Karim

JABARRI

TOWARD the LIGHT

THROUGH THE IRRECONCILABLE RENUNCIATION OF THE SEMBLANCE OF RECONCILIATION, ART HOLDS FAST TO THE PROMISE OF RECONCILIATION IN THE MIDST OF THE UNRECONCILED: THIS IS THE TRUE CONSCIOUSNESS OF AN AGE IN WHICH THE REAL POSSIBILITY OF UTOPIA - THAT GIVEN THE LEVEL OF PRODUCTIVE FORCES THE EARTH COULD HERE AND NOW BE PARADISE... -THEODOR ADORNO AESTHETIC THEORY

 Artists who have crafted a new lenses of perspective populate history; advancement is one of Arts most important functions. Giotto, Leonardo Da Vinci, Pablo Picasso, Marina Abramovic and Vito Acconci are particular artists, to name a few who have pushed the corridor of the perspectival, advancing how we see. As in the Geertzian notion, Art is symbiotically apart of society. Thus, it is relative and exists inside a culture; further the perspectival expansion extends to not only Art, but as part of society. However, what is the outcome when an artist intentionally focuses on the expansion of the horizons of innovation, as well as, societal limitations? Such is a breeding ground for a renaissance, in a new way we have not seen before. In order to arrive at such a destination,there must be an intensity, skill and determination to create the spark and momentum. What begins to constructs the tapestry and richness? The tenacity for a renaissance in both the lens of society and creative innovation can be found in the nature embedded in Performance Art. By looking most particularly at the work of the Serbian Performance Artist, Marina Abramovic, the methodology for the means of overcoming resistance is illuminated and begins to be understood. Abramovics specific discourse aimed at the expansion of the constraints of life itself, often times in the face of death begin to narrate the characteristics necessary for the possibility of a new renaissance. In Abramovics 1974, performance work, Rhythm 0 a performance Art work, the artist invited the audience to use one of seventytwo objects of harm or pleasure on the artists body. The performance took place for six hours, from the opening to closing of the gallery. In this time frame, the audiences behavior had escalated to forms of active torture which almost escalated into Abramovics death. There one person stepped in to discourage a woman from pulling the trigger of a loaded pistol pointed at Abramovic. Despite the chance of death however, the artist still held the initial agency, as the performance opened as an invitation. What if such torture is not selfprescribed, it already exists embedded along the canvas of reality? As well as, there was not such a person who would step in to create the dissuade, but the only intervention was the very voice and the light from the artists medium itself? Tunisian artist, Karim Jabbari, is an artist who has begun to light the way for this new genre or renaissance. The light-graffiti and photographer artist, most successful feet is to have successfully transformed a very dark time in his life via societal ostracization and intolerance, into a beacon and medium for light via his own medium of calligraphy and graffiti. It is by doing this, Jabbari has begun to craft the means for the extension of

perspective and sight in Art and larger society. Jabbaris family became ostracized and segregated members of society, after his father became a political prisoner. As a politician, Jabbaris father spoke out against the corruption of politics and welfare of the Tunisian people. For this, he was sentenced to 10 years of solitary confinement. There, Jabbari senior would pray for the peace of his people and try to find deeper meaning and devotion to his maker. The jailing of the senior Jabbari also would represent the general political atmosphere of Tunisia at the time where it was thus, illegal to speak out against the government. Karim Jabarri recreated his fathers jail cell in 2011, in the Montreal Art exhibition, Arab Winter: with stark cement walls and a small space. Yet, after the senior, Jabbari saw the recreation, he stated to his son, This looks like a vacation. It was not just Jabbari senior who faced a similar solitude. Revealing the atmosphere in Tunisia of intolerance, the young Karim Jabbari, as well as, the family, faced social isolation as a consequence of his fathers imprisonment. At school, Jabbari endured isolation and silence from his peers, both inside and outside the classroom. But in the words of Jabbaris father, Nobody reaches dawn without night. It was during this time that both Jabbaris, father and son, in their own sense -- father would fight for the light. At school Jabbari began focusing on calligraphy at home and in school, especially as the other children would interact with him. His classmates would only approach him, and bring the children around him as he revealed his budding talent and skills. The crafted strokes first of ink was where this artists voice would be granted visibility, recognition amongst his peers; as well, as grant his own means to realize his subjectivity via the means of creativity. Outside of the classroom, Jabbari would revisit his fathers legacy, and take his new sense of artistic identity and talent to voice notions of freedom along Kasserine walls and streets. Just as his father, and fully aware of the consequences, he would use his calligraphy and graffiti to tag messages to speak out against the economical oppression and corruption along the constraints of Tunisian city walls the very medium created for a constrain. By bringing the message of did this trying to thus expand the horizons of society. He did this all while articulating both creatively and freely outside of the dictatorial quality of control he understood so well. As in the lineage of graffiti writers before him, Jabbari scribed the unspoken stories and messages of social injustices with the colors of intensity which can only spring forth from the burning of ones heart. He would do this to trace the expansion for the peoples collective voice and sight, developing his unique artistic technique and discourse,

