w/1000/i/246a84c8fd37930536bfefd9049be488e7907fa8231febf8db94614d5c823825/_MG_0976-copy.jpg" /&#62;
&#60;img width="5008" height="3339" width_o="5008" height_o="3339" data-src="https://freight.cargo.site/t/original/i/d95c1688c07a52e8731e192495eaf48ce025055b4304935076f8ed68fe97f9d1/_MG_0941-copy.jpg" data-mid="151841269" border="0"  src="https://freight.cargo.site/w/1000/i/d95c1688c07a52e8731e192495eaf48ce025055b4304935076f8ed68fe97f9d1/_MG_0941-copy.jpg" /&#62;
&#60;img width="1720" height="1148" width_o="1720" height_o="1148" data-src="https://freight.cargo.site/t/original/i/c1c222fd59c54fbb341739a4d8bfd9dfa997cd18ff9b824228e2174af32acece/_Our_Gulf_Minus_One.jpg" data-mid="151841415" border="0"  src="https://freight.cargo.site/w/1000/i/c1c222fd59c54fbb341739a4d8bfd9dfa997cd18ff9b824228e2174af32acece/_Our_Gulf_Minus_One.jpg" /&#62;
&#60;img width="1720" height="1148" width_o="1720" height_o="1148" data-src="https://freight.cargo.site/t/original/i/766bd98788177c93fc970008dffa6d5af7a7fe66995ca2bf01f21628fd153f94/_Our_Gulf_Minus_One.jpg" data-mid="151841601" border="0"  src="https://freight.cargo.site/w/1000/i/766bd98788177c93fc970008dffa6d5af7a7fe66995ca2bf01f21628fd153f94/_Our_Gulf_Minus_One.jpg" /&#62;
&#60;img width="5008" height="3339" width_o="5008" height_o="3339" data-src="https://freight.cargo.site/t/original/i/a06b25e4e355a22402cfb25cace5e7c5bb203cc6d64b8cd23613f7a139bfc896/_MG_0944copy.jpg" data-mid="151841273" border="0"  src="https://freight.cargo.site/w/1000/i/a06b25e4e355a22402cfb25cace5e7c5bb203cc6d64b8cd23613f7a139bfc896/_MG_0944copy.jpg" /&#62;
&#60;img width="5008" height="3339" width_o="5008" height_o="3339" data-src="https://freight.cargo.site/t/original/i/fd2c825f22e2b4c5d66b502c4e8fd297c58efa6b99eb04dc84ac801d40f50fa9/_MG_0948-copy.jpg" data-mid="151841277" border="0"  src="https://freight.cargo.site/w/1000/i/fd2c825f22e2b4c5d66b502c4e8fd297c58efa6b99eb04dc84ac801d40f50fa9/_MG_0948-copy.jpg" /&#62;

	Culture Fair
solo showThe Sultan Gallery, Kuwait2018
	︎Press Release
︎Works︎Review

&#60;img width="1475" height="983" width_o="1475" height_o="983" data-src="https://freight.cargo.site/t/original/i/56f39c71b61e1c176975bf8c1d51a466b78a962ac5b3caff60e8aacf1bda9332/_MG_8476small.jpg" data-mid="151843798" border="0"  src="https://freight.cargo.site/w/1000/i/56f39c71b61e1c176975bf8c1d51a466b78a962ac5b3caff60e8aacf1bda9332/_MG_8476small.jpg" /&#62;
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&#60;img width="1475" height="983" width_o="1475" height_o="983" data-src="https://freight.cargo.site/t/original/i/4e9ca4ffa87f877b484214e9542cbc25e4dae72ef6695c0db77cc89667906bfd/_MG_8529small.jpg" data-mid="151843801" border="0"  src="https://freight.cargo.site/w/1000/i/4e9ca4ffa87f877b484214e9542cbc25e4dae72ef6695c0db77cc89667906bfd/_MG_8529small.jpg" /&#62;
&#60;img width="1475" height="983" width_o="1475" height_o="983" data-src="https://freight.cargo.site/t/original/i/2613c053f407c367dbd4964487d8b74a023cab187fc5ca4005fab570ea02fbbe/_MG_8557small.jpg" data-mid="151843803" border="0"  src="https://freight.cargo.site/w/1000/i/2613c053f407c367dbd4964487d8b74a023cab187fc5ca4005fab570ea02fbbe/_MG_8557small.jpg" /&#62;

