Threads of memory
Multidisciplinary Qatari artist Bouthayna Al Muftah is unveiling a richly layered installation for al markhiya gallery during Art Basel Qatar, expanding on her ongoing exploration of heritage, identity and craft traditions
Bouthayna Al Muftah is one of Qatar’s most prominent artists, with a practice defined by her impulse to preserve the stories that shape her country’s identity. Her work – which encompasses printmaking, ink drawing, calligraphy, photography, sculpture, bookbinding and performance – weaves together folklore, heritage, craft traditions and family stories, resulting in a form of contemporary myth-making. Her new project for Art Basel Qatar – Living: Architectures of Memory – presented by al markhiya gallery, continues this arc, drawing threads between inherited cultural knowledge, personal memory and the symbolic gestures that form the foundations of society.
“Back in 2018 I started researching the relationship our society has with 21-carat gold – what it means, how it was used before the economic change in Qatar, and how it is used today,” says Al Muftah. “I’ve always had an emotional attachment to these kinds of cultural elements.”
She began to develop a body of work, including portraits of imagined women and their jewellery, long-exposure photography documenting performances, and gestural ink-based studies. These early works went on to form the basis for a collection of portraits surrounding a central mirror, a device that reflects her interest in the viewer’s position within cultural memory.
In Living: Architectures of Memory, these themes culminate in a large-scale textile installation. The central form – a contemporary interpretation of a woman’s thobe (full-length robe) – is made of natural materials and includes knotted and hand-braided elements. It is adorned with ceramic decorations, drawing on the symbolic act of hair braiding and referencing the jewellery traditionally woven into braids.
“I want my work to show something inherently Qatari, something embedded within us”
Calligraphy and book pages – recurring motifs in Al Muftah’s practice – also appear within the installation, referencing both documentation and the artist’s ongoing interest in bookbinding. The work – described as a “conceptual rendering of an artist’s book transformed into a living archive” – literally embeds personal narratives, familial bonds and collective histories within its braided form. This allows viewers to look through the layers of the thobe, as if exploring an archive of Doha’s history.
“The piece emphasises and stands as a deliberate resistance to the erasure of cultural practices,” says Al Muftah. “The objects of adornment are not mere embellishments – they are inherited relics, carriers of identity and integral components of cultural dress that deserve to be honoured. The braids themselves, woven into a conceptual book, extend ideas explored in my earlier works, symbolising community, unity and collective continuity. Each piece contributes to a larger whole, creating a shared experience that invites dialogue and reflection.”
Created exclusively for Art Basel Qatar, Living: Architectures of Memory explores memory as a tangible space and positions the viewer within this environment, asking how we remain rooted in the past while looking to the future. It is also a powerful testament to the importance of passing stories down through generations to ensure cultural memory is not lost.
For an artist so deeply rooted in place, the arrival of Art Basel in Qatar is significant, and a development that aligns with the rapidly growing art scene in the country. “It’s amazing to be able to show my work to a much larger audience and to foster a dialogue that helps to bridge cultures,” says Al Muftah. “I want my work to show something inherently Qatari, something embedded within us.
Photos: © Bouthanya Al Muftah, courtesy of al markhiya gallery
al markhiya gallery
Al markhiya gallery is one of Qatar’s most established platforms for contemporary Arab art, championing both emerging and established artists from across the region. Founded in 2008 at Souq Waqif and now operating from Katara Cultural Village and a second space beside the Fire Station (see our feature on page 12) near Al Bidda Park, the gallery runs a dynamic programme of rotating solo and group shows. With a strong commitment to collaboration, al markhiya partners with international galleries and institutions to exchange exhibitions and expand the visibility of Arab artists. “Deeply rooted in Qatar’s heritage and cultural identity, Bouthayna Al Muftah’s practice reflects the nation’s traditions while engaging with contemporary questions of knowledge, innovation and creative growth,” says Anas Kutit, managing director of al markhiya. “Her work stands as both a testament to Qatar’s artistic legacy and a powerful contribution to the emergence of a new generation of Qatari artists on a global stage.”
