dubai

Nadia Kaabi-Linke, A Short Story of Salt and Sun, 2013, silk paper, wax, Chinese ink, and varnish on linen, 90 1/2 × 55".

Nadia Kaabi-Linke

Lawrie Shabibi

Nadia Kaabi-Linke, A Short Story of Salt and Sun, 2013, silk paper, wax, Chinese ink, and varnish on linen, 90 1/2 × 55".

There is something unbearable about the lightness of Nadia Kaabi-Linke’s work, articulated in the diversity of material and form she employs to suit concept and site. Take Flying Carpet, 2011, a suspended cage-like sculpture shaped from the measurements of carpets used by illegal street vendors on the Ponte del Sepolcro in Venice. Or “In confinement my desolate mind and desires,” the artist’s Discoveries Prize–winning presentation at Art Basel Hong Kong in 2014, courtesy of Kolkata gallery Experimenter: Its central work—standard measurements for prison cells around the world, outlined with metal strips on the booth floor—was titled Modulor I after Le Corbusier’s universally applicable “range of harmonious measurements to suit the human scale.”

Herein lies the cognitive dissonance: between Kaabi-Linke’s treatment of weighty concerns with considered—and Minimalist—aesthetic

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