Enter Mous's utopia. But before that...
Take your shoes off!
I expected a very redundant display of the middle-eastern culture when I heard that is what Mous mostly featured in his work. But as soon as I stumbled across the sign to remove shoes before entering, I realized this would be so much more than just a few photographs. It would be an exhibition that integrates the viewer from head to toe into the middle-eastern culture and probably challenge everything they ever knew about it.
Many do not know this, but removing footwear and leaving them outside is just as much a middle-eastern thing as much as it is Asian.
This is Ahmad. We grew up together and his older brother and I were classmates. We all are just as good friends as we were when we were at school.
Working with Mous, Ahmad made it to the cover of GQ MiddleEast magazine. I couldn't be happier for him. He told me that Mous's work was coming to Amsterdam and his pictures would be there. I had to go show support.
Being born and raised in the Middle East comes with its fair share of challenges - especially with judgement and cultural segregation. Ahmad grew up to find a passion in exploring those challenges and conquering them by working with incredibly talented photographers who feel the same.
I won't lie, most of Ahmad's works bewilder me. I find it incredibly difficult to decipher the meaning behind the expressions. It looks extremely strange at first. What does an Arab man wearing a Kandoora and Qatra with Asics running shoes and a basketball jersey even mean? But the more time you spend asking yourself the question, the clearer the meaning starts to become.
It might help understading Mous's work by learning about him. I can see why he has found such a successful transition from understanding the challenges and relaying them to the audience through his photographs. Morocco is probably the most diverse African-Arabic country in the world. The moroccan people have a rich culture and are extremely diverse, all concentrated into one country. They are white, black, brown, yellow, and everything else. They have had their fair share of westernization - the good and bad that comes from it, while being African and Arab and more than that. Mous rightfully can deconstruct the notion of "normal" as normal is very ambigous to him already.
After my videocall with Ahmad and congratulating him on his recent success, I started diving into Mous's photographs. His work screamed "there is nothing as normal" to me. All these stupid boundaries we construct, and then act on it because it is how we are shaped to see them, ....are just stupid. I love that his mother also participated in his project.
Some of his photographs are very loud and bold. As you scroll through this post and see his work you might find some that are almost confrontational to people who fear Middle-easterners.
These pictures above are my favorites from the main hall. Yes, the velvety carpet floor, too. Even from a local point of view, as someone who was born in the middle-east, these felt very foreign to me. Not only are they beautiful, but they are also not technically correct yet follow the guidelines that define the middle-eastern culture. Especially, the photograph with the woman on the horse. Arabic women, when travelling, sat sideways and were covered head to toe. However, seldom did they really ride the horse (albeit sideways) or in a white Abaya inspired by the Comme Des Garcons hearts.
The deeper the exhbition grew, the more striking it got. A lot of his work from the Blessings from Mousganistan, his utopia, hyperimposes western and foriegn symbolism into traditionally middle-eastern style. In a way merging them together very intimately to create a statement of togetherness and crushing down social constructs.
I found it really interesting that they mentioned his work also was inspired by the refugees around the world. We are all humans, made from the same elements, yet love and care for each other sometimes isn't the same everywhere. Is it because there is something innately wrong being a refugee, or is it because the hosts would be more comfortable if the refugees wore nikes or louis vuitton?
The prayer mats were an incredibly clever installation. The statement is very penetrating. I know because I have seen how a simple prayer mat can be radicalized. Another thing Mous very deftly incorporates in his work is contrast. Most of his work uses bold colors, words, styles, that constrast each other. It synchronizews perfectly with the theme of his work which has everything to do with differences and contrast.
RACISM
FITTING IN
RELIGION
WOMEN'S RIGHTS
LOVE FOR ALL
The way of expression may come off as absurd, disturbing even. It can be challenging, maybe provocative. But isn't that what it takes to really push a point through? I loved some of the illustrations that were basically a satire and mockery of famous artwork and photographs. But the message was clear. About universal love, I mean. At least by the end it was. It is in no way a smooth ride. Mous's work is very provocative.
Even the models must have really believed in the project. The desert isn't friendly. But wearing heavy dresses with accessories in that heat. Or the models that used henna and smeared their hands with nike and mcdonalds symbols. They are all very commited to sharing the message that Mous presented in his utopia.
The second floor of the exhibition had works from different artists. I felt incredible after visiting Blessings from Mousganistan especially since I could relate to them message and the culture, and also because my friend was part of it. But the other floors were a little more relatable - not in a good way. It was a terrific exhibition, and the other ones were...emotional. heartbreaking. painful. Difficult to find the right words for them. Those exhibitions deserve a separate post. For now simmer in Mous's utopia.
What do you think of Mous's message and the way he chose to portray it?
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