The Media Majlis Museum at Northwestern College in Qatar will discover Web memes by way of the lens of measurement in its tenth exhibition, “Memememememe,” opening on September 1, 2025, and operating by way of December 4, 2025.
Curated by Jack Thomas Taylor, curator of artwork, media, and expertise, and Assistant Curator Amal Zeyad Ali, the exhibition examines how digital memes function cultural barometers, emotional shorthand, and automobiles for political commentary that affect up to date consciousness. By means of 4 interconnected themes —Mass, Size, Time, and Quantity— it seems to be at how these small but highly effective items of tradition unfold, mutate, and measure our collective thought.
“As a college museum built-in in NU-Q’s educational mission, the Media Majlis Museum blends scholarship, artwork, and media to make a fuller sense of the world we stay in,” mentioned Marwan M. Kraidy, dean and CEO of Northwestern Qatar. “Memememememe takes one thing we encounter daily—memes—and asks us to look deeper at how they form the way in which we predict, join, and talk. It’s a essential dialog about digital tradition that bridges international and regional voices, and one which expands our understanding of the forces shaping the digital world.”
The exhibition transforms the acquainted setting of a laundromat right into a hanging metaphor for a way memes flow into by way of countless digital cycles, progressively shedding their authentic that means in pursuit of virality. Showcasing the work of established and rising artists from Qatar, the United Arab Emirates, Saudi Arabia, South Korea, and past, it invitations reflection on the fragility of that means within the digital age.
Anchoring the present is Dutch artist Jeroen van Loon’s monumental Everlasting Information (2020), a 12-kilometer-long fiber-optic cable imprinted with your entire Gutenberg Bible and hundreds of up to date YouTube feedback on information loss and digital decay. It serves as a strong meditation on what, if something, really survives within the huge churn of digital preservation.
Additionally featured is The Final Jedi (2013) by Saudi artist Abdullah Al Jahdhami, which captures the flexibility of memes to transcend their fleeting digital origins and tackle new cultural lives. In Sarcastic Willy Wonka (2020), American artist Christine Tien Wang reimagines a viral meme as a monumental acrylic portray, confronting the stress between web ephemera and enduring artwork varieties. In the meantime, Web artwork duo Eva and Franco Mattes current Roomba Cat (2023), a wry but poignant reflection on the more and more blurred boundaries between emotional attachment and technological dependence.
“Memememememe invitations guests to rethink what we take into account significant communication,” mentioned Taylor. “Memes are cultural indicators formed by geography, language, politics, trauma, pleasure, and shared expertise. They aren’t simply leisure; they’re proof of how we join, critique, and assemble id within the digital age.”
Newly commissioned works by Alia Leonardi, Andreas Refsgaard, Anne Horel, Eman Makki, Mauro C. Martinez, Orkhan Mammadov, and Web optimization Hyojung span themes from digital devotion to the fragility of information preservation. Collectively, they interrogate how memes operate as ideological instruments, shared, remixed, and repurposed to speak, critique, amplify dissent, construct solidarity, mock authority, and affect id, self-reflection, and collective consciousness. “By bringing memes right into a museum setting, we’re asking who will get to form tradition and the way concepts ripple by way of our digital lives,” mentioned Ali. “The exhibition challenges guests to decelerate and study the hidden mechanics of memes, revealing how they unfold, stick, or slip away.”
The exhibition underscores the Museum’s mission to stage boundary-pushing initiatives that confront pressing up to date subjects, reinforcing its place as a cultural hub for experimental media and significant dialog. “This exhibition zooms in on a communication system all of us use each day but hardly ever cease to interrogate,” says Alfredo Cramerotti, director of the Media Majlis Museum. “By means of design, scenography, and newly commissioned works, Memememememe invitations us to mirror on the true cultural weight and affect of memes—these seemingly trivial fragments that profoundly form how we understand and navigate our world.”
As the primary college museum devoted to exploring journalism, communication, and media within the Arab world, the Media Majlis Museum continues to create immersive experiences that problem standard narratives.
