Zahrah Al Ghamdi
Mycelium Running lll, 2019
Natural Leather
ZAG0016
Zahrah Al Ghamdi
Mycelium Running lV, 2019
Natural Leather
ZAG0017
Zahrah Al Ghamdi
Mycelium Running Vl, 2019
Natural Leather
ZAG0019
Sarah Abu Abdallah
Karam, 2019
Mixed Media
SAA0029
Sarah Abu Abdallah
Capacity, 2019
Mixed Media
SAA0033
Sarah Abu Abdallah
Zero Zero, 2017
Video
Edition of 3
SAA0037
Sarah Abu Abdallah
Morning of Hope, 2017
Video
Edition of 3
SAA0040
Sarah Abu Abdallah
The Delivery Card, 2016
Video
SAA0034
Sarah Abu Abdallah
The Turbulence of Sea and Blood, 2015
Digital Video
Edition of 5
SAA0009
Reem Al-Nasser
Jasmine Bullets, 2018
Dried Arabian Jasmines
Edition of 3
RAN0007
Mohamed Monaiseer
Schizophrenia ll, 2017
Work on paper
MM0270
Mohamed Monaiseer
Schizophrenia lll, 2017
Acrylic on paper
MM0271
Mohamed Monaiseer
Schizophrenia lV, 2017
Acrylic on paper
MM0272
Mohamed Monaiseer
Schizophrenia V, 2017
Acrylic on paper
MM0273
Sifting through the absolute, the predefined, constructs of anxiety, and the absurdity of the agreed-upon in a time of excess. How does one place one's coordinates in the physical, metaphysical, and the digital citizenry? It is said that the gravitational forces exerted by the planets affect the circulation of human bodies and emotions as much as they affect the oceans. Youtube and google image search help to assemble an uncomfortable space for a question spanning practices of compulsion and purification.
Reem Al Naser’s project began as an exploration of society’s customs and rituals, their intransigence and their adaptation to the change that affects their communities.
In this installation, AlNasser recreates the ornaments a bride from the south of Saudi Arabia (Jizan) is adorned with the day of her marriage. These flower adornments are made from the Arabian Jasmine, primarily weaved and designed by Yemenis. In recent times, these arrangements came to be called Full Rassass (Jasmine bullet).
The artist is commenting on the concept of glorification. Like these jasmine buds plucked early, fading and withering before they are given a chance to blossom, so is the fate of many young women. Escaping the yoke of a strict and severe upbringing, many find themselves caught in a transfer of authority from the parents to the husband.
The juxtaposition of Full and Rassass is one of dark reality: life and death, celebration and mourning, glorification and vilification. These are themes of existence; however, the issue arises when one aspect predominates alternative realities.
Athr would like to present the most recent bodies of work by Sarah Abu Abdallah, Zahrah Al Gahmdi, Reem Al-Nasser, and Mohamed Monaiseer. These artists come from different parts of the region of Saudi Arabia, and Egypt, and their work reflects on the social norms that bring us together and take us apart. Their common interest also lies in issues of domestic life, the environment and anthropology. They have each developed a strong visual language ranging from video, photography, paintings to site-specific installations.
During the fair, Zahrah Al Ghamdi and Reem Al-Nasser will have works at Walking Through Walls, an exhibition curated by Sam Bardaouil and Till Fellrath at the Gropius-Bau, and Sarah Abu Abdallah’ solo exhibition, For The First Time In A Long Time is ongoing at the Kunstverein in Hamburg, curated by Tobias Peper.
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