BRIDGES TOUR June 2016–June 2018 _ ORGANISER King Abdulaziz Center for World Culture Ring Rd, Gharb Al Dhahran, Dhahran 34461, Saudi Arabia kingabdulazizcenter.com _ PRODUCER CULTURUNNERS culturunners.com Tour Producer: Stephen Stapleton _ PARTICIPATING INSTITUTIONS Station Museum of Contemporary Art Gonzo Gallery Minnesota Street Project University of California, Berkley Center for Middle Eastern Studies Bates College Museum of Art Los Angeles County Museum of Art Arab American National Museum Utah Museum of Contemporary Art Art Museum of the University of Memphis Memphis Brooks Museum of Art Corcoran School of Art & Design at George Washington University Brooklyn Museum _ PARTICIPATING ARTIST STUDIOS Gharem Studio Pharan Studio _ CATALOGUE DESIGN Yusef Alahmad yusefalahmad.com _ ISBN 978-1-5323-6068-8
SAUDI ARABIA/ UNITED STATES 2016–2018
This art comes from the source. The people themselves, Arab people themselves, the Saudis themselves. To me it’s a side of the culture I hadn’t seen before. You are aware that it’s there, but you don’t see it represented in American media.
Bridges exhibition, March 2017
—VISITOR COMMENT
CONTENTS
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24
PARTICIPATING ARTISTS
IMPACT
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28
BRIDGES TOUR
PARALLEL KINGDOM Houston, TX
16
38
LOCATIONS
GONZO ARABIA Aspen, CO
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48
MARKETING
GENERA#ION San Fransicsco, CA
58 PHANTOM PUNCH Lewiston, ME
98 DESERT TO DELTA Memphis, TN
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108
ABDULNASSER GHAREM: PAUSE Los Angeles, CA
AHMED MATER: MECCA JOURNEYS Brooklyn, NY
78
118
EPICENTER X Dearborn, MI
WISAL SYMPOSIUM Washington, DC
88
134
CITIES OF CONVICTION Salt Lake City, UT
ACKNOWLEDGEMENTS
PARTICIPATING ARTISTS 10
SAUDI ARABIA
Abdullah Al Othman
Abdulnasser Gharem
Abdulrahman Gazzaz
Ahaad Alamoudi
Ahmad Angawi
Ahmed Mater
Ajlan Gharem
Amr Alngmah
Arwa Alneami
Ayman Yossri Daydban
Balqis Al Rashed
Basmah Felemban
Dana Awartani
Dhafer Al Shehri
Eyad Maghazil
Faisal Samra
Ghada Al Rabea
Ghada Da
Huda Beydoun
Ibrahim Abumsmar
Khalid Bin Afif
Khalid Zahid
Maha Malluh
Manal Al Dowayan
Marwah Al Mugait
Mawadah Muhtasib
Moath Alofi
Mohammad Al Mohsin
Mohammed Al Ghamdi
Musaed Al Hulis
Nada Farhat
Nasser Alsalem
Njoud Alanbari
Nouf Alhimiary
Nugamshi
Qamar Abdulmalik
Rashed Al Shashai
Saeed Gamhawi
Saeed Salem
Sarah Abu Abdallah
Shadia Alem
Shaweesh
Yusef Alahmad
AL–QATT AL–ASIRI MURAL PAINTING ARTISTS Amira Al–Almai
Jamelah Ali Alsoghayer
Salehah Abdulazeaz Alraqde
Arwa Mohammed Alzehr
Jewaher Mater
Salehah Yahay Alalmaiy
Fatemah Faya Yaqub
Nala Ali
Salha Mohammed Al–Qahtani
Fatima Yahya
Nawarah Abdolrahman
Sharifa Ayed
Fatimah Hassan
Moghawi
Sharifah Mohammed Mahdi
Fawzeiyah Mohammed Barzyq
Ohud Ebraheam Moghawi
Zaina Al–Shahrani
Halimah Moshabab Assiry
Reem Mater
Zohrah Faya Yaqubi
Jameelah Mater
Safia Ahmed
UNITED STATES
SAUDI YOUTUBE COLLECTIVES
Asad Ali–Jafri
Joseph Kunkel
Masameer
Anne Senstad
Josh Higgins
Telfaz 11
Caroline Woolard
Matthew Mazzotta
_
David Scanavino
Michael Mogensen
11
BRIDGES TOUR
In June 2016, a group of Saudi artists, both men and women, acted upon a dream to discover the people and diversity of
America—from the East to West coast–trekking across the
US interstate highway system and major cities on a mission to share not only their innate passion to create but also to collaborate with the communities they encountered.
