Full Breakdown
Exploring "Figure, Field, Grid": Mandy El-Sayegh's Multisensory Exhibition
12/30/2025, 9:35:24 PM
Overview of the Exhibition
“Figure, Field, Grid” is a groundbreaking exhibition by artist Mandy El-Sayegh, currently on display at the Museum Boijmans Van Beuningen Depot until March 8, 2026. This exhibition marks El-Sayegh's first solo show in the Depot, a venue that revolutionizes audience interaction with historical artifacts by making collections accessible to the public. The exhibition is characterized by its multisensory approach, incorporating various materials and themes, including the war in Gaza and the broader implications of visual media in contemporary society.
Artistic Elements and Themes
Upon entering the exhibition, visitors encounter a floor coated in hardened latex, paint, and rust, setting a tactile and immersive experience. The walls feature a collage of materials, including newsprint, silkscreens, and hand-painted grids, all of which serve to create a complex narrative. El-Sayegh draws inspiration from Rosalind Krauss’s essays on grids and the expanded field, using these concepts to explore the intersections of art, politics, and psychoanalysis. The grids present throughout the exhibition symbolize a method of organizing thoughts and experiences, reflecting El-Sayegh's intent to categorize complex emotions and historical contexts.
Integration of Historical and Contemporary Art
El-Sayegh's work also reinterprets historical pieces from the Boijmans collection, such as Andrea Lilio’s “Study of a Male Nude for a Pietà” and Andy Warhol’s “The Kiss (Bela Lugosi).” These historical references are juxtaposed with contemporary imagery, including the October 9, 2023, front cover of the Financial Times, which announced Israel's war following the Hamas attack. This pairing of the front page with a Tiffany campaign featuring Anya Taylor-Joy creates a dialogue between beauty and horror, prompting viewers to reflect on the presentation and consumption of images in media.
Critique and Impact
Critics have noted that El-Sayegh's exhibition challenges the viewer's comfort, as it confronts the fragmentation and filtration of imagery that sustains power dynamics in society. The inclusion of hell money, a traditional Chinese offering, adds layers of historical and personal significance to her political commentary. The exhibition prioritizes emotional engagement over mere understanding, positioning itself as a significant contribution to contemporary art discourse.
Conclusion and Future Prospects
“Figure, Field, Grid” is a bold and ambitious exhibition that invites viewers to engage with complex themes through a multisensory lens. Curator Amira Gad has been recognized for her role in bringing this thought-provoking show to life. If future exhibitions at the Depot continue to explore similar themes of experiential discomfort and historical interrogation, the Museum Boijmans Van Beuningen Depot is poised to become a vital space for contemporary art exploration.