	Popular Games
solo showDeKalb Gallery, New York2015
	︎Press Release
︎Review
ⓒ Aseel AlYaqoub, 2024</description>
		
	</item>
		
		
	<item>
		<title>PressRelease-Graduation Ceremony</title>
				
		<link>https://aseelalyaqoub.com/PressRelease-Graduation-Ceremony</link>

		<pubDate>Sat, 03 Sep 2022 10:59:02 +0000</pubDate>

		<dc:creator>Aseel AlYaqoub</dc:creator>

		<guid isPermaLink="true">https://aseelalyaqoub.com/PressRelease-Graduation-Ceremony</guid>

		<description>︎ back


	The Sultan Gallery is proud to present 'Graduation
Ceremony', visual artist Aseel AlYaqoub's sixth career solo exhibition.


 From March 7th to April 28th, The Sultan Gallery
will exhibit a selection of minimal, military-inspired works by Aseel AlYaqoub in its new first-floor gallery space. Marking AlYaqoub's sixth
career solo exhibition and the second with The Sultan Gallery, 'Graduation
Ceremony' is the latest series presenting the artist's deep dive into Kuwait’s
military institution.


AlYaqoub's research-based art practice concerns themes of history, colonialism, and nationhood. Her work questions the
universal specifications used for nation-building, from the structuring
processes of national identity to government programs such as military
conscription and visual propaganda. She mines historical material for her
pieces, with a particular personal focus on Kuwait, and uses satire as a
thread through most of her conceptual works. 
Using Joseph Massad's book "Colonial
Effects" (2001) as a lens, the artist delves into Kuwait's
military genealogy to uncover whether its symbols and traditions are nationally
born or inherited from colonial legacies. AlYaqoub recontextualises her
research through various witty works in varying mediums and styles,
questioning whether Kuwait's national culture–born out of the military–is not
so much 'traditional' as it is 'traditionalised'. 
For the past five years, AlYaqoub has analysed
found-footage of military demonstrations and annual graduation ceremonies in Kuwait and the Arab World. The performances recall a history of theatre-making, often amidst extravagant sets mimicking local architecture. Additionally, the recognisable traditions adopted from colonial cultural products, such as British fanfare instruments and music, are made apparent.
However, the invented traditions have had little to no change since their inception, as proven in today's annual military re-enactments.&#38;nbsp; 
Graduation Ceremony examines Kuwait's military spectacle and its constant embodiment of
nationalism. The exhibition shows how the independent nation-state
reappropriates the same colonial apparatuses that once governed it. The
artist's research is brought into the physical realm through drawings,
sculptures, video, and photography to discern why the creation of national icons and the processes they inform continue to follow imperial prescriptions.

	Graduation CeremonyMarch 7 - April 28, 2022 &#38;nbsp; &#38;nbsp;&#38;nbsp; 
The Sultan Gallery, Kuwait
Information:Wesbite: www.sultangallery.com
email:


sultangallery@sadeer.com


Instagram:


@sultangallery


ⓒ Aseel AlYaqoub, 2024
</description>
		
	</item>
		
		
	<item>
		<title>Works-GraduationCeremony</title>
				
		<link>https://aseelalyaqoub.com/Works-GraduationCeremony</link>

		<pubDate>Sat, 03 Sep 2022 12:11:32 +0000</pubDate>

		<dc:creator>Aseel AlYaqoub</dc:creator>

		<guid isPermaLink="true">https://aseelalyaqoub.com/Works-GraduationCeremony</guid>

		<description>︎back

Works


&#60;img width="4786" height="3190" width_o="4786" height_o="3190" data-src="https://freight.cargo.site/t/original/i/3fac2ee423dba93754fe7a4bbe365a0e782042b08c087ef42d8d99449dac0351/DSC03962-Edit_Wide.jpg" data-mid="151996733" border="0"  src="https://freight.cargo.site/w/1000/i/3fac2ee423dba93754fe7a4bbe365a0e782042b08c087ef42d8d99449dac0351/DSC03962-Edit_Wide.jpg" /&#62;
&#60;img width="4786" height="3190" width_o="4786" height_o="3190" data-src="https://freight.cargo.site/t/original/i/795a3bce6d8c5829f5de4188bd78255ffe13cb5d16bc7eea55f709d0146dd107/2-Edit_Wide.jpg" data-mid="151996764" border="0"  src="https://freight.cargo.site/w/1000/i/795a3bce6d8c5829f5de4188bd78255ffe13cb5d16bc7eea55f709d0146dd107/2-Edit_Wide.jpg" /&#62;
&#60;img width="4786" height="3190" width_o="4786" height_o="3190" data-src="https://freight.cargo.site/t/original/i/50e7ebcc09749b9ea4d2979427278bb544091faa0f1cec4efaf2c17bf036cf10/3-Edit_Wide.jpg" data-mid="151998005" border="0"  src="https://freight.cargo.site/w/1000/i/50e7ebcc09749b9ea4d2979427278bb544091faa0f1cec4efaf2c17bf036cf10/3-Edit_Wide.jpg" /&#62;