The tour began in Texas with a large scale exhibition at
the Station Museum of Contemporary Art in Houston, TX,
before traveling to the Gonzo Gallery in Aspen, CO; Minnesota Street Project in San Francisco, CA; Bates College Museum of Art in Lewiston, ME; the Los Angeles County Museum of Art (LACMA), CA; the Arab American National Museum in
Dearborn, MI; the Utah Museum of Contemporary Art in Salt
Lake City, UT; the Art Museum of the University of Memphis &
Memphis Brooks Museum of Art in Memphis, TN; the Corcoran School of Art & Design at George Washington University in
Washington, D.C.; –and the Brooklyn Museum in New York. It is no exaggeration to state that the Bridges Tour has
been one of the most significant Cultural Diplomacy initiatives ever undertaken between the Kingdom of Saudi Arabia and
the United States. Over two years, and working in partnership with cultural institutions across the U.S., Bridges attracted
an estimated 430,000+ visitors to exhibitions and events across 10 cities and 13 States. Its mission, to encourage people–to–
people, community–to–community, and even nation–to–nation dialogue through cultural encounters and exchange, is celebrated in this publication.
14
15
Nugamshi live calligraphy performance–Arab American National Museum, Detroit–June, 2017
BRIDGES TOUR LOCATIONS
SALT LAKE CITY, UT Cities of Conviction SAN FRANCISCO, CA GENERA#ION
LOS ANGELES, CA Abdulnasser Gharem: Pause
16
ASPEN, CO Gonzo Arabia
LEWISTON, ME Phantom Punch
BROOKLYN, NY Ahmed Mater: Mecca Journeys DEARBORN, MI Epicenter X
WASHINGTON, DC Wisal Symposium
MEMPHIS, TN Desert to Delta
HOUSTON, TX Parallel Kingdom
17
18 Graphic Design by Kuba Rudzinski
Selected Exhibition Posters
BRIDGES TOUR MARKETING
19 Graphic Design by Yusef Alahmad
20
21
22
23
PARALLEL KINGDOM Catalogue design by Kuba Rudzinski & Nugamshi
GONZO ARABIA Catalogue design by Kuba Rudzinski & Nugamshi
GEN#RATION Catalogue design by Kuba Rudzinski
PHANTOM PUNCH Catalogue design by Kuba Rudzinski
ABDULNASSER GHAREM: PAUSE Design by Yusef Alahmad & Kuba Rudzinski
EPICENTER X Catalogue design by Yusef Alahmad
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BRIDGES TOUR MARKETING:
Each Bridges exhibition was accompanied by a full– color catalogue, containing illustrations of the artworks and curator introductions.
CITIES OF CONVICTION Catalogue design by Brian Maya
DESERT TO DELTA Catalogue design by Yusef Alahmad
AHMED MATER: MECCA JOURNEYS Catalogue design by Leo Porto EXHIBITION CATALOGUES
25
IMPACT
436,000+ Exhibition Visitors
11,700 Publications Distributed
300+ School Visits
75+ Participating Artists
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34,500,000+ Marketing Impressions
303,500,000+ Media Impressions
22,000+ Students Reached
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Curated By Joshua Poole, Alex Tu & Alan Schwartz
Station Museum of Contemporary Art | June 18–October 2, 2016
PARALLEL KINGDOM: CONTEMPORARY ART FROM SAUDI ARABIA IN HOUSTON, TX
31 Ajlan Gharem, Paradise Has Many Gates, 2015
We seek to use the visual language and firsthand accounts of Saudi artists to lay a new foundation for discourse and understanding of Saudi society, culture and politics.
Opening of Parallel Kingdom at Station Museum, June 18, 2016
—VISITOR COMMENT
34
PARALLEL KINGDOM:
CONTEMPORARY ART FROM SAUDI ARABIA IN HOUSTON, TX
35 Opening of Parallel Kingdom at Station Museum, June 18, 2016
“ We think of Saudi Arabia in black– and–white terms. Americans often want to "synthesize" ideas about Islam and modernism, but Saudi Arabia’s young artists want to "harmonize" their globally savvy outlook with the conservative beliefs of their elders. That’s a different thing. We owe it to ourselves to listen to what these artists have to say. Their work is less an "answer" to the problems we all face than it is a fresh questioning, a constant reminder of the complexities of the global situation.” —Dr. Sean Foley Visitor to Parallel Kingdom and an Associate Professor of History at Middle Tennessee State University
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PARALLEL KINGDOM:
The United States and the Kingdom of Saudi Arabia were long–
term and steadfast allies in the fight against communism, while having contrasting systems regarding governance and religion. An oil–driven global economy fueled an uneasy symbiosis
between the two nations allowing for mutual prosperity as well
as misconceptions. Outside of stereotypical Hollywood portrayals, investigative journalism exposés and YouTube videos very little
is known in the United States about the people and culture of Saudi Arabia.
