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“What Lasts! (Sarcophagus) is one part of a sculptural triptych that was born in the aftermath of opening up about my sexuality and being considered dead by some of my close family members. The ceramic sarcophagus is a celebration of my own death and a visual dictation of how my end can be. l protest against what I learnt as a child in Mecca: that gay people should be killed and are not worthy of a respectful end nor a funeral ceremony. On the top of the lid lies a full cast of my body in a peaceful prayer position, my head tilted to the right and my feet free and playful, like my personality in real life.”Ahmed Umar’s sculptural rendering of his own sarcophagus (a stone coffin usually associated with Ancient Egypt) expresses the pain of oppression while also paying respect to the dead. His self-portrait blends autobiographical aspects of identity, personal experience and connections to the black pharaohs of the ancient kingdom of Kush (which was located at what is now the Sudanese and southern Egyptian Nile Valley), with contemporary prejudice and projected futures. Umar’s work is informed by his conservative upbringing in Mecca, Saudi Arabia and Sudan, and often highlights the repercussions of existing outside of social and cultural norms. He uses his personal experiences as a tool to discuss the silencing, demonising and compromising of queer lives.

アーティストの略歴

The Soul of a Nomad: Between Khartoum and Norway

Ahmed Umar’s artistic journey is a profound meditation on the concept of belonging, woven from the threads of displacement, exile, and the search for a stable identity. Born in 1988 in Khartoum, Sudan, his early life was shaped by a complex duality, moving between the cultural landscapes of Sudan and the strict spiritual atmosphere of Mecca, Saudi Arabia. This upbringing, marked by the tension between the fluid traditions of Sudanese Sufism and the rigorous doctrines of Wahhabism, instilled in him a lifelong preoccupation with the boundaries of faith, gender, and social norms. When the realities of political instability led to his relocation to Norway, Umar did not merely leave behind a homeland; he entered a transformative period of exile that would become the crucible for his creative vision. His work serves as a bridge between these disparate worlds, translating the visceral experience of being a refugee into a universal language of resilience and cultural negotiation.

The Geometry of Memory and Ancient Echoes

In his visual practice, Umar masterfully synthesizes the aesthetics of Western modernism with the rich, storied iconography of his African heritage. He draws deep inspiration from the Black Pharaohs of the ancient kingdom of Kush, utilizing their historical grandeur to anchor contemporary struggles for recognition. His style is a striking fusion where the structured, geometric precision of Constructivism meets the intricate, organic patterns of Sudanese textiles and decorative arts. This dialogue between form and tradition allows him to explore themes that are both deeply personal and historically resonant. One of his most poignant explorations can be found in his sculptural work, such as What Lasts! (Sarcophagus). In this piece, the ceramic vessel becomes more than a funerary object; it is a site of protest and a celebration of existence. By creating a sarcophagus that reflects his own body in a state of peaceful prayer, he confronts the historical and contemporary erasure of queer lives, turning a symbol of death into an assertion of eternal presence.

Identity and Intersectionality: Navigating the complex overlaps of ethnicity, religion, and sexuality.
Cultural Reclamation: Using Sudanese motifs to reassert the importance of African history in a globalized art context.
The Aesthetics of Displacement: Transforming the trauma of exile into a powerful medium for social activism.

Reclaiming the Narrative on the Global Stage

As his career has progressed, Umar has moved from the periphery to the very center of the contemporary art discourse. His presence at prestigious institutions, such as the Munch Museum in Oslo and the La Biennale di Venezia, marks a significant achievement in bringing Sudanese narratives to the forefront of the international stage. His performance-based works, notably Talitin, The Third, demonstrate his ability to use the body as a canvas for political and social reclamation. In this piece, he takes an insult once used to marginalize him—referring to those who do not conform to traditional masculine roles—and transforms it into a celebratory performance of Sudanese bridal dance. Through the use of wearable art, fabrics, and braids, he reclaims the very practices that were once used to exclude him. Ultimately, Ahmed Umar’s significance lies in his ability to turn the pain of being "othered" into a vibrant, unyielding celebration of human complexity, ensuring that the stories of the marginalized are not just heard, but indelibly etched into the fabric of art history.

ahmed umar (artist)

1988 - , Sudan

基本情報

Artistic Movement Or Style: Abstract Art & Constructivism
Artists Or Movements Influenced By This Artist: ['Abstract Art']
Artists Who Influenced This Artist: ['Edvard Munch']
Date Of Birth: 1988
Full Name: Ahmed Umar
Nationality: Sudanese-Norwegian
Notable Artworks:
- What Lasts!
- Separation
Place Of Birth: Khartoum, Sudan

What Lasts! (Sarcophagus)

作品解説

アーティストの略歴

手描き油彩複製画

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