Abu Dhabi Exhibition Unpacks the Unreliability of Memory and the Art of Reconstruction

Our memories are not static recordings; each time we recall an event, we risk altering it. Details can shift, emotions can be reinterpreted, and cherished experiences might diverge significantly from their original occurrence. This phenomenon, known as memory reconsolidation, forms the core of Consolidation is Reconsolidation, an exhibition featuring five UAE-based artists at Region in Abu Dhabi's MiZa district. The exhibition, running until Monday, also marks the debut of Hyphen Contemporary, a curatorial platform established by Cecelia Jihu-Sara to support emerging artists and cultivate new art collectors.

Through diverse mediums including photography, painting, sculpture, and scent, the participating artists delve into the ways memories are preserved, distorted, and rebuilt. They explore how these recollections are shaped by personal experiences, family archives, and digital records. As Jihu-Sara notes, "The memories we recall most often are often actually the least reliable."

Husna Samer, the youngest artist in the exhibition, employs symbolism and surrealism to investigate themes of identity, remembrance, and the evolving concept of home. The exhibition's timing is particularly relevant in an era where nearly every experience can be documented, yet these digital records may prove no more enduring or accurate than our own memories.

Jihu-Sara observes that the relationship between experiencing moments and documenting them has fundamentally changed. Events like concerts, gatherings, and daily encounters are increasingly mediated through smartphone screens, prompting questions about what is retained and what is lost. "Are you truly experiencing it?" she asks. "If you're behind your phone, who are you then experiencing it for?" While digital recordings capture visual and auditory information, they often fail to convey the emotional depth of an event. Furthermore, the fragility of online archives, susceptible to data loss and AI manipulation, blurs the lines between documentation and truth.

These concerns are echoed in the work of Sara Kamar, who was born in Abu Dhabi in 2003. Her paintings and sculptures explore memory, identity, and the intricacies of digital infrastructure. Kamar's artistic practice examines the implications of technology becoming an extension of human memory, with smartphones and cloud storage increasingly supplanting traditional journals and physical photographs. Jihu-Sara suggests that the immediacy of digital photography has also diminished the perceived value of recorded memories, citing camera rolls filled with screenshots that are seldom revisited.

A more sensory approach is evident in the work of Layla Doueidi. Drawing from her Syrian-Lebanese heritage, family archives, and recent experiences in Syria, Doueidi utilizes photography and scent to explore inherited and lived memories. Her wax-based artworks incorporate fragrances inspired by her father's profession as a perfumer. Jihu-Sara highlights the power of scent to evoke memories that are difficult to access through visual or textual means. A personal demonstration by Doueidi, involving various fragrances, illustrated how scent can trigger distinct recollections based on individual experiences, underscoring the subjective nature of memory.

The tactile engagement required by scent-based art, unlike passive viewing of photographs or paintings, demands physical participation. The same scent can evoke different memories for different individuals, while the blurred appearance of Doueidi's wax pieces mirrors the often-hazy nature of recollection, particularly concerning childhood experiences. Photography is explored in a fragmented manner by Filipino artist Martin Ong Yambao. He integrates found photographic materials with the traditional Filipino healing ritual of pagtatawas, a practice involving molten candle wax and prayers. Yambao's distinctive treatment of photographic images, which he manipulates using a candle, initially captured Jihu-Sara's attention at Art Dubai. The resulting distorted imagery visually represents how memories can transform over time through repeated recall.

Yambao's work gained particular relevance to the exhibition's location when he revealed he possessed a roll of film from Mina Zayed, the very district where the exhibition is held. Place and nostalgia are central to the artistic output of Emirati artist Rayan Aljneibi. Her background in archival science informs her exploration of how locations are documented, remembered, and transformed. Her recent works, including the 'Fragmented Recall' series and steel sculptures, investigate the changing character of familiar environments. Jihu-Sara was particularly struck by the distinctly local essence of Aljneibi's photography, which she first encountered through an Instagram post by fellow exhibitor Husna Samer. "There's such a feeling of nostalgia around her photos and these everyday kind of imagery and places and feelings that everyone here can relate to and recognise," Jihu-Sara commented.

While including an Emirati artist was not an initial curatorial mandate, Jihu-Sara believes Aljneibi's work offers a profound examination of a nation undergoing rapid development. Samer, the exhibition's youngest participant, uses symbolism and surrealism to explore identity, remembrance, and the shifting meaning of home. Beyond its thematic depth, Consolidation is Reconsolidation also signifies the aspirations of Hyphen Contemporary. Sara Kamar's work, for instance, scrutinizes how digital technology influences memory and identity, questioning our increasing reliance on devices for preserving personal experiences.

Jihu-Sara's path to curating is unconventional. After studying mechanical engineering and working as a project manager in highways and railways in the UK, she relocated to the UAE two years ago. Following a stint at a gallery in Alserkal Avenue, she pursued a master's degree in History of Art and Museum Studies at Sorbonne University Abu Dhabi. An academic assignment to conceptualize a museum for the capital led to the creation of Hyphen Museum, which ultimately inspired her independent curatorial platform. Jihu-Sara explains that the hyphen in Hyphen Contemporary symbolizes the connections between diverse cultures, identities, and experiences within the UAE's multicultural landscape. It also reflects her goal of bridging the gap between emerging artists and individuals new to art collecting.

Drawing from her own experience of purchasing her first artwork from an emerging gallery in East London, Jihu-Sara aims to make art collecting more accessible, while providing emerging artists a platform for serious exhibition. "You can walk into a gallery, and no matter how much money you have, you're not going to spend $20,000 on your first artwork," she states. "It kind of has to start somewhere." This philosophy informs the exhibition's deliberate and focused presentation. Jihu-Sara initially considered featuring twice as many works but ultimately reduced the selection to ensure each piece contributed meaningfully to the overall narrative. She believes that smaller, tightly curated exhibitions can be more inviting to audiences unfamiliar with contemporary art, allowing for deeper engagement with individual artworks without feeling overwhelmed. "I didn't want it to be like a bazaar," she emphasizes. "It's not a shop. It's an exhibition." Consolidation is Reconsolidation runs until October 19 at Region, MiZa, Abu Dhabi, open daily from 9am to 9pm.