Adel Abidin

Tokyo, Mori Art Museum, Arab Express: The Latest from The Art World, 2012

Exhibition Catalogue, Tokyo, Mori Art Museum, Arab Express: The Latest from The Art World, 2012, illustrated in colour (on the front cover) & pp. 80-82

Condition: This work is in very good condition. Colour: The colours in the catalogue illustration are accurate. The frame in the actual work is of gold colour and the white bulbs are white and not yellow as viewed in the catalogue.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Adel Abidin's works are inspired by his personal life experiences. With his distinctly imaginative style he addresses a variety of issues, such as the diaspora’s sense of belonging, feelings of alienation in a foreign land, an émigré's adaptation to new social surroundings, and the classification of Iraqi identity.

Abidin also explores topics such as fundamentalism, nationalism and religion. He works across a variety of mediums, primarily focusing on video installations and short films. The artist aims to discuss and expunge social prejudices and stereotypes adopting an ironic narrative throughout his artworks when doing so.

I’m Sorry is a three-dimensional installation which has been fashioned to look like an illuminated sign. The sign has been produced in the same three colours as the American flag, it is framed by flashing light bulbs further accentuating the ironic sentiment, "I'm sorry".  This was the repeated response Abidin received when asked his ethnic origin during a recent trip to America.  Abidin encountered various people from diverse social backgrounds, yet whenever he mentioned his Iraqi nationality people would offer their condolences. The shift and dialogue between audience and artist is a constant theme present in his work.

The response, "I'm sorry" becomes a double entendre - are people apologising for the artist’s ill fate of being born in such a war-torn country, or apologising from guilt; from the infringements imposed by America on Iraq during the war. Eventually, the artist felt he should just respond "I'm sorry" every time he was asked, as if it was required from him to be sorry for his ethnic origins, as if country itself was an apology, named "I'm sorry".              

Abidin’s witty criticism addresses both the injustice of the American invasion of Iraq whilst condemning Iraqi fundamentalists actions which serve as a pretext to justify popular foreign abhorrence. Abidin scrutinises cultural friction and political tension in a global society. His unique powers of observation coupled with his consummate sense of humour results in exceptional pieces of contemporary art tackling current issues.

Another edition of the present work is in the Khalid Shoman Foundation, Amman.