Sara Abdu
Children With No Name, 2017
Black ink on paper
SAB0110
Sarah Abu Abdallah
Last Year, 2018
Print on aluminium
SAA0027
Ahaad Al Amoudi
When I was asked, 2018
Embroidered Fabric
Variation of 12
AAA0001
Ahaad Al Amoudi
Michael Jackson: v=X7czOWj2Bf4, 2017
Video
AAA0007
Ahaad Al Amoudi
v=YGvLDDWwLEk, 2016
Video
Edition of 5
AAA0008
Abdul Aziz Al Rashidi
Cipher II, 2018
Ink on Paper
AAR0168
Abdul Aziz Al Rashidi
Cipher III, 2018
Ink on Paper
AAR0169
Nasser Al Salem
Amma Ba'ad, 2018
Aluminum and black paint
NAS0462
Nasser Al Salem
He Rules All Affairs , 2018
800 x 150 cm
Nasser Al Salem
He Rules All Affairs , 2018
Inkjet prints on paper
800 x 150 cm
Nasser Al Salem
Arabi, Gharbi (Blue), 2016
Neon Installation
NAS0459
Moath Alofi
Emzara from People of Pangea Series, 2018
Hahnemuhle Photo Rag Baryta 315gsm
MAO0112
Moath Alofi
Jabal and Jubal from the People of Pangaea series, 2018
Hahnemuhle Photo Rag Baryta 315gsm
73 x 109.5 cm
MAO0088
Moath Alofi
Methuselah from People of Pangea Series, 2018
Hahnemuhle Photo Rag Baryta 315gsm
MAO0110
Moath Alofi
Naamah from the People of Pangaea series, 2018
Hahnemuhle Photo Rag Baryta 315gsm
MAO0090
Moath Alofi
Tubal-Cain from the People of Pangaea series, 2018
Hahnemuhle Photo Rag Baryta 315gsm
MAO0091
Moath Alofi
The Last Tashahhud X, 2017
Acrylic / prints on lightbox
MAO0054
Dana Awartani
Untitled, 2018
Shell gold and gouache on paper
DAN0144
Dana Awartani
Ha from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0134
Dana Awartani
Jeem from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0132
Dana Awartani
Waw from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0135
Dana Awartani
A Symphony of Stars, 2015
Shell gold, natural pigment and ink on paper
96 x 228 cm (37 3/4 x 89 3/4 in.)
DAN0069
Basmah Felemban
The Journey from creatures to God, 2017
Engraved copper
BAF0028
Basmah Felemban
The Journey in God by God, 2017
Engraved copper
BAF0031
Aya Haidar
Postcard Collection 1: Untitled 1, 13, 17, 33, 43, 46, 52, 53, 57, 61, 85 and 86, 2016
Embroidery on postcard
From the Wish You Were Here series
AYH0071
Mohamed Monaiseer
Untitled 12 from Barzakh series, 2017
Painting
MM0013
Mohamed Monaiseer
Untitled 16 from Barzakh series, 2017
Painting
MM0017
Sara Abdu
Children With No Name, 2017
Black ink on paper
SAB0110
Sarah Abu Abdallah
Last Year, 2018
Print on aluminium
SAA0027
Ahaad Al Amoudi
When I was asked, 2018
Embroidered Fabric
Variation of 12
AAA0001
Ahaad Al Amoudi
Michael Jackson: v=X7czOWj2Bf4, 2017
Video
AAA0007
Ahaad Al Amoudi
v=YGvLDDWwLEk, 2016
Video
Edition of 5
AAA0008
Abdul Aziz Al Rashidi
Cipher II, 2018
Ink on Paper
AAR0168
Abdul Aziz Al Rashidi
Cipher III, 2018
Ink on Paper
AAR0169
Nasser Al Salem
Amma Ba'ad, 2018
Aluminum and black paint
NAS0462
Nasser Al Salem
He Rules All Affairs , 2018
800 x 150 cm
Nasser Al Salem
He Rules All Affairs , 2018
Inkjet prints on paper
800 x 150 cm
Nasser Al Salem
Arabi, Gharbi (Blue), 2016
Neon Installation
NAS0459
Moath Alofi
Emzara from People of Pangea Series, 2018
Hahnemuhle Photo Rag Baryta 315gsm
MAO0112
Moath Alofi
Jabal and Jubal from the People of Pangaea series, 2018
Hahnemuhle Photo Rag Baryta 315gsm
73 x 109.5 cm
MAO0088
Moath Alofi
Methuselah from People of Pangea Series, 2018
Hahnemuhle Photo Rag Baryta 315gsm
MAO0110
Moath Alofi
Naamah from the People of Pangaea series, 2018
Hahnemuhle Photo Rag Baryta 315gsm
MAO0090
Moath Alofi
Tubal-Cain from the People of Pangaea series, 2018
Hahnemuhle Photo Rag Baryta 315gsm
MAO0091
Moath Alofi
The Last Tashahhud X, 2017
Acrylic / prints on lightbox
MAO0054
Dana Awartani
Untitled, 2018
Shell gold and gouache on paper
DAN0144
Dana Awartani
Ha from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0134
Dana Awartani
Jeem from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0132
Dana Awartani
Waw from the Abjad Hawaz, 2017
Shell gold, gouahe, and ink on paper
DAN0135
Dana Awartani
A Symphony of Stars, 2015
Shell gold, natural pigment and ink on paper
96 x 228 cm (37 3/4 x 89 3/4 in.)
DAN0069
Basmah Felemban
The Journey from creatures to God, 2017
Engraved copper
BAF0028
Basmah Felemban
The Journey in God by God, 2017
Engraved copper
BAF0031
Aya Haidar
Postcard Collection 1: Untitled 1, 13, 17, 33, 43, 46, 52, 53, 57, 61, 85 and 86, 2016
Embroidery on postcard
From the Wish You Were Here series
AYH0071
Mohamed Monaiseer
Untitled 12 from Barzakh series, 2017
Painting
MM0013
Mohamed Monaiseer
Untitled 16 from Barzakh series, 2017
Painting
MM0017
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?
ATHR participates in the 12th edition of Art Dubai, happening on March 21 until March 24, at Madinat Jumeirah, Dubai.
ATHR is proud to present at this year’s Art Dubai the works of Abdulaziz Alrashedi, Ahad Alamoudi, Aya Haidar, Ayman Yossri Daydban, Badr Ali, Basmah Felemban, Dana Awartani, Eyad Mghazel, Farah Behbehani, Ghada Alrabea, Hazem Harb, Moath Alofi, Mohamed Monaiseer, Nasser Al Salem, Nojoud Alsudairy, Obadah Aljefri, Sara Abdu, Sara Abu Abdullah, Tariq Alkhater, Ushmita Sahu, and Zahra Alghamdi.
Art Dubai is a leading international art fair that takes place every March in Dubai. Each year, the fair features a globally diverse lineup of over 90 galleries from more than 40 different countries.