In Doha, as part of the renovation of public spaces, Qatar Museums has entrusted a series of urban interventions by prestigious international artists, namely Damien Hirst (The Miraculous Journey), Louise Bourgeois (Maman), and the photographs of Anne Geddes or the intervention of El Seed.
On this occasion, the Department of Public Art of Qatar, under the curatorship of Sarah Foryame and in collaboration with Worldwide Walls (POW! WOW!) founded by Jasper Wong, presents for the first time in the area of Mena a series of interventions with local artists as well as from the Persian Gulf region and overseas.
This initiative aims to make specific contributions to the reassessment of public spaces through art and show openness towards urban art never seen before in the country.
” ‘Qatar’s street art scenery has gathered momentum in recent years through various endeavours aimed to display art beyond single four walls and make it accessible to all. We are thrilled to be the exclusive regional hosts of the international POW! WOW! event. A festival to support a global network of artists whose artworks will undoubtedly add vibrancy to urban walls in Al Sadd Metro Station, a busy and heavily pedestrianised area located in the heart of Doha.'” Arch. Abdulrahman Ahmad Al Ishaq, Director of Public Art at Qatar Museums
Contemporary Mexican artist Said Dokins known for his large-format writing interventions in public spaces, starts this first edition in Doha.
Right at the Al Sadd metro area entrance, there is his intervention entitled ‘The Magic Square’.
Said Dokins investigates abstract arabesque and medieval forms of writing in this wall painting using contemporary media and materials such as spray paint, customised paint brushes, and rollers. Said Dokins continued to base his work on practices such as graffiti and calligraphic techniques.
Likewise, Dokins has found an entire thread in the ceremonial aspects of the act of writing. His body of work includes a profound reflection on the sacred, time and memory, and the exploration of geometric shapes.
In his wall painting, a series of concentric squares hidden in positive and negative spaces overlap through a kinetic visual effect. However, Dokins does not leave out the relationship with the context. In most of his projects, we shall perceive the constant participation of the public, which contributes to the construction of the text. This particular case has been no exception. Dozens of people participated in elaborating the text of the artwork, a kind of exquisite corpse made with the names and words poured by each participant.
Photo credit POW WOW