This exhibition is a cross generational survey of contemporary
art from the Saudi Arabian peninsula with a special focus on
young artists, providing insights into Saudi culture through the
creativity and visions of some of the most influential Saudi artists of the 21st century. Through this exhibition we seek to use the
visual language and firsthand accounts of Saudi artists to lay a new foundation for discourse and understanding of both Saudi society, culture and politics. —Alex Tu
Curator, Station Museum of Contemporary Art
CONTEMPORARY ART FROM SAUDI ARABIA IN HOUSTON, TX
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PARALLEL KINGDOM:
CONTEMPORARY ART FROM SAUDI ARABIA IN HOUSTON, TX
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Abdulnasser Gharem, The Capitol Dome, 2012 – installation at the Station Museum, June 2016
40
Curated by Daniel Watkins, Bob Braudis & Andrew Scott
Gonzo Gallery | June 30–September 1, 2016
GONZO ARABIA: CONTEMPORARY ART FROM SAUDI ARABIA IN ASPEN, CO
Portrait of Nugamshi in Riyadh, 2013
CONTEMPOR ART FROM SAUDI ARABIA IN ASPEN
JUNE 30 SEPT 1 - 2016
41
As I have watched the project evolve, I became more curious about my own questions about the Middle East and Saudi Arabia. The mystery of the Kingdom will be illuminated through this art and numerous events and salons that promise answers to many of the inquiries we have.
Former Sheriff of Aspen
—BOB BRAUDIS
I hope Aspen takes advantage of this rare opportunity presented by the whole Gonzo Arabia team to learn from these artists about their vision for the future of Saudi Arabia.
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GONZO ARABIA:
A live perforamnce by Nugamshi during the exhibition opening
Visitors to Gonzo Arabia
CONTEMPORARY ART FROM SAUDI ARABIA IN ASPEN, CO
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Left to right: Ajlan Gharem, Andrew Scott, Dhafer AlShaehri, Joe DiSalvo, Nugamshi, Bob Braudis, and Shaweesh
Aspen Police officers with Gonzo Arabia fliers
“ This exhibition is telling us alternative stories about a culture that we have been trained to fear.” —Andrew Scott The Open Mind Project
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GONZO ARABIA:
Gonzo Arabia Aspen exposed a small but internationally
recognized mountain community and its visitors to the dynamic
personalities and art of young, vibrant, Saudi Arabian artists. The King Abdulaziz Center for World Culture and CULTURUNNERS,
with the collaboration of The Gonzo Gallery and The Open Mind Project, transformed Boogies Diner, a famous Aspen landmark,
into an interactive gallery, engaging mixed media, film, and multiple formats to bring attendees and artists into discussion.
Former Aspen Sheriff Bob Braudis helped articulate connec-
tions between the Grassroots Artists movement of the 1960’s and
70’s to the burgeoning cultural transformation occurring in Saudi Arabia under the leadership of HRH Mohammed Bin Salman.
Members of the Aspen community had their own stereotypes
of Saudi Arabia, its culture, and citizens, challenged, and even
transformed, in their interaction with the artistic diplomacy of art and artists.
Assumptions were shattered like glass windows, and dia-
logues between two interlinked cultures were facilitated through an installation so pregnant with political, moral, and foreign policy themes.
—Andrew Scott, Founder The Open Mind Project
CONTEMPORARY ART FROM SAUDI ARABIA IN ASPEN, CO
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GONZO ARABIA:
CONTEMPORARY ART FROM SAUDI ARABIA IN ASPEN, CO
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Bob Braudis, the former Sheriff of Aspen, introduces an artists’ panel discussion with Ajlan Gharem, Nugamshi, Dhafer AlShehri, Shaweesh, and Andrew Scott (Open Mind Project Founder).
50
Curated by Julie Casemore and the Moving Museum
Minnesota Street Project | August 11–September 6, 2016
GENERA#ION: CONTEMPORARY ART FROM SAUDI ARABIA IN SAN FRANCISCO, CA
51 Abdulnasser Gharem, Al-Siraat (The Path), 2007
I find the art scene in Saudi Arabia absolutely fascinating; there's a kind of energy there that is missing in more established art scenes in the rest of the world.... the way that the contemporary art scene interacts with the culture and the history is extremely interesting.
Curator and Co–President of Judd Foundation (participant in Ithra’s U.S. Cultural Influencer visits to Saudi Arabia)
—FLAVIN JUDD
54
GENERA#ION:
CONTEMPORARY ART FROM SAUDI ARABIA IN SAN FRANCISCO, CA
55 Opening of GENERA#ION at Minnesota Street Project, August 11, 2016
“ An exhibition like this humanizes people… The need for human artistic expression is a universal thing and it’s a great way to build bridges between communities to show the similarities that we have.” —Visitor Comment Minnesota Street Project
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GENERA#ION:
GENERA#ION presents San Francisco’s first exhibition of contemporary art from the Kingdom of Saudi Arabia. This timely,
cross–generational survey of thirteen artists and two YouTube collectives working at the center of the Islamic world, is pre-
sented at Minnesota Street Project in the heart of the Dogpatch district. As Abdulnasser Gharem, founder of Gharem Studio
and one of the driving forces behind the tour, comments, “The artists in this show present a new intellectual paradigm that
utilizes unique concepts and terminology to define the artists’ role within their society and their generation. Rather than
analyzing art and society separately, the artists confront art as a reflection of society, positioning themselves as its mirrors.”
San Francisco, has always welcomed marginalized groups
and outsider voices. Since the 1950s, the Bay area has attracted
influential artists, poets and thinkers who have initiated some of the great generational movements of their time. More recently,
technological innovation and a cultural renaissance in the heart of downtown have once again put the ‘City of Rebels’ on the world stage.