	Dodging Bullets (series)
2021
blown glass


&#60;img width="4978" height="3319" width_o="4978" height_o="3319" data-src="https://freight.cargo.site/t/original/i/ee2e72f896a5eff5f82022e78afaff4cc7c8d95b241c3b475f28c0418a6ef0eb/AB6A0990_edited.jpg" data-mid="151993038" border="0"  src="https://freight.cargo.site/w/1000/i/ee2e72f896a5eff5f82022e78afaff4cc7c8d95b241c3b475f28c0418a6ef0eb/AB6A0990_edited.jpg" /&#62;
&#60;img width="4805" height="3203" width_o="4805" height_o="3203" data-src="https://freight.cargo.site/t/original/i/271f8f35743c4e32a501b6c1bedd16b4ea83f925dc801631cefc7ee2a546290e/AB6A1001_Edit.jpg" data-mid="151992955" border="0"  src="https://freight.cargo.site/w/1000/i/271f8f35743c4e32a501b6c1bedd16b4ea83f925dc801631cefc7ee2a546290e/AB6A1001_Edit.jpg" /&#62;
&#60;img width="5416" height="3611" width_o="5416" height_o="3611" data-src="https://freight.cargo.site/t/original/i/7210bfb9f8ec9a41225892c4ba6dd531360afa006847f2cd948fcc85a229566a/AB6A1004_edited.jpg" data-mid="151992919" border="0"  src="https://freight.cargo.site/w/1000/i/7210bfb9f8ec9a41225892c4ba6dd531360afa006847f2cd948fcc85a229566a/AB6A1004_edited.jpg" /&#62;

	The First Boots
2022altered military boots, wood, brick


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	Congratulations2022
hand-stitched shemaq garland, gold plated emblem


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&#60;img width="3679" height="2453" width_o="3679" height_o="2453" data-src="https://freight.cargo.site/t/original/i/ff93b653b98d5203329a8c1a368e1e0202997fd198b32f3b4fb246b98f263ffc/Tower2.jpg" data-mid="151998556" border="0"  src="https://freight.cargo.site/w/1000/i/ff93b653b98d5203329a8c1a368e1e0202997fd198b32f3b4fb246b98f263ffc/Tower2.jpg" /&#62;

	Graduation Ceremony (series)2019
red ink on handpressed paper

	
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	Security Blanket2019


embroidered polyster quilt


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&#60;img width="3872" height="2592" width_o="3872" height_o="2592" data-src="https://freight.cargo.site/t/original/i/8d2223b9825e494ed8840bad34a3a6b43fd5ac2794f61150609e49b658ca29f8/DSC_0771.JPG" data-mid="152006515" border="0"  src="https://freight.cargo.site/w/1000/i/8d2223b9825e494ed8840bad34a3a6b43fd5ac2794f61150609e49b658ca29f8/DSC_0771.JPG" /&#62;

	Mimic Men2019
digital prints on satin photo paper
ⓒ Aseel AlYaqoub, 2024
</description>
		
	</item>
		
		
	<item>
		<title>PressRelease-SpaceWars</title>
				
		<link>https://aseelalyaqoub.com/PressRelease-SpaceWars</link>

		<pubDate>Sat, 03 Sep 2022 12:39:27 +0000</pubDate>

		<dc:creator>Aseel AlYaqoub</dc:creator>

		<guid isPermaLink="true">https://aseelalyaqoub.com/PressRelease-SpaceWars</guid>

		<description>︎ back


	Pavilion of Kuwait
At the 17th International Architecture Exhibition of La Biennale di Venezia
Commissioned by the National Council for Culture, Arts, and Letters (NCCAL), the Kuwait pavilion at the 17th International Architecture Exhibition of la Biennale di Venezia responds to the theme set forth, ‘How will we live together?,’ through the discovery, interpretation, and projection of the hinterland. 

