The Courtyard, a neatly cluttered space housing a host of small restaurants, in Jeddah launched their second urban art exhibition, titled “Society,” last Thursday. The exhibition includes various art mediums ranging from paintings, digital art, typography, sculpture and photography to videography.
“Society” showcases the forgotten traditions of the country, unexplored landscapes, architectural ruins, the generosity and hospitality among the community members in the face of disasters and the fiercely debated and touchy societal restrictions that women suffer greatly from. Hence, it is a “winding entrance” into the mind spaces of Saudi society at its best.
Call it the “Saudi-spring” of sorts. If the idiom is anything to go by, the largely diverse platter of art forms offered at the “Society” exhibition is witness to my implications. The artists offer an interesting interplay of self-expressionism, whetting the palate of any passing observer, be it a modernist or conservationist.
Exhibiting artists were Sara Abdali, Salwa Zahid, Abrar Hamidaddin, Ahmed Muqaddam, Amani Attiah, Michael Bou-Nacklie, Thamer Al-Hasaan, Adil Khiyami, Nora Al-Mazrooa, Talal Al-Tukhaes, Basmah Felemban, Husam Al-Sayed and Watfa Hamidaddin.
Thamer Al-Hassan, a photographer with an interest in architecture photography, exhibited a series of photos highlighting men in all spheres of the Saudi social strata, from the traditional roles assumed in the field of arts and crafts, fishing and sculpting to the religious educator and modern reformist.
“I have been inspired by the work of the most famous photographer Steve McCurry who photographed ‘The Afghan Girl.’ I met him recently at his gallery opening in London. His work focuses on the human condition and the documentation of cultures around the world in a very artistic and appealing way. This motivates me to do a similar work to document our tradition and culture, which some people in the world are unaware of. It’s called ‘Faces of Saudia,’” said Al-Hassan.
Salwa Zahid presented a collection of women-centric paintings, titled “La Collection,” which illicit a sarcastic, or perhaps, a more direct referral to its meaning.
“It’s like the man buys a woman a drink of “la” (Arabic for “no”) and gives it to her every day. If she wants to travel without a mahram or establish business, it’s always ‘no no no’ everywhere. I still hope for a better future. It looks bright, yet for some women, it is still difficult,” said Zahid.
For the nation’s women, the right to vote and run in local elections provided by Custodian of the Two Holy Mosques King Abdullah’s recent directive is a giant leap forward, although women still remain unable to serve as Cabinet ministers, drive or travel abroad without permission from a male guardian. With the king’s announcement that women would be appointed to the Shoura Council, a currently all male body established in 1993 to offer counsel on general policies in the Kingdom and to debate economic and social development plans and agreements signed between the Kingdom and other nations, women are soon expected to join the nation’s dialogue in development and decision making.
Despite the great pace of growth Saudi society has witnessed over the last two decades, traditional culture and social values have been maintained steadfastly and the rich heritage of the Kingdom protected and enhanced.
The “Society Exhibition” will last for six weeks. All artworks are for sale and range between SR3,500 to SR5,000. Prices for sculptures range between SR4,000 and SR19,500. Part of the revenue generated through sales will go toward social responsibility activities.
The exhibition is garnering a good public attendance. Given the richness of the issues implored and explored, the verdict is: Much to “go-b(u)y.” Some food and … art, perhaps?