It now seems fitting that San Francisco welcomes these
artists from Saudi Arabia, very much the pioneers of their
generation, willing to address cultural norms and taboos and their societal impact. In traveling to the U.S. at this time, they are defying mainstream expectations, reaching out directly
to bridge one of the most contested political and ideological borders of our time. —Julie Casemore
Director, Minnesota Street Project
CONTEMPORARY ART FROM SAUDI ARABIA IN SAN FRANCISCO, CA
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GENERA#ION:
Ahaad Alamoudi, with dancers from her debut performance of Tini War War, Minnesota Street Project, August 11, 2016.
CONTEMPORARY ART FROM SAUDI ARABIA IN SAN FRANCISCO, CA
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Curated by Professor Loring Danforth & Dan Mills
Bates Museum of Art | October 28–March 18, 2017
PHANTOM PUNCH: CONTEMPORARY ART FROM SAUDI ARABIA IN LEWISTON, ME
61 Huda Beydoun, Tagged and Undocumented 7, from the series Documenting the Undocumented, 2013
People don't think there are similarities in the cultures while people are always looking to have a separation. I feel having exhibits like this and bringing cultures together is one way to start a conversation. I think I'll be coming here every single day.
Bates College, Lewiston, Maine
—VISITOR COMMENT
64
PHANTOM PUNCH: Lewiston shopkeeper with Phantom Punch poster
CONTEMPORARY ART FROM SAUDI ARABIA IN LEWISTON, ME
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A local student explains how Muslims pray in front of Dynamic (2012) by Musaed Alhulis
“ These artists create smart, topical, funny, culturally resonant, and technically savvy work. Like Muhammad Ali’s surprising and lightning–fast 1965 knockout of Liston in Lewiston, experiencing this exhibition and related programing is a cultural ‘Phantom Punch’, a complete surprise that American, Maine, and even Lewiston audiences didn’t see coming.” —Prof. Loring Danforth & Dan Mills Curators, Phantom Punch
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PHANTOM PUNCH:
The Phantom Punch project was part major exhibition and
part extensive programming: eight artists came to campus, as
distinguished lecturers, visiting artists, and artists in residence, engaging formally and informally with students, faculty, and
the surrounding community. Lewiston is nearly 20% Somali and East African Muslim immigrants, so this exhibition had local relevance for area citizens.
Several campus and community students participated
in tours of the exhibition, which included engaging conversations about art, culture, and political and social issues. It was grati-
fying to know this contemporary art project was supporting such extensive dialogue and cross–cultural understanding. —Dan Mills
Director, Bates College Museum of Art
CONTEMPORARY ART FROM SAUDI ARABIA IN LEWISTON, ME
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PHANTOM PUNCH:
CONTEMPORARY ART FROM SAUDI ARABIA IN LEWISTON, ME
69 Calligraphy performance by Nugamshi in a converted storefront in downtown Lewiston
70
Curated by Linda Komaroff
Los Angeles County Museum of Art | April 16–July 2, 2017
ABDULNASSER GHAREM: PAUSE
71 Abdulnasser Gharem, Pause, 2016
I have seen many shows here at LACMA since I am a Pasadena resident, but no exhibition has had the same impact on me as this one. Especially the work Camouflage, which is on display at the entrance of one of the most important museums in America.
Los Angeles County Museum of Art
—VISITOR COMMENT
74
ABDULNASSER GHAREM:
From left: Wael Gharem, Ajlan Gharem, Abdulnasser Gharem, Shaweesh, Michael Govanm, Hisham Fageeh
Director of LACMA, Michael Govan with Abdulnasser Gharem
PAUSE
75 Road to Makkah (2014)
Hemisphere (2017) Hemisphere (2017) and Ricochet (2015) installed at LACMA
“ Abdulnasser Gharem’s work was a key addition to our collection and thinking, just in the way he turns over ideas and sees history, and the present, from many perspectives at once.” —Michael Govan Director, LACMA
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ABDULNASSER GHAREM:
Gharem has deeply absorbed this notion of pause into his work as an occasion to examine certain universal dichotomies that lead us to choose our life’s path. —Linda Komaroff
Curator, Art of the Middle East Department, LACMA
PAUSE
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ABDULNASSER GHAREM:
PAUSE
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Public Billboard for Abdulnasser Gharem: Pause in downtown Los Angeles
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Curated by Devon Akmon
Arab American National Museum | July 8–October 1, 2017
EPICENTER X: CONTEMPORARY ART FROM SAUDI ARABIA IN DEARBORN, MI
81 Amr Almagmah, Digital Spirituality, 2016
Epicenter X was a first–of–its–kind for our institution. Given the high visitation numbers, positive audience feedback, and the 300–plus media outlets that covered the exhibition, we consider Epicenter X a tremendous success in promoting cultural understanding. As our nation’s singular
Director, Arab American National Museum
—DEVON AKMON
institution dedicated to Arab American culture, we are proud to have hosted this exhibition that offered an American audience insight on critical global issues at a pivotal time.