Oftentimes viewed as a counter to the forms that constitute the metropolitan, the surrounding and seemingly unoccupied landscape serves as the nation’s functional staging ground through resource extraction, agricultural cultivation, military installations and cultural sedimentation. While necessary for the support and production that fund and logistically provide for the city-state, these landscapes remain isolated, both spatially and in discourse. 

For Kuwait, the year 2021 marks the 70th anniversary of the first master plan and the 30th anniversary of the Gulf War (also known as the ‘First Space War’). As we absorb the year and the milestone it represents, new development plans are set that inform the expansion beyond the metropolitan – ultimately converging with the hinterland. As the radial city’s imminent growth looms, the status of these spaces remains in question. Their competing functions and ambiguous growth patterns will inevitably lead to ‘space wars’ that compete for survival. 

How will these spaces continue to exist next to, between, and amidst one another? Will their spatial territories surrender to the metropolitan’s expansion campaign? The participation entitled Space Wars aims to address these questions in order to define the future of these spaces under threat – threat from extinction, overuse, domination, and, at times, the threat of being forgotten.

Kuwait’s regional positioning has generated historical references through which the hinterland can be read and, at a scale vulnerable to analysis, allows it to be scrutinized. This year’s approach positions Kuwait as a case study to understand these past, present, and future narratives. Thus, within a wider discourse, it oﬀers itself as a test bed to expand the scope of the architect towards the hinterland. 

The curators, Asaiel Al Saeed, Aseel AlYaqoub, Saphiya Abu Al-Maati and Yousef Awaad, working across the boundaries of architecture, art, policy and urbanism, were selected in response to Zahra Ali Baba’s interest in commissioning projects that engage with the cultural expressions and archaeological histories embodied in the desert landscape and the intelligence of land management inherited within what seems to be a priori of the urban form. As an interdisciplinary team, the approach combines contributions from multi-disciplinary practitioners to highlight questions surrounding the future of land at the verge of consumption and erasure, potentially risking the total loss of hypothetical histories yet to be written.
	Space WarsMay 22 - November 22, 2021&#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
Artiglierie Arsenale, Venice, Italy


Commissioner:
National Council for Culture Arts and LettersCurators:
Aseel AlYaqoub, Asaiel Al Saeed, Saphiya Abu Al-Maati, Yousef AwaadContributions and Collaborations:
Abdullah AlGhunaim, Atlas of Places, Ayesha Kamal Khan, Aiysha Alsane, Bab.nimnim, Dani Ploeger, David Green, Faysal Tabbarah, Formless Finder, Jawad Altabtabai, LCLA Office, Abdulaziz AlJassim, Mohammed Alkouh, Maees Hadi, Nada Al Qallaf, Post Petroleum Society, Reem Alissa, Dana Alhasan, Samia Henni, Sara Alajmi, Sara Al-Ateeqi, Sijal Collective, Studio Toggle, The Open WorkshopProject Coordinators:
Jaber Al Qallaf, Alaa Baroun
Art Direction:
TB.D Studio

Information:
Website: www.kwtpavilion.com
Email: info@kwtpavilion.com
Instagram: @space__wars

