Listening to a description of the materials that feature in Lisa Ross’s photographic series Living Shrines, raises doubts as to where, exactly, the living element comes in.
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Terry Smith, an art critic, outlined this definition by saying that although artists in the 1970s and 1980s did not want to define their work, it would eventually be labelled as conceptual – the goal was to keep the audience guessing, not offer answers to themselves or their viewers – and to keep themselves at a critical distance from the very institutions they were railing against.
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This exhibition is also is the first time these two artists have been compared in a scholarly fashion, which is important, not least because Picasso was a notoriously difficult character. His friendship with Giacometti seems to reveal a lot of respect for the younger’s talents.
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Clearly trying to cause public debate, Omari will no doubt be successful in that, because this is not the kind of show that a viewer can pass over without comment but unfortunately, the artwork does not shed light on what it is like for these people, forced to leave their homeland with whatever they can carry and fall victim to traffickers, crooks and a whole corrupt system.
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It is testament to the Lebanese artist’s mastery of the medium that, as his viewers take in each work as a whole, its stories reveal themselves easily. In his latest show, the tales are heartbreaking realities of our time.
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