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EPICENTER X:
Nasser AlSalem and Ahmad Angawi at Epicenter X community event
Visitor admiring Men at Work (2012) by Abdulnasser Gharem
CONTEMPORARY ART FROM SAUDI ARABIA IN DEARBORN, MI
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visitors admiring work by Ajlan Gharem (left) and Marwah Al Mugait (video)
Marwah Al Mugait (left) and Qamar Abdulmalik at Epicenter X community event
“ My life is so far removed from the Arab World, I only see the news, so to be confronted with the humanity of living a day to day life in a society that I am not familiar with was so powerful.” —Visitor Comment Arab American National Museum
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EPICENTER X:
Dearborn, Michigan and Saudi Arabia serve as iconic social and cultural epicenters. Both are geographic hubs of cultural and
political significance, and have strong influences both near and
far over social practices, regional customs, and expressive forms. Dearborn, often considered the focal point of “Arab America,” is
home to a vast array of important religious, cultural, political and
community institutions. The city, geographically positioned within a region containing our nation’s highest concentration of Arab
Americans, has drawn waves upon waves of Arab immigrants for nearly a century. Today, both Arabs and non–Arabs alike journey
to Dearborn to experience the vibrancy of Arab American culture. What’s more, it is from this epicenter that ideas and culture ema-
nate to other Arab American communities throughout our nation. The Kingdom of Saudi Arabia, the second largest state in the
Arab world, also serves as a highly influential epicenter of Arab
identity, culture, and social development. Home to the two holiest sites of Islam, Saudi Arabia functions at a crossroads of culture,
most notably during the annual pilgrimage to Mecca. Since 1933,
when the United States began diplomatic relations with the newly unified country founded by King Abdulaziz bin Abdul Rahman Al
Saud (Ibn Saud), the two nations have been bound by increasingly complex economic and geopolitical relationships. However,
despite its position as an ally of the United States, little is known about Saudi culture and its citizens.
Epicenter X seeks to explore contemporary Saudi culture by
promoting meaningful cultural dialogue between Saudi artists and U.S. audiences. Cutting through the political discourse of
media outlets and government officials, the artworks featured in
this exhibition open doors to the lives of the Saudi people. In doing so, it is our hope this exhibit will challenge common views and
stereotypes of Arab culture by lending a voice to artists exploring poignant ideas centered on urbanization, globalization, religion and the impact of American popular culture in Saudi society. —Devon Akmon
Director, Arab American National Museum
CONTEMPORARY ART FROM SAUDI ARABIA IN DEARBORN, MI
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EPICENTER X:
CONTEMPORARY ART FROM SAUDI ARABIA IN DEARBORN, MI
89
From left: Nugamshi, Marwah Al Mugait, Yusef Alahmad, Rashed Al Shashai, Nasser Al Salem, Qamar Abdulmalik, Ahmad Angawi, Abdullah Al Othman, Ayman Yossri Daydban.
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Curated by Jared Steffensen & Kristian Anderson
Utah Museum of Contemporary Art | August 25, 2017–January 6, 2018
CITIES OF CONVICTION: CONTEMPORARY ART FROM SAUDI ARABIA IN SLC, UT
91 Moath Alofi, The Last Tashahhud, 2015
My first impression of this is what a wonderful cultural exchange this is for our community and how special it is for us to meet all these wonderful artists. For a community like ours who is so grounded in religion and culture, to have another culture that is so different arrive here and to envelop us
Utah Museum of Contemporary Art
—VISITOR COMMENT
with their art? What better way to communicate, than to do it in a non– threatening way with art?
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CITIES OF CONVICTION
CONTEMPORARY ART FROM SAUDI ARABIA IN SALT LAKE CITY, UT
95 Opening of Cities of Conviction at Utah Museum of Contemporary Art, August 25, 2017
“ I am surprised and overwhelmed by the quality and the intensity of the show. There are people speaking out with loud and articulate voices which doesn’t really synch with my ideas of Saudi Arabia. I thought people would be a little more conservative, careful and more subdued perhaps.” —Visitor Comment Utah Museum of Contemporary Art
96
CITIES OF CONVICTION:
Cities of Conviction has been a transformative
The histories of the cities of Mecca and Salt Lake
The exceptional attendance has shown that there
Utah and Saudi Arabia arose from the desert; have
exhibition for UMOCA and for the citizens of Utah. is tremendous hunger here in Utah to better
understand the people and complex culture of
Saudi Arabia. From student groups, to tourists, to local immigrants from the Middle East, the
reception has been universally positive and many have commented on the quality and nuance of
the art work. It is incredibly rewarding to see how
extend well beyond issues of faith. Cities across both laws driven, in large part, by the predominant religion, and at first blush have comparatively conservative cultures. Also, they have a youth culture pushing
the boundaries of their society through relentless individual expression while maintaining a sense of community.