ⓒ Aseel AlYaqoub, 2024
</description>
		
	</item>
		
		
	<item>
		<title>Publication-SpaceWars</title>
				
		<link>https://aseelalyaqoub.com/Publication-SpaceWars</link>

		<pubDate>Sat, 03 Sep 2022 16:37:08 +0000</pubDate>

		<dc:creator>Aseel AlYaqoub</dc:creator>

		<guid isPermaLink="true">https://aseelalyaqoub.com/Publication-SpaceWars</guid>

		<description>︎back

Publication
	
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	Space WarsEditor’s Note

Asaiel Al Saeed, Aseel AlYaqoub, Saphiya Abu AlMaati, and Yousef Awaad
In architectural discourse surrounding the Arabian Gulf, the hinterland has often served as a given—an unassuming space that serves only to contrast, and in turn highlight, the rapid rise of cities fuelled by oil wealth. English language books and articles often discuss the city as the marker of modernization for Gulf nations, signalling their transformation from primitive to modern, only now recognizable as similar in culture or built form. The hinterland is portrayed, when it is portrayed at all, as space yet to be conquered, yet to be developed. A critical and grounded discussion of what the desert truly is remains glaringly absent. Without this vast space, the cities in question would not exist. As the nation’s functional staging ground, the hinterland provides the support needed to fund, the protection required to sustain, the cultural production that anchors, and the many other elements that contribute to these cities. &#38;nbsp; &#38;nbsp;&#38;nbsp; 
This book aims to extract and consolidate the information around the desert from their often siloed and isolated conditions. It brings together various perspectives in conversation to broaden the field and challenge our view of the hinterland as wasteland. The intention is not to present the national landscape of Kuwait as the single instance of the issues raised throughout the publication but rather to accept that Kuwait’s regional positioning has generated historical references through which the hinterland can be read and, at a scale vulnerable to analysis, be scrutinized.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
 Produced by individuals, firms, and collectives spanning the fields of history, art, architecture, military, and ecology, the work included in this anthology puts forward optimistic projections, dystopian futures, past traumas, and open-ended questions. It moves across scales and time. It is at once tragic and hopeful.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
No longer can the hinterland be considered separate from the architect’s purview or the citizen’s conscience. It remains, and always has been, an integral factor in the definition of space.Contributions and Collaborations by:Abdullah AlGhunaim, Atlas of Places, Ayesha Kamal Khan, Aiysha Alsane, Bab.nimnim, Dani Ploeger, David Green, Faysal Tabbarah, Formless Finder, Jawad Altabtabai, LCLA Office, Abdulaziz AlJassim, Mohammed Alkouh, Maees Hadi, Nada Al Qallaf, Post Petroleum Society, Reem Alissa, Dana Alhasan, Samia Henni, Sara Alajmi, Sara Al-Ateeqi, Sijal Collective, Studio Toggle, The Open WorkshopArt Direction:TB.D Studio
ⓒ Aseel AlYaqoub, 2024
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		<title>PressRelease-StoriesWeTellOurselves copy</title>
				
		<link>https://aseelalyaqoub.com/PressRelease-StoriesWeTellOurselves-copy</link>

		<pubDate>Sat, 03 Sep 2022 16:46:33 +0000</pubDate>

		<dc:creator>Aseel AlYaqoub</dc:creator>

		<guid isPermaLink="true">https://aseelalyaqoub.com/PressRelease-StoriesWeTellOurselves-copy</guid>

		<description>︎ back


This group exhibition, conceptualised by curator Matthew Kyba, questions how the museum’s history as a colonial tool for Western pedagogy influences the stories we tell. To elucidate the unseen politics within the display systems and political agendas of cultural institutions, the four featured artists/artist duos appropriate various museological practices—collection, didactics, video, sculpture, presentation techniques and artefacts—to self-referentially question how such institutions dictate politicised stories. Stories We Tell Ourselves undermine the museum’s colonial past and current pedagogy by probing how these settings shape public opinion and social understanding of different histories and contemporary conditions.[Extract] Kuwaiti-based artist Aseel AlYaqoub’s inquiry has led to the creation and restocking (in terms of artefacts) of a museum that does not currently exist, in a typical Western understanding of “existing”. Instead, the National Museum is currently (and for the last three decades) open only to a very few small exhibits, operating at a seemingly much-reduced capacity. Seeking to underscore the destabilising conflicts that mark Kuwait’s short history and lasting effects, AlYaqoub’s new work uses drawing to investigate the ongoing arrested development within the Kuwait National Museum. The drawings, gleaned from newspapers, found photos and other archival sources, portray the museum’s artefact collection as ghostly outlines. Sparked by the turbulence of Kuwait’s continued efforts to modernise — including the rise and fall of the national economy and subsequent Gulf War —AlYaqoub’s work evokes the museum’s continued idling in the renovation process.The museum’s first iteration was in 1957 in the Palace of Khazal; typical elements include the initial two-storey structure made from coral stones and mud bricks. During the country’s late’60s modernization push, the museum was (re)designed by French architect and urban planner Michel Ecochard, who discarded the previous palace's architectural characteristics and introduced a new structure in a new location, reflecting the then-current concrete-and-glass aesthetic. After visiting the museum in 1977, Andy Warhol remarked:Visit to the National Museum, there’s no history to this place, it goes back twenty-five years. There were like eight rooms, one had three coins in the whole room. Think there was one room that Alexander the Great left some pots in.1However, the institution still housed a collection of Iraqi and Middle-Eastern artworks that remained there until the seven-month siege and looting of Kuwait by Iraqi forces in 1990. Though numerous artefacts were eventually recovered, the pillaging severely depleted the national archives, with hundreds of unaccounted objects. This loss is on top of the massive damage sustained by the museum, an action deemed a “crime against humanity” by the US military.[1] The museum has since remained stuck in a state of arrested development, with operations stalled, limping ahead with the skeleton of its past hanging off its back. Sourced purely from found documentation of its cultural spaces, AlYaqoub’s pencil silhouettes offer glimpses of a museum that no longer exists. These items will continue to haunt how the country’s national museum system — a system understood within Eurocentric (and Western-dominated) communities as an important institution for showcasing domestically held cultural artefacts — will be defined in the long term.[1] https://www.latimes.com/archives/la-xpm-1991-03-11-mn-145-story.html


