Muhammad Muhammad

Contemporary Art Practice (MA)

BEE (I FEEL), RCA 2024 Degree Show, Durational Performance. Duration: 13 Hours. A durational performance where the artist occupies a confined space for extended periods. This setup visually and conceptually reinforces the theme of entrapment and the struggle to maintain integrity within a collapsing system.

BEE (I FEEL), RCA 2024 Degree Show, Install dimensions: 1.5 x 1.5 x 1.6m. BEE (I FEEL), RCA 2024 Degree Show, Install dimensions: 1.5 x 1.5 x 1.6m.

BEE (I FEEL), RCA 2024 Degree Show, Installation, Recorded Durational Performance, Duration: 6hrs.

ChicKen 2, ICA London, Performance. “It's not the fact that grapes, eaten from a bowl whilst strolling around someone who is working on a garment is intimidating, but all of a sudden, the innocuous act of walking in proximity, produces a palpable sense of control, threat, and ocular dominance. Yet not a word is spoken, and no verbal intent is delivered. How can two differing ways of moving create a tension of such tacit altercation. Even more absurd is a chicken looking for a lost object. Can a six foot bird, charging between spectators looking for an unknown thing, suddenly amplify the sheer irrationality of the search. The uncovering of nothing, saturated in comedic performity, produces a rubber chicken to such applause. The ensuing dance has you coalescing with the circular wandering of the chicken and its miniature counterpart. Yet, all of a sudden the togetherness transcends into a shrieking alarm as the profound sense of loss takes the stage. The pumping of the chest of a small rubber chicken, whilst a party streamer is blown, sounds an alarm of lament that scarily turns absurdity into the concise sense of imminent ending...” Stuart Lee 2024

About

Muhammad (b. 2000, Alexandria) is an artist whose multidisciplinary practice spans performance, sound, film, sculpture, and installation. His work delves into the realm of emotions and dystopian narratives, seeking to reimagine the potential for change within the cosmic chaos surrounding us.

Deeply inspired by his personal life, memories and childhood, his paradoxical work oscillates between emotional registers, exploring the intersection between state and selfhood, otherness, absurdity, tragedy, solitude, queerness, chaos and density.

Muhammad’s art is dedicated to compelling the audience to confront the inextricable connection between the individual and the collective. Central to his practice is the adaptation of dystopian, fragmented narratives, where the absurd and the tragic converge to highlight the links between individual existence and collective humanity. His art is a reflection on the impermanence and the shared conditions that bind us all, inviting viewers to engage with the complex tapestry of human experience and the possibilities of transformation within it.

The artist’s background in film and his deep passion for cinema have shaped his work, and deepened his comprehension of intricate storytelling, performance, character development, and spaces.

Growing up during the Egyptian Revolution has influenced Muhammad’s perspective on art as an urgent form of political expression and freedom of speech. The cityscape and urban life continue to be a primary source of inspiration for the artist. The disorder in his work directly reflects the chaos of urban society, and he enjoys contemplating and engaging with life as if it were a large abstract painting with boundless possibilities.

Muhammad has been mixing his most recent practice and his background in film by creating installations, combining performance, sculpture, film, and archive; utilizing light, form, and dimension to interact with live performance.

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