These cities’ growth is limited and defined by
each of the works has the power to strike a chord
their natural boundaries, valley walls, uninhabitable
who is visiting the temple in Salt Lake for the first
driven by access to natural resources. The discovery
with different visitors. Whether it is a Mormon
time, and gazes with wonder at Ahmed Mater’s
giant photograph showing a holy city rising from the desert, or watching small children trace the
meditative lines off Nugamshi’s calligraphy, there is truly something in this show that resonates with everyone.
—Jared Steffensen
Curator, Cities of Conviction
terrain and mountains; and both possess economies of oil in Saudi Arabia propelled its expansion, at times erasing architecture and history in favor of a more
cosmopolitan feel, as evidenced by the commercial development projects being constructed around the
sites of pilgrimage. This phenomenon is mirrored in recent debates over land use and energy resources across the state of Utah, from Bears Ears National
Monument to the development of City Creek Center and the high–rise condominiums that literally look down onto Temple Square.
Cities of Conviction presents works from artists
who are engaged in looking at the struggles and
transformations of their society and delving into complex issues that link Utah and Saudi Arabia,
such as oil, pilgrimage and the tension surrounding
commercial development around important cultural and religious heritage sites. From sacred lands to
the way society responds to religious practices, each unique culture connects to one another in a variety
of ways. The artists included in Cities of Conviction
use the visual language of art to explore the pertinent cultural issues facing Saudi Arabia and its citizens. They, as do many Utahns, question the long–term
stability of relying on non–renewable resources to
fund transformation. As Saudis inch towards a more globally–influenced culture, Salt Lake’s Latter–day
Saint communities are moving towards accepting a
more globally–influenced Salt Lake City, as the influx of new residents from all over the world changes the cultural landscape of Utah. —Kristian Anderson
Director, Utah Museum of Contemporary Art
CONTEMPORARY ART FROM SAUDI ARABIA IN SALT LAKE CITY, UT
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CITIES OF CONVICTION:
CONTEMPORARY ART FROM SAUDI ARABIA IN SALT LAKE CITY, UT
99
Exhibition view of Cities of Conviction at Utah Museum of Contemporary Art
100
Curated by Dr. Leslie Luebbers & Edmund Warren Perry Jr
Art Museum at the University of Memphis | October 8, 2017–January 6, 2018
DESERT TO DELTA: CONTEMPORARY ART FROM SAUDI ARABIA IN MEMPHIS, TN
101 Basmah Felemban, The Journey from Creatures to God. 2017
I was surprised by the extent to which it was thoroughly contemporary and in synch with what other artists are doing and addressing around the world, and that has something to do with the globalized world we live in now. When I have traveled in the past and seen contemporary art in other
Art Museum of the University of Memphis
—VISITOR COMMENT
places, it often feels out of step, but this show does not. This show feels so contemporary, and artists are very clearly speaking about today’s issues using contemporary tools of expression.
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DESERT TO DELTA:
CONTEMPORARY ART FROM SAUDI ARABIA IN MEMPHIS, TN
105 Opening of Desert to Delta at the Art Museum of the University of Memphis, October 8, 2017
“ This exhibition is more than a showcase for art; it is two cultures of art embracing each other. Herein, the visual meets the vocal and the sands meet the waters.” —Edmund Warren Perry Jr Art Museum at the University of Memphis
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DESERT TO DELTA:
At first glance, the connections between Saudi Arabia and
Memphis, Tennessee might seem thin. However, common denominators begin to appear quickly with a little thought. Spiritual
people devoted to their faith inhabit Memphis and the mid–south region; the same is true of Saudi Arabia. Memphis’ church bells
ring daily, summoning the faithful, as do the broadcast of prayers from the mosques of Riyadh, Jeddah, Mecca, and Medina.
Where the comparisons are truly striking is in the arts. In
the same way that music made a name for Memphis in the 1950s and 1960s, today a generation of young visual and video artists is
putting contemporary art from Saudi Arabia on the international
cultural map. Twenty years ago, only savvy collectors and regional art experts could name a handful of artists from Saudi Arabia.
In 2016, the Freer Sackler held a large exhibition featuring
the works of Ahmed Mater, and in 2017, the Los Angeles County Museum of Art held an exhibition of the art of Abdulnasser
Gharem. Both men have entered that high echelon of artists
whose works spawn discourse on several continents. Artists such as Njoud Alanbari, Zahra Al–Ghamdi, Shaweesh, Abdullah Al
Othman, and Ahmad Angawi have launched their careers in this
movement. The depth and beauty of their work is great, but their works are also edgy and provocative. This body of art is imbued
with what critic Stephen Greenblatt cited as necessary to great art—the characteristics of resonance and wonder.
This exhibition is more than a showcase for art; it is two cul-
tures of art embracing each other. Herein, the visual meets the vocal and the sands meet the waters.
—Dr. Leslie Luebbers & Edmund Warren Perry Jr Curators
CONTEMPORARY ART FROM SAUDI ARABIA IN MEMPHIS, TN
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DESERT TO DELTA:
CONTEMPORARY ART FROM SAUDI ARABIA IN MEMPHIS, TN
109
Exhibition view of Desert to Delta at the Art Museum of the University of Memphis.