	Stories We Tell OurselvesOctober 21 - December 11, 2021&#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
Foreman Gallery of Bishop’s University, Quebec, Canada
Curator:
Matthew KybaArtists:
Aseel AlYaqoub, Sameer Farooq &#38;amp; Mirjam Linschooten, Jacqueline Hoàng Nguyên, Emii Alrai

Information:

Website: www.foreman.ubishops.ca/stories-we-tell-ourselves
Email: gallery@ubishops.ca
Instagram: @foremanartgallery

ⓒ Aseel AlYaqoub, 2024
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		<title>Works-ImaginingtheImagined</title>
				
		<link>https://aseelalyaqoub.com/Works-ImaginingtheImagined</link>

		<pubDate>Sat, 03 Sep 2022 16:20:10 +0000</pubDate>

		<dc:creator>Aseel AlYaqoub</dc:creator>

		<guid isPermaLink="true">https://aseelalyaqoub.com/Works-ImaginingtheImagined</guid>

		<description>︎back

Works


	&#60;img width="3507" height="4731" width_o="3507" height_o="4731" data-src="https://freight.cargo.site/t/original/i/caf6d074ec74661173f5152707dbf769e335f11ede0d693f0ed73679b7e6f37a/Fig_1.jpg" data-mid="152006817" border="0"  src="https://freight.cargo.site/w/1000/i/caf6d074ec74661173f5152707dbf769e335f11ede0d693f0ed73679b7e6f37a/Fig_1.jpg" /&#62;
	The Renounced Ancestor
2021
graphite on paperFigure (4) A small figurine of burnt yellow clay, 5 cm high, with a cap and a beard, from the Bronze Age.


	&#60;img width="4727" height="3507" width_o="4727" height_o="3507" data-src="https://freight.cargo.site/t/original/i/0c19cfd051dac29f9ea2d198f98e6175516ee5132dbf1f8d03cf999e6e099134/Fig_2.jpg" data-mid="152006818" border="0"  src="https://freight.cargo.site/w/1000/i/0c19cfd051dac29f9ea2d198f98e6175516ee5132dbf1f8d03cf999e6e099134/Fig_2.jpg" /&#62;


	A Desire to Emulate2021
graphite on paperFigure (12) A group of painted Hellenistic pottery in the area of the Greek temple (P5) Failaka.

	&#60;img width="3491" height="4731" width_o="3491" height_o="4731" data-src="https://freight.cargo.site/t/original/i/c55ca6a89e9b47f962e9f4b6267ddd5b71c7b9efa2b89871a1b1833d6479cc4c/Fig_3.jpg" data-mid="152006819" border="0"  src="https://freight.cargo.site/w/1000/i/c55ca6a89e9b47f962e9f4b6267ddd5b71c7b9efa2b89871a1b1833d6479cc4c/Fig_3.jpg" /&#62;
	Balanced as a Fulcrum Between Two Buckets2021
graphite on paperFigure (24) Al-Kandari is a primitive way to sell water.

	&#60;img width="4723" height="3491" width_o="4723" height_o="3491" data-src="https://freight.cargo.site/t/original/i/52ce7a55e2cb8fc59962282d0f8c110bcd43724318effbf2322506f298af20c3/Fig_4.jpg" data-mid="152006820" border="0"  src="https://freight.cargo.site/w/1000/i/52ce7a55e2cb8fc59962282d0f8c110bcd43724318effbf2322506f298af20c3/Fig_4.jpg" /&#62;
	We Don’t Want to Depend on You, O’ Cruel Sea2019


graphite on paper
CARGO DHOW &#38;lt;&#38;lt; GJANGA &#38;gt;&#38;gt;


	&#60;img width="4724" height="3498" width_o="4724" height_o="3498" data-src="https://freight.cargo.site/t/original/i/255bb24a4f0eefb0a57f05ab318dad045249a4a5faa6b0e2c11772667f6395f5/Fig_5.jpg" data-mid="152006821" border="0"  src="https://freight.cargo.site/w/1000/i/255bb24a4f0eefb0a57f05ab318dad045249a4a5faa6b0e2c11772667f6395f5/Fig_5.jpg" /&#62;
	Only a Century Ago2019
graphite on paperFigure (26) Education in Kuwait (Al-Katatib) in the first school.

