Theaster Gates melded the aesthetic and the historical at the 11th Prada Mode in Abu Dhabi

In the heart of the artistic cosmos, Theaster Gates stands as a towering figure—an artist whose practice has defied conventional boundaries and invites us into a conversation about culture, race, sacredness, and the built environment. A polymath of sorts, Gates’ multifaceted approach to art moves seamlessly between sculpture, architecture, performance, and urban development. His works, as evidenced by his latest third collaboration with Prada Mode in Abu Dhabi, are not merely objects or experiences but transformative spaces that challenge the essence of how we understand the intersection of beauty, history, and identity.

At the core of Gates’ artistic philosophy lies a reverence for artisanship and the human hand. He speaks passionately about the critical role of artisans in imbuing everyday life with beauty. “The power of beauty does so much to elevate simple experiences,” Gates reflects, “and yet we see portions of the world that imagine that the hand is not important, that human labor is too expensive. Part of the real value of creative industries is that they honor the labor necessary for keeping the world beautiful.” This statement speaks to the artist’s unwavering belief that the soul of creation resides not in the machinations of modernity but in the lived experience of artistry and manual labour. Gates’ practice is a deliberate counterpoint to an increasingly mechanised world, one that devalues the human spirit in favour of efficiency.

His work, however, does not merely celebrate beauty for its own sake. Gates is deeply invested in exploring the complexities of race, identity, and place. As an artist whose roots are deeply embedded in the cultural and social fabric of Chicago’s West Side, Gates often grapples with the duality of his identity as a Black artist operating within the predominantly white, institutionalised world of contemporary art. Through his practice, Gates seeks to reclaim and repurpose Black histories, objects, and spaces that have been marginalised or forgotten. It is, as he explains, a process of “critical redeployment” of these often-overlooked cultural remnants, breathing new life into them, and in turn, elevating the very histories and people that shaped them.

This theme of reclamation and transformation has been brought to life in his collaboration with Prada Mode, whose eleventh iteration took place in Abu Dhabi on the 11^th and 12^th February. Gates describes the event as a meditation on “the spiritual possibilities of quietude, the power of gathering, the contiguity between the aesthetic of the past and their relevance for the future.” Prada Mode Abu Dhabi, held in the MiZa neighborhood in Mina Zayed, serves as a perfect example of how Gates bridges the sacred and the profane, the old and the new.

The space itself was a work of art, architecturally divided into two distinct realms—one of introspection and one of vibrant, boisterous energy. In this duality, Gates introduces a sense of sacredness, a reverence for the quiet, reflective moments in a juxtaposition to the exuberance of communal celebration. The sacredness of the space is embodied through the “cylindrical structure,” which Gates describes as creating a boundary, offering a space where contemplation can unfold amidst the chaotic world outside.

Much like the ancient temples, mosques, and chapels that inform his practice, Gates constructs a space that is not simply a venue for performance or gathering, but a space for transformation. It is here that the intersection of Blackness, sacredness, and artistic expression takes on a powerful new meaning. For Gates, this is more than just an aesthetic experiment. His work is a mode of resistance, a refusal to let histories of violence, marginalisation, and exploitation go untold or unseen.

One of the most compelling aspects of Gates’ work is the way in which he situates his practice within a broader global context. He draws upon influences from Shintoism, Buddhism, and Animism, where the idea of honouring the “spirit within things” becomes central to his artistic mission. His approach to art is not just about creating visually striking objects, but about fostering a deep, personal and almost spiritual relationship with the materials he works with. This sensibility can be felt in the architectural and performative interventions he has orchestrated in Prada Mode, where local and regional cultural expressions—especially those of Arab women—are honoured and uplifted.

The 11^th  Prada Mode event was a testament to Gates’ growing role as a cultural curator—a position where his role extends beyond that of the artist and into the realm of a societal change maker. Through his carefully considered programming, including a musical collaboration with NTS and performances highlighting the contributions of Arab women, Gates aims to foster inclusivity, and global exchange.

“I’m looking for the sincerest ways to be present with others no matter where I am in the world,” Gates states, underscoring his dedication to building meaningful, lasting relationships across cultural divides.

At Prada Mode Abu Dhabi, we see not just an artistic intervention, but also an invitation to rethink the space we inhabit—physically, socially, and spiritually. Gates’ work reminds us that the act of making, whether through performance, music, or architecture, is an act of reverence, and a continuation of ancient practices of the masters of mysticism. It is a call to elevate the ordinary and the sacred, to honour the beauty and labour of the human hand, and to preserve and celebrate the stories that define who we are and who we might become. Through his lens, art becomes a space of convergence, where beauty and cultural identity intertwine in a harmonious and transformative dance.