Tini Warwar, is an underground song that has found its way into the mainstream, and took over the music scene in Saudi Arabia in 2013. Different musicians and singers started making their own rendition of the song, and it is still considered a favorite among Saudi wedding singers.

This socio-cultural product is a reflection of the effects of globalization and the struggle of hegemony that is occurring in the Kingdom of Saudi Arabia. The song is a hybrid being that is a reflection of western influences, combined with Saudi traditional beats and a countdown from 10 to 1. The lyrics throughout the song are a comparison between the past and the present. It showcases current views of Saudis, and what they perceive to be more superior or powerful. It is an example of the economical social hierarchy within the society.

The dance preformed in the video is a traditional Arabian dance called “AlKhibayti”. In the past this dance was usually danced in preparation for war and has different influences including Sufi and Hejazi. Today this dance is usually danced as a cultural performance in weddings and social events

A thin metallic black rod, carved using a calligraphic rendering based on the Kufi script, will exhibit the term Amma Baad.

The expression is an Arabic term used typically in official letters when salutations and respect are paid and the subject of the communication is yet to be revealed. It is a moment in space and time where and when what preceded sank in nothingness and what follows is infinite.

Time, being considered as the fourth dimension, interlaces this notion within the sculptural piece where it becomes part of time within itself and can only be approached through language.

Amma Baad is a promise. It is hope, fear, expectation, and trepidation. It is silence, it is noise. It is nothing and everything. It is waiting.

Al-Salem addresses the power of words and the production of meaning. Often using sentences from the Holy Qur’an, his multimedia installations reflect the complexity, affirmative notions and contemplative qualities of this religious text. In this work, Al-Salem expands on the interpretation of Surat Al Sajda (the Protestration), which attests: “He arranges [each] matter from the heaven to the earth; then it will ascend to Him in a Day, the extent of which is a thousand years of those which you count. [32:5]”

Al-Salem deconstructs the verse “He arranges [each] matter” into a letter or groups of letters, which are then repeated or duplicated and scattered across the surface of the paper. The expansion of the letters

on the papers represents the continuous expansion of the universe and the constant movement that characterises it in its entirety. Here, each letter is a unique element of formal organisation within a system. Al-Salem is not only concerned with the way the system expands, but is also interested in exploring notions of matter within such a system, such as the endless motion and vastness of the universe, the intense diversity of nature and the world and the logic that affirms the belief in God.

Al-Salem addresses the power of words and the production of meaning. Often using sentences from the Holy Qur’an, his multimedia installations reflect the complexity, affirmative notions and contemplative qualities of this religious text. In this work, Al-Salem expands on the interpretation of Surat Al Sajda (the Protestration), which attests: “He arranges [each] matter from the heaven to the earth; then it will ascend to Him in a Day, the extent of which is a thousand years of those which you count. [32:5]”

Al-Salem deconstructs the verse “He arranges [each] matter” into a letter or groups of letters, which are then repeated or duplicated and scattered across the surface of the paper. The expansion of the letters

on the papers represents the continuous expansion of the universe and the constant movement that characterises it in its entirety. Here, each letter is a unique element of formal organisation within a system. Al-Salem is not only concerned with the way the system expands, but is also interested in exploring notions of matter within such a system, such as the endless motion and vastness of the universe, the intense diversity of nature and the world and the logic that affirms the belief in God.

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?

A series of photographs taken from the air tread the line between reality and fiction. The scapes, be it landscapes, desertscapes, even moonscapes, offer a multiplicity of possibilities as to where their locality could be or where their origins stem from. Raising more questions than diffusing answers, these images present wonders in no uncertain terms.

The photographs of these anomalous formations, the oldest of which believed to be 9,000 years old, are aerial views shot over the vicinity of the holy city of Medina. The patterns created across the land are recognised as either gates, kites or keys, identified by pilots in the early 1920’s. They each occupy vast areas of land through a very ordered and distinct placement of the volcanic rock.

The artist’s selection of this body of work to reflect on the exhibition concept questions history on the value of its past in its relationship with the present. Being born and raised in Medina, the artist does not recall any mentioning of these mysterious structures; and yet, they have been known of since 1920s. Would the knowledge of their existence have changed his understanding of the present? Would it have impacted his interpretation of the past?