	&#60;img width="3484" height="4721" width_o="3484" height_o="4721" data-src="https://freight.cargo.site/t/original/i/c42d4a1cc247e7490cf87fc05eca2cc3bb1a7a81214ee8054ba4cb4727bc8193/Fig_6.jpg" data-mid="152006822" border="0"  src="https://freight.cargo.site/w/1000/i/c42d4a1cc247e7490cf87fc05eca2cc3bb1a7a81214ee8054ba4cb4727bc8193/Fig_6.jpg" /&#62;
	In Ornamentation, National Identity Resides2021
graphite on paperFigure (38) One side of the Diwaniyah room.

&#60;img width="4722" height="3484" width_o="4722" height_o="3484" data-src="https://freight.cargo.site/t/original/i/5af3d3eb8918ad30e55344e623a5048c03342f08bc05bc21519b0f4bd40941fb/Fig_7.jpg" data-mid="152006823" border="0"  src="https://freight.cargo.site/w/1000/i/5af3d3eb8918ad30e55344e623a5048c03342f08bc05bc21519b0f4bd40941fb/Fig_7.jpg" /&#62;
	When We Were Once Impecunious2021
graphite on paperFigure (39) The old Kuwaiti kitchen.

&#60;img width="3481" height="4726" width_o="3481" height_o="4726" data-src="https://freight.cargo.site/t/original/i/137a5d7aafe2ce89c8db7bcafcb3fb17408946660d630e179767fcb5dd804425/Fig_8.jpg" data-mid="152006824" border="0"  src="https://freight.cargo.site/w/1000/i/137a5d7aafe2ce89c8db7bcafcb3fb17408946660d630e179767fcb5dd804425/Fig_8.jpg" /&#62;
	When the Chandelier Fuses, One Remembers2021
graphite on paperFigure (42) Petticoat (Bothuraya).

&#60;img width="3486" height="4724" width_o="3486" height_o="4724" data-src="https://freight.cargo.site/t/original/i/c943173285577345ec99adf926f90ad2fe8cbbd236568291f885d7af8f5ad7dd/Fig_9.jpg" data-mid="152006825" border="0"  src="https://freight.cargo.site/w/1000/i/c943173285577345ec99adf926f90ad2fe8cbbd236568291f885d7af8f5ad7dd/Fig_9.jpg" /&#62;
	Imagining the Imagined in the Imaginary2021
graphite on paperThe First National Museum.

ⓒ Aseel AlYaqoub, 2024
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		<title>PressRelease-100SoldiersSomersaulting</title>
				
		<link>https://aseelalyaqoub.com/PressRelease-100SoldiersSomersaulting</link>

		<pubDate>Sat, 03 Sep 2022 12:58:24 +0000</pubDate>

		<dc:creator>Aseel AlYaqoub</dc:creator>

		<guid isPermaLink="true">https://aseelalyaqoub.com/PressRelease-100SoldiersSomersaulting</guid>

		<description>︎ back


The Contemporary Platform presents Aseel AlYaqoub’s first film, an accumulation of found footage gathered over four years, focusing on Kuwait’s diplomatic history and military developments. Combining archive documentary material with interviews, newsreels, political cartoons and plays, the artist questions national collective memories by spewing grainy library footage onto the screen to a soundtrack of music by classical composers and local singers such as Sergei Prokofiev and Abdullah AlRuweished.


The film begins with aerial scenes of
picket-fenced houses amidst a vast desert neatly arranged into a small
community. A young couple emerges from their humble abode, playfully pushing
their child within his miniature vehicle. A man plays golf; a woman lights a cigarette amongst friends on the patio, an outdoor haircut, supper on an elegantly set table, and all under a searing sun. They were the British
living in Al-Ahmadi, Kuwait, and by 1961, it was time for them to leave. Kuwait bids farewell to the Anglo-Kuwaiti protectorate to greet the independence of a newly
formed nation-state. However, a week later, the new nation soon experiences the first
threat directed towards its brand-new sovereignty. 


