Italian-born, London-based photographer Marco Barbieri’s project Land of Plenty explores the ongoing constructions of Doha, the Qatari capital deeply divided by class, labour, and luxury. With its natural gas and oil reserves, Qatar is currently one of the richest countries in the world, preparing to host the 2022 Fifa World Cup. Since the World Cup announcement, The city has gone under large scale changes through the labour of African, Indian, and Fillipino immigrants. Class division, reshaped skylines and empty streets characterise the city and Barbieiri’s images, displaying the almost surreal urban landscapes. Travelling to Doha on four separate occasions, Barberi displays the differing worlds sharing one city.
British Journal of Photography: Can you tell me about your series Land of Plenty? What were its aims?
Marco Barbieri: Land of Plenty is my attempt to document a city with a recent history, a place that, in its current shape, should probably not exist and a society deeply rooted in class division.
What interested me in Doha is that this is a city built by the many for the few. It’s a place that most of the time feels empty but whose skyline and new public infrastructure seems constantly growing from the desert. It’s a city of opulence rapidly being transformed on the road to the 2022 World Cup even if the boom of its oil and gas economy has slowed down due to the blockade imposed by other Gulf States.
With my pictures I hoped to describe a surreal place run by a traditionalist monarchy and cared for by a service “class” composed mainly of migrants from Africa, the Indian Subcontinent or the Philippines. Building sites leave way to luxury developments and strange gated communities (a life size replica of the Venice Canals) while the Emir face appears everywhere, from skyscrapers facades to fridge magnets.
It’s a land of stark class division where migrants work around the clock for the small elite of Qatari nationals and for a much bigger population of Westerners employed in the Gulf.