In keeping with last year’s reputation of a swarmed opening night, this year, with no exception, boasted a packed attendance of the young’uns!
The gallery entrance spilled with trains of queued visitors and its walls adorned with statements by participating artists. Some are eyebrow arching, some juvenile and yet others a testimony to the growing experimental movement by the young generation of artists, which in all honesty, may still be in it’s “pre-conception” phase.
Heba Abed, Redwan Reemi, Louai Kofiah, Sara Al Abdali, Lujain Abulfaraj, Namir Ali Reza, Ahaad Amoudi, Mala’a Amoudi, Zeina Badran, Rawan Barakati, Najla Bassam, Mohsen Dajani, Soraya Darwish, Basmah Felemban, Rahaf Ghoneim, Noora Mazrooe, Jawaher Mhanna, Mohmoud Naseem, Arwa Naemi, Mona Qahtani, Rami Qthami, Suzan Qasmi and Awatef Safwan were this year’s batch at the Y.S.A. II exhibition.
Last year’s participating artists — SAaD Bin Mohammed, Salwa Zahid and Sara Abdu — also exhibited their works in Gallery B as part of Y.S.A. II.
“Each one of the artists who participated last year has grown in their own way. I’m convinced of that, and it’s not just my opinion but also that of the audience, which is why the three of them were asked to exhibit again. It is also because an artist always needs a dialogue with his audience to develop and respond,” said Hamza Serafi, co-founder of ATHR Gallery.
Heba Abed’s art thesis project titled, “Franco Man in Scotoma,” is an installation highlighting the emergence of Arabish or Franco-Arabic (Arabic -English) in modern forms of communication, vastly popularized by chat groups on the Internet. The installation is an interesting metaphor for the modern man who has, himself, facilitated the erosion of his identity.
Louai Kofiah presented a montage of sketches that were created during his period of recovery from a recent accident he suffered. The collection is a journey through his personal trials of pain, damage and recuperation.
Soraya Darwish’s work titled “Nice to meet you,” is a still print of a pro-terror, gun-wielding young Arab girl from the movie “Rules of Engagement.”
“It is an invitation to come closer and see other people within that image who may not necessarily share the same beliefs,” explained Darwish, adding that because of globalization, we have more similarities than differences but Hollywood is more focused on the exciting, eccentric Arab terrorist.
Basmah Felemban exhibited the popular amulet Hand of Fatima (Khamsa) in a glass-enclosed installation. The piece intended to highlight the futility of turning to and believing in such superstitions for protection against evil. However, in an ironic turn of events, the entire installation met an unfortunate damage and echoed a splendid performance of fate on the reality of the message the artist intended.
Sara Al Abdali exhibited illustrations, “Kufr” (disbelief) and “Bida’a” (innovation) both strong in their statements and ideas, with the Arabic words printed blatantly on the forehead of a “Darawish” and “Aroosat Al Mualid.” This, according to her, is to allow people to question the various labels they blindly attribute “to things outside the comfort of their own beliefs.”
Another of her illustration laments the gradual loss of heritage from the architectural damage caused to homes in Al-Balad, as did a wood installation by Ahaad Al Amoudi.
Redwan Reemi’s piece titled “Jama’a” pertains to the 99 names of Allah, reflections upon which should guide one’s behavior and relationships with people, as explained by the artist.
A conceptual art installation exhibited by writer and artist SAaD Bin Mohammed is largely a matter of art over philosophy. His works titled “Chromosome X,” “Finger Print” and “Carbon Atom,” all housed within a sheer, black curtained enclosure is a deliberate provocation by the artist to allow the visitor to explore and realize concepts of universal unity guided by his art statement at the entrance of the installation.
“One must see through the external darkness of clothes, skin, beliefs and influences to discover the human that God created. There are always specific doors and exits. The light within the enclosed installation space represents enlightenment through the revelation of knowledge,” he explained.
“Louai Kofiah’s work is very relatable to the youngsters because it’s partly comical. SAaD Bin Mohammed’s work was pure conceptual art and well delivered. Beautiful art and very well done. By far theirs are two of the most strongest works in the exhibition,” said photographer Maan Salha.
Although last year’s Y.S.A. exhibition revealed a more serious orientation toward the burgeoning contemporary art movement, Y.S.A. II was defined by the young, social dynamics of the digital culture.
“Art is still in its early stages in Saudi Arabia, and we can’t be too critical about it. On a conceptual level, we have interesting ideas. The Internet is doing a lot to bridge the gap between the West and East but the work needs to be more refined. This is the stage we have evolved to and we should appreciate it,” said Yousef Kurdi, a graphic designer.
“The most important thing is that we are learning and getting inspired. It is not a creative show more than it is a collective show. The rhythm is very youth oriented,” said Hamza Serafi, co-founder of ATHR Gallery.
Overall, the exhibition provided an insight into the mind-map of the younger generation, which is defining the future of art in Saudi Arabia and cannot be ignored.
The exhibition will run until March 20 at ATHR gallery and all works are for sale between SR300 and SR15,000.