From here, the film builds
the stage to perform a series of events, contemplating the defence mechanisms
put in place to maintain Kuwait’s autonomy. Content is sourced from existing
archive material such as news broadcasts, interviews, advertisements... plays,
TV series and cartoons. A new montage presents events engrained
within our collective memory while retrieving what has been lost and
ignored. Mixed feelings are invited as we watch Saddam Hussein gift a
gold-plated Kalashnikov to Sheikh Jaber Al-Sabah less than a year before Iraq
invades Kuwait. This is countered by a continuous progression of external
diplomatic efforts throughout and in parallel to the slow but constant
enhancement of the nation’s military. The film brings those moments back into
the present time, into the light, and launches them into the future. 


While plenty of news footage of sinister events exists, there is also subtle satirical commentary and playful
imagery. Margret Thatcher’s speech of distaste towards Saddam Hussein in 1990
is paired with a popular scene from the Kuwaiti play ‘The Sword of the Arabs’,
where Abdulhussein Abdulredha performs a brilliant depiction of Saddam Hussein
singing uninhibitedly. An awkward handshake between King Salman Al-Saud and a
Qatari delegate at the GCC Summit, eagerly mediated by HRH Sheikh Sabah
Al-Sabah, is interspersed with ‘It’s a beautiful day in this neighbourhood’
sung by Mister Rogers. 


Mister Rogers later concludes the
film with a PBS Public Announcement made during the 1990 Gulf War, reassuring
the young American audience watching the green screens of missile attacks on
television that ‘all will be well’. This is expressed right after Kuwait raises
its latest alert in response to the drone bombing of Saudi Aramco. ‘A Hundred Soldiers
Somersaulting’ does not offer a compelling political vision for the future of
Kuwait or the region. Nevertheless, it attempts to draw a messy and complex
narrative into focus and, in doing so, perhaps bring forth some questions on
whether a nation should focus on peaceful diplomatic efforts, strengthen its
military, or both. 


	A Hundred Soldiers SomersaultingJanuary 14 - January 16, 2020&#38;nbsp; &#38;nbsp; &#38;nbsp; The Contemporary Art Platform, Kuwait

Information:

Website: www.capkuwait.com
Email: info@capkuwait.com
Instagram: @capkuwait

ⓒ Aseel AlYaqoub, 2024
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		<title>PressRelease-ContraryLife</title>
				
		<link>https://aseelalyaqoub.com/PressRelease-ContraryLife</link>

		<pubDate>Sat, 03 Sep 2022 17:09:49 +0000</pubDate>

		<dc:creator>Aseel AlYaqoub</dc:creator>

		<guid isPermaLink="true">https://aseelalyaqoub.com/PressRelease-ContraryLife</guid>

		<description>︎ back


The Art Jameel Commissions: Sculpture jury awarded Kuwait-based artists Aseel AlYaqoub and Alia Farid.&#38;nbsp;The artists’ major, immersive installation Contrary Life: A Botanical Light Garden Devoted to Trees debuted at the opening of Jameel Arts Centre, Dubai, on November 11, 2018. The announcement&#38;nbsp;took place on February 26, 2018, and the artists were granted a commission to realise their work, which riffs on our relationship with the natural world; their site-specific installation acts as a community botanical garden, albeit made up of artificial, hybrid trees and flora.

The announcement followed a popular call to artists in 2017 that garnered diverse applications from over 57 countries. The shortlist included four artists: Mohammed Kazem, Anahita Razmi, Mounira Al Solh, Farid, and AlYaqoub. All four artists developed their concepts further, and a final jury deliberation settled on the Kuwaiti artists as the winners.

The 2017-2018 jury included writer and curator Shumon Basar; independent curator and art historian&#38;nbsp;Reem Fadda;&#38;nbsp;James Lingwood, Co-director of Artangel;&#38;nbsp;Elvira Dyangani Ose, Senior Curator of Creative Time and Lecturer in Visual Cultures at Goldsmiths, University of London; &#38;nbsp;Sheikha Hoor Al Qasimi, President of Sharjah Art Foundation; and representatives from Art Jameel.

As part of its Open Call for the programme in October 2017, Art Jameel invited artists to submit proposals for sculptural works that utilise light technologies, reflecting on the role of light in a dynamic urban setting such as Dubai. Artists were encouraged to use Jameel Arts Centre’s architectural façade and other locations in and around the building as a point of inspiration; the new work debuted in conjunction with the opening of the Centre on November 11, 2018.


	Contrary Life: A botanical garden devoted to treesNovember 11 2018- August 17 2019&#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Roof Terrace, Jameel Art Centre, Dubai, UAE

Information:

Website: www.jameelartscentre.org
Email: hello@artjameel.org
Instagram: @capkuwait

ⓒ Aseel AlYaqoub, 2024
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