While not tied to a specific incident or person, Khaled says that the show was shaped by his own experience of being stopped by a policeman and interrogated over his phone apps, posts and photos. Mimicking the sense of swiping, it reveals diverse visions of masculinity: selfies of naked men, images of nude statues, photos of gay porn magazines strewn in park bushes, text chats on dating apps, excerpts from James Baldwin’s novel Giovanni’s Room. There’s an artist’s book accompanying the show which reveals the contents of the protagonist’s phone. In Khaled’s work sleeplessness is a metaphor for exile and non-belonging. The emphasis on insomnia is not simply about neurosis. But for the artist, that bed represents a site of restlessness and over-productivity his version is “a monument to those who cannot sleep”. So pervasive was the Playboy tycoon’s cultural influence that having a round bed was de rigueur for the virile heroes of Egyptian TV and cinema in the 80s and 90s, Khaled recalls. Photograph: Andy Stagg Photography/Courtesy of the artistĭownstairs is a bedroom dominated by a circular rotating bed based on Hugh Hefner’s, but rendered in black leather. ‘A monument to those who cannot sleep’ … Fantasies on a Found Phone, Dedicated to the Man Who Lost It, Mahmoud Khaled.
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