We always remember and write that we learned a lot from the Sharjah cultural project: we learned from the titles and publications accumulated by the Sharjah International Fair, we learned ideas about theater, how to read the theatrical performance, who is the director, what is the scenography, what is the decoration, and again, by accumulating, Theatrical accumulation since the eighties until today.
We learned how to read the plastic painting, we knew what the supporting painting means, we learned to know the colors, hot and cold ones. We learned about light and its importance and centrality in plastic painting, and in theatrical painting, and again, all this knowledge came through accumulation, plastic accumulation as well as the theatrical accumulation created by the Sharjah cultural project..
What is the relevance of these ideas and data? The occasion can be summed up in the following question: Which of the writers, artists, and poets had complete theoretical and visual knowledge in the eighties that meant, that is, the meaning of this knowledge, that restoration, the restoration of a building in itself, is a work of art.
We learn a lot from the Sharjah International Biennial, and the amazing thing here is that the artistic, cultural and aesthetic knowledge we gain from place, from the environment, and from life, which are summed up together by the ideas of the Sharjah Biennial.
The Kalba Ice Factory building, which dates back to the seventies of the twentieth century, is today an artistic site with a cultural, social, and service vision stemming from the thought and philosophy of the Biennale. Large spaces, and that the plastic arts are not only color, shadow and light, and that art is not only a performance work or a video work, but an ancient or restored building is also a work of art that comes within the framework of the intellectual vision of the Biennale.
Natural lighting caused by the building, the original architectural character of the factory. Its location and its surroundings, and the formative visual spirit that the place radiates, are all studied in the Biennale’s thought.
The facts and information of the Biennale indicate to us previous artistic projects of the same thought, such as: the Flying Saucer Building, the Rainy Room, Al Hamriyah Studios, and the artistic buildings in Al Mureijah Square. This is the art of the place, and the art of the land in the spirit of Sharjah that accumulates knowledge, cleanses the human eye of dust and ophthalmia, and makes him see beautiful things, and the human being sees the most beautiful, so that he becomes a visionary and a visionary, a human being complete with goodness, beauty and faith.