110
Curated by Catherine Morris
Brooklyn Museum | November 30, 2017–June 17, 2018
AHMED MATER: MECCA JOURNEYS
111 Ahmed Mater, Clock Tower (Mecca Time), 2015
We have been watching the Saudi art scene developing and growing organically over the past few years; that it has now reached this point of recognition and appreciation is wonderful. New York is the microcosm of the world, so to see Mecca as part of that world is quite extraordinary, quite
Brooklyn Museum
—VISITOR COMMENT
surreal–to think that so few people outside of Saudi understand our culture, and now it’s being represented so authentically.
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AHMED MATER:
MECCA JOURNEYS
115 Opening of Mecca Journeys at Brooklyn Museum, November 30, 2017
“ I think this exhibition is crucially important because it gives us an insight into a city that we, as non–Muslims, cannot visit. Ahmed’s photographs and videos put us in Mecca in a thrilling way; we see the city from all of its glory and heights, but we also see it from its streets and from the people who live there.” Glenn Lowry Director, Museum of Modern Art
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AHMED MATER:
With this exhibition, the Brooklyn Museum furthers its “
Ahmed Mater: Mecca Journeys takes Brooklyn Museum
that expand the ways we see ourselves and the world.
the birthplace of the Prophet Muhammad (PBUH)
commitment to creating inspiring encounters with art
We are proud to present an exhibition devoted to the
holy city of Mecca, in a contemporary context, through the interpretation of Saudi artist Ahmed Mater.” —Catherine J. Morris
Curator, Ahmed Mater–Mecca Journeys
visitors through the holiest city in the Islamic world— and site of the hajj, the annual pilgrimage for millions of Muslims from around the world. The exhibition
presents a compelling portrait of the massive urban
redevelopment now under way and its effects on resi-
dents and on the pilgrims who travel there. Saudi artist, Ahmed Mater, has documented this unprecedented expansion for nearly a decade.
The exhibition is anchored by monumental and
more traditionally scaled photographs from his project Desert of Pharan: Unofficial Histories Behind the
Mass Expansion of Mecca, alongside six videos, and
two sculptural works. In addition to documenting the
waves of renovation, construction, and reconfiguration necessitated by the ever–swelling numbers of people who attend the hajj, as well as the influx of wealth
that has fueled these changes, photographs range from remarkable images of the Ka’aba—the ancient and
sacred building at the center of the Masjid Al–Haram, or Great Mosque—to more intimate views detailing the
lives of construction workers, the city’s inhabitants, and visitors. Mater is clear about why the city compels his
attention: “I need to be here, in the city of Mecca, experiencing, absorbing, and recording the many histories
that are unfolding in this moment of transformation— after which things may never be the same again.”
Focusing on Mecca as both a symbolic site of worship and a contemporary urban center grappling with the
social complexities that come with rapid, unremitting growth, he reveals the cultural dynamics at work in the city today.
Through his exploration of the changing city of
Mecca itself, Mater has addressed the nature of urban life in expanding, furiously rebuilding cities, as well
as questions of migration that shape urban conditions around the world today. His work could hardly be more timely.
—Anne Pasternak
Director, Brooklyn Museum
MECCA JOURNEYS
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AHMED MATER:
MECCA JOURNEYS
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Exhibition view of Mecca Journeys at Brooklyn Museum
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Curated by Sanjit Sethi
The Corcoran School of Art & Design in Washington, DC | December 4, 2017
WISAL: A SYMPOSIUM ON CROSS–CULTURAL COLLABORATION
121 Wisal poster design by Mohammad Sharaf
Art can no bord people people. —VISITOR COMMENT Bridges Exhibition, July 2016
do it, ers, to
“ Those of you already working collaboratively—be it in the Middle East or in the U.S. among different communities– keep up the hard work… you are the role models that we will point to when making the pitch to the policymakers, and corporations and foundations about why this long overdue dialogue must be had and must be deepened by working together in a language we all speak— the language of culture. And to Ithra and CULTURUNNERS, which saw the value of arts engagement and collaboration, I hope you are aware that you have supported one of the most meaningful people–to–people engagements between Saudis and Americans ever…and I hope you keep at it.” —Kate Seelye Vice President, Middle East Institute and Keynote speech, Wisal 124
WISAL:
Wisal: A Symposium on Cross–Cultural Collaboration at the
Corcoran School of Art & Design in Washington D.C. marked the final stop on the Bridges Tour. The Symposium brought together
Saudi artists that participated in various programs in the United States over the past two years alongside artists and creative
practitioners affiliated to the Corcoran School of Arts and Design, to speak about their experiences working collaboratively and
across cultures. The one–day symposium focused on grassroots,
national, and transnational collaborations, highlighting different examples of the transformative ways art and creativity can be a
catalyst for cross–cultural understanding and to effect meaningful change in communities. The event was positioned as a platform for future cross–cultural collaborations and a catalyst for such work. Attendees included professors and students at George
Washington University, and featured presentations, two breakout workshop sessions, and three distinct panels. The majority of the
speakers were brought to Washington D.C. from the the Northeast United States and Saudi Arabia. —Sanjit Sethi
Director, Corcoran School of Art & design at George Washington University
A SYMPOSIUM ON CROSS–CULTURAL COLLABORATION
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WISAL:
Wisal Symposium, December 4, 2017
A SYMPOSIUM ON CROSS–CULTURAL COLLABORATION
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WISAL:
A SYMPOSIUM ON CROSS–CULTURAL COLLABORATION
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Joseph Kunkel (William Wilson Corcoran Visiting Professor in Community Engagement), presentating Creativity, Collaboration, and Environment, as part of Wisal Symposium
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KING ABDULAZIZ CENTER FOR WORLD CULTURE
The King Abdulaziz Center for World Culture (Ithra) in Dhahran, Eastern Province, Saudi Arabia
The King Abdulaziz Center for World Culture (Ithra), is a one of–a–kind institution that brings together multiple offerings under one roof.
