“Recovery — Return of the Uncertain Memory,”: “There was a sudden power failure which affected the computer; the operating system malfunctioned and it forced to restore to the factory default. the partially recovered corrupted photographs are powerful, as a metaphor for themes of identity, memory, representation, and displacement, all within the current context of memories and war and instability. By diversifying the dominant narratives about Yemen and its people, the artwork draws attention to the discrepancies that exist between public and private knowledge of events unfolding in Yemen daily.” “It’s the glitches and twists, I think, that make this universe unique and compelling. Without flaws, there would be no depth or substance. A persona is the result of everyday data alterations that shape, manipulate, and influence our online identity, behavior, and thoughts while our memories perpetually chase us.” Ahmed Mater
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Arif Al-Nomay was born in Ibb, Yemen in 1970. He enrolled in school at the age of twelve when the first school in his area opened. He moved to Abha in the Kingdom of Saudi Arabia at the end of 1989, where he worked in a photography studio. During this period, he became friends with a group of artists who had formed a radical collective at Abha’s Al Meftaha Arts Village. That artists' collective, which called itself Shatta ‘to be broken apart’, included Ahmed Mater, Ashraf Fayadh, and Abdulnasser Gharem, that established a movement that changed the Saudi art scene forever.