sparking a trail of momentum; providing the hope from isolation and visibility from an imposition to be blotted out. Jabbaris medium would propel him forward, providing the vehicle of progression. Such a characteristic begins to reveal the constructs of the tapestry for a new wave of renaissance. **** Jabbaris current work still pursues freedom for the oppressed, yet he does so by juxtaposing his message and aesthetic with light graffiti. His work represents a truly performative technique. Utilizing a SLR camera and flashlight to capture movement of light in still images. I was thinking about the origins of light and its relatinshiop to graffiti when I first interviewed Jabbari. I had found graffiti is prevalent in areas experiencing the darkness of gentrification and oppression, therefor this medium provides a light to be seen and heard. Simultaneous upon interviewing Jabbari, another artist challenged me to think about the question: Where does light come from in the beginning? Light is so vital for the piercing of the murk which graffiti aims to expose by specifically challenging politics of visibility and therefor subverts the blindness social marginality. Further, the same materiality which explains the universes creation the enormous kinetic momentum, and the tenacious spark to reverse the gravity of darkness and its detraction against the protest for life has a similarity to the origins of the Art work of Jabbari. He holds the medium of a beacon light, holding a dawn, and a bell which ushers in newness. Jabbaris work also seems to satisfy the Adornos treatise on Modernism and aesthetics, in Aesthetic Theory. Adorno stated Art can bridge dissonances, and therefor provides the methods and medium for the construction of a new social reality. Yet, in order to do this, Adorno discusses the notion of audio harmony. He discusses there is a magnetic surge which crafts ones hands in order to find the right chord, which he incorporates as the metaphor for reality anew. This chord also provides the state for a harmonic Utopia. Jabbari utilizes the spray can, paint brush and flash light instead of the keyboard of a piano to find such a visual melody which translates to the proclamation of a newness. His experience as a yound artist looking for a means to articulate his voice amidst ostracization layed this foundation. Visually, Jabbaris Art work articulates a velvet harmonious vibrato of victorious light and freedom. He does this with such works or visual ballads such as, Here I have realized my Dreams, Break your own Barriers, and Freedom. The curvature and pure intentionality of the lines of his calligraphy provide the visual chords and melody and perhaps where there would be the crescendo, Jabarri uses a burst of light.

Jabbaris discourse aims to dispel distorted perspectives targeted at the Muslim community from the Western World; he also challenges the Muslim radicals who perpetuate stereotypes with the use of radical violence. Jabbari aims to subvert both, and provide a window for dialogue and transparency in both the Western and Eastern mindsets alike, as well as, promote the atmosphere of peace, tolerance and hope. He stated to us, I want my work to give the message of hope and the idea that revolution is an everyday struggle. It means working hard, raising your children right and providing respect for the oppressed... That is a [real] revolutionist. It is perhaps through this message where the dialogue of the marginalized can begin to take shape from Art into society. **** This past summer, Karim Jabbari worked on the project, Towards the Light. It was a calligraphy and graffiti mural, as well as, workshop for the youth. This took place in the birth place of the Arab Uprisings of 2010. The project was also done in collaboration with the French artist, Wilfred Robin. Toward the Light aimed to empower and spark of an uprising of dignity amongst the youth, by using the tools of artistic expression. This project seems to be an attempt to create a harmonious resolve in the Arab uprisings discord. Jabbari emphasizes artistic empowerment and expression as an outlet. Further. he hopes to instill in the youth what graffiti has always afforded: the means for authorship and to rewrite dialogues of social inclusion and a light of the darkness. The team has painted the largest graffiti mural in Kasserine, the local prison that was destroyed by the riots.

Revealing the rock of his belief system and his performative elements, Jabbari ended his interview with Du Coeur Magazine by stating, Dont ever give up and keep doing what you love... Perhaps it is the message and materiality of love which can dissuade the dark to usher towards the fresh newness of the light which provides visible sight. Jabbari has presented his work in performances, photography and video in major exhibitions in Tunisia, Canada, Kuwait, UAE, and Saudi Arabia. Jabbaris most sought after exhibitions specifically use light graffiti, naming his works after messages of hope. a side note: In December 2010, Mohammed Bouazizi set himself on fire outside of a government building in Tunisia. This was an act of culminating frustration. As not an uncommon tale, the college graduate, Bouazizis could only find means for employment. He could only find work as a fruit seller. Yet, Bouazizis daily sales operations would be interfered with by the harassment of government officials who wanted bribes. The officers would take his fruit and demand bribes for them to be returned. Bouazizis final straw was bearing witness to an unjust physical violation by a female government official and detainment. Despite this assault, Bouazizi was not able to report the crime against him. With the will to live exhausted, Bouazizi lit himself on fire outside a government building. Marred by similar frustrations, the action of Bouazizis was echoed by other citizens of Tunisia while the photos of the event were shared virally through the Arab World. The uprisings have been attributed to human rights violations, and a large percentage of unemployed, yet, educated youth. While one man sparked the motion of the Uprisings -perhaps another movement can start by the of creative expression.

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