Khaled Sabsabi's journey to the Venice Biennale is a testament to the power of art and the resilience of the human spirit. His installations, 'khalil' and 'Conference of One's Self', are not just visual masterpieces but also a reflection of his personal struggles and triumphs. This article delves into the artist's process, the controversies surrounding his appointment, and the profound impact of his work on the Venice Biennale.
A Rocky Road to Venice
Sabsabi's road to Venice was fraught with challenges. The artist's appointment to represent Australia at the biennale was initially met with enthusiasm, but a series of events led to his sacking and subsequent reinstatement. The controversy began with a political inference by Tasmanian Liberal senator Claire Chandler, who suggested that Sabsabi's work 'You 2007' risked exacerbating anti-Semitism in Australia. This led to a chain of events that saw Creative Australia's board rescind Sabsabi's appointment, citing the risk of prolonged debate and divisive debate.
However, Sabsabi's determination to create his work remained unwavering. He worked in fellow Australian artist Abdul Abdullah's studio in Bangkok, where he produced both 'khalil' and 'Conference of One's Self'. The former, a 40-meter-long painting covered in dense forest of interwoven lines, was originally planned for the national pavilion. But it was 'Conference of One's Self', a work that emerged 'in a vision, in a dream', that would ultimately inhabit the Australia Pavilion.
'Conference of One's Self': A Spiritual Journey
'Conference of One's Self' is based on the 12th-century text 'The Conference of the Birds' by Persian poet Farid ud-Din Attar. In the poem, a delegation of birds embark on a quest through seven earthly realms in search of the Simorgh, who they believe can bring order to their world. Sabsabi has added an eighth realm, through an eighth panel to the work, to represent the self. This panel is suspended just above the ground in the centre of the pavilion, inviting visitors to journey around it and reflect on their own existence.
The work is a powerful allegory for the journey Sabsabi and his supporters have endured. It draws on religious and ritualistic references to offer up a singular experience, much like the highly decorated interiors of a mosque, temple, shrine, or other sacred space. The work's final presentation obscures Sabsabi's signature, making it a truly collaborative effort.
'Khalil': An Immersive Experience
'Khalil', on the other hand, is an immersive installation in the Arsenale, the sprawling warehouses that once housed the munitions of Venice's powerful navy. The work is the first thing visitors encounter from the main entrance, and it holds its own in the vastness of the space. The canvas screens that have been unfurled around the space are in perfect proportion to the sturdy brick columns that buttress the roof of the ancient warehouse.
The work is a reflection of the cacophony of noise, emotions, and torment that Sabsabi may have endured during its making. The painting and its details are obscured by a 64-minute video layer of abstract figures and forms, creating a surreal and immersive experience for visitors.
A Testament to Australian Art
Sabsabi's installations at the Venice Biennale are a testament to Australian art and artists. His work challenges the traditional notions of exhibition and presentation, emphasizing the importance of the 'making' process over the final product. This is a powerful message, especially following on from Archie Moore's win of the Golden Lion for best national pavilion.
Conclusion: A Powerful Message
Sabsabi's installations at the Venice Biennale are a powerful message of resilience, creativity, and the human spirit. His work challenges the traditional notions of exhibition and presentation, emphasizing the importance of the 'making' process over the final product. As visitors journey through the pavilion, they are invited to reflect on their own existence and the journey Sabsabi has endured. This is a truly thought-provoking and engaging experience, one that will resonate with audiences long after the Venice Biennale has ended.
