Nadia Kaabi-Linke is widely recognized as a prominent figure in the realm of multimedia conceptual art. Her work delves into themes associated with identity, politics, and the human condition, employing a range of mediums such as sculpture, installation, and drawing. Exploring topics like city displacement, cultural identity, domestic violence, and geopolitical borders, Kaabi-Linke’s diverse portfolio has earned her global acclaim and numerous awards, showcasing the extensive impact of her artistic exploration.
In 2021, she secured the Ithra Art Prize in Saudi Arabia, a prestigious accolade presented by the King Abdulaziz Center for World Culture. This recognition included a substantial prize of USD 100,000 for the Diryah Contemporary Art Biennale, further highlighting the depth of her artistic contributions.
During a recent visit to Tunisia, I had the opportunity to attend the Nadia Kaabi-Linke 2023 exhibition, featuring an installation titled ‘Ons.’ This heartfelt tribute to the Tunisian tennis superstar, Ons Jabeur, transformed an abandoned hotel’s empty swimming pool into a tennis court. Positioned to mimic the pool’s contours, the court displayed a noticeable incline, surrounded by a stunning Mediterranean sea view that enhanced the artistic tribute.
In a visual symphony, Nadia Kaabi-Linke beckons the audience into a realm where conflicting forces collide, crafting an immersive experience that leaves an enduring impression. I spoke to Nadia about her career and her life as a visual artist.
Let’s start at the start. Could you please share the story of how your passion for art first emerged and what inspired you?
My passion for art has been a lifelong companion, rooted in a deep-seated desire for self-expression. The journey commenced with modern dance at the conservatory when I was just 7 or 8 years old. However, at the age of 12, a pivotal decision by my parents led to our emigration to the United Arab Emirates.
How long did you live in the United Arab Emirates, and where?
I spent a significant part of my childhood, four years to be precise, in Sharjah and Dubai, where I completed my high school education in the 90s. Back then, the Emirates had a different landscape, and the absence of professional dance schools posed a challenge for my continued dance education. Despite these changes, my innate need for self-expression endured. With dance no longer serving as an outlet, I turned to writing and eventually found solace in poetry.
The quest for self-discovery didn’t stop there. I delved into drawing and painting, immersing myself in artistic pursuits. Fortunately, my mother’s background in art education, gained at a specialized school in the Soviet Union for budding young artists, played a crucial role. While not a prestigious art institution, it provided her with a diverse set of skills that she, in turn, passed on to me. It was during this period that my genuine passion and ambition to pursue a career as a painter became unmistakably clear.
What was the next step after leaving the Emirates?
Leaving the Emirates marked a turning point in my artistic journey. Upon returning to Tunisia, I enrolled in the Academy of Fine Arts in Tunis, followed by a Ph.D. Philosophy of Art from the Sorbonne University in Paris in 2007. Having immersed myself in theory, mastered techniques, and gained a comprehensive understanding of art, I was I was fully prepared to embark on my journey as an artist.
What specific themes do you find intriguing in your artistic endeavors?
My artistic background is grounded in painting, and I identify as a multimedia artist, exploring various mediums such as installations and videos. Each concept I delve into holds profound significance for me. Despite engaging in diverse forms of art, painting remains my primary passion. I am also drawn to sculpture and crafts, appreciating the tactile sensations and hands-on experience they offer. My artworks aim to engage multiple senses, incorporating touch, sound, and intuition. One aspect I particularly enjoy is the exploration of the invisible. This theme was central to my Ph.D., where I focused on the unseen, subtle, and often overlooked aspects of perception, especially in the context of integrating the invisible in art.
Where and when did your inaugural exhibition take place?
My first exhibition took place in Tunis in 2008, showcasing prints and paintings. Intrigued by the expressions on walls during the Ben Ali regime, I explored graffiti as a form of communication. Engraving, especially, inspired me, leading to a unique technique involving wax for print production, combined with ink and paint. This marked the beginning of my artistic journey.
How do you think people will perceive your work?
Actually, I don’t really know how they feel; everyone has their own judgment and reflection. For me, each of my creations is different and original. I enjoy analyzing the subject from historical, future, and distant perspectives. My artwork has traveled across continents, from North Africa to the Middle East, Europe, South America, Scandinavia, and the USA. The message of art and the voice of the people resonate through my creations. I am grateful to see my art displayed in galleries and museums around the world. It’s a dream come true, and I appreciate the support I have received from the public on this incredible journey of artistic communication.
Text by Suna Ahmed