From arts and culture to science and innovation, this bold initiative by
Saudi Aramco promises a continuous journey of enrichment designed to energize the next knowledge economy of Saudi Arabia.
We aim to make a positive and tangible impact on the cultural
scene by focusing on building local talents in the knowledge and
creative industries. Blending iconic architectural design with advanced technology, and unique learning methods with enriching programs,
the Center is an infinitely inspiring platform for explorers, learners, creators, and leaders—a thriving hub of knowledge, creativity and cross–cultural engagement.
As the Kingdom of Saudi Arabia strives to achieve its ambitious
national development goals to transition to a knowledge–based economy, the Center acts as a bridge connecting cultures and cultivating a creative and innovative community.
At The King Abdulaziz Center for World Culture, we believe in
the power of people and ideas to unlock new possibilities: the future is what we make of it.
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CULTURUNNERS
Photo by Marwen Farhat
Developed in collaboration with an international network of artists,
curators and journalists, CULTURUNNERS is an independent model for cultural exchange and diplomacy; one which empowers and mobilizes artists to tell stories and create art across international borders.
CULTURUNNERS prioritizes direct encounters and storytelling,
trusting in the power of artists' journeys to uncover counter narratives and inspire greater empathy between communities around the world. While traveling with CULTURUNNERS, artists are supported to
collaborate with local people in the production of films, exhibitions, publications and public programming, creating content designed to transcent geographical and ideological borders.
CULTURUNNERS’ first major project is a multiyear grassroots
artists’ road trip criss–crossing between the Middle East and the United States. In September of 2014, CULTURUNNERS set out in a 34ft 1999
Gulf Stream RV from The Rothko Chapel in Houston, Texas on a mission to connect artists and communities between the two regions. To date,
CULTURUNNERS has traveled over 32,000 miles, teaming up with over 150 artists in 27 states across America. CULTURUNNERS.COM
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ACKNOWLEDGEMENTS 136
ITHRA & ARAMCO
Amnah A Fadhli
William Low
Ali Almutairi
Fred Baldwin
Anthony Shostak
Tareq Al Ghamdi
Wendy Watris
Corie Audette
Abdullah Al Eyaf
Judy Sultan
Anne Odom
Noor Al Daham
Heather O’Conner
Museum of Art Synergy
Laila Faddagh
_
Fund
Manar Aldhwila
ASPEN
_
Abdullah Al Abdullah
Andrew Scott
LOS ANGELES
Abdullah Al Rashid
Daniel Joseph Watkins
Michael Govan
Wadha Al Nafjan
Ajax Phillips
Linda Komaroff
Manar H Aldhwila
Don Stuber
Zoe Kahr
Richard Doherty
Anita Thompson
Sabrina Lovett
Johnny Hanson
Steve Cohn
Miranda Carroll
_ [Special Thanks]
Robert Braudis
Sandra Williams
Curtis Wackerle
Errin Copple
Khalid Alyahya
Shaun Orourke
Stephanie Rouinfar
Nora Aldabal
Skye Bird Weinglass
Erin Yokomizo
Noor Dahham
Ryan Gentry
Christina Zeek
Albara Alohali
Joanne Lynn
Terri Bradshaw
_
Stephen Schmille
Adam Lowe
CULTURUNNERS
Jamal White
Miqui Guillén
Stephen Stapleton
Josh Fox
Simon Dean
Imogen Ware
Joe Disalvo
Sebas Beyro
Sarah Al–Faour
Billy Lee Clayton
Georges Marci
Lila Nazemian
_
Yoann Morin
Valeria Mariani
SAN FRANCISCO
LACMA Exhibition Fund
Matteo Lonardi
Aya Mousawi
_
Aga Antosz
Evergold Projects
DETROIT
Mohamed Ali Ghomriani
Julie Casemore
Devon Akmon
Kuba Rudzinski
Simon Sakhai
Elizabeth Barrett Sullivan
Anthony Tino
Suzy Sikorski
Ava Ansari
Daphne Taranto
Tiffany Yau
David Leins
John Mireles
_
Ayah Krisht
Haya Shaath
LEWISTON
Kim Silarski
Rotana Shaker
Leena Nasser
Dave Serio
_
Halah, Ahmed and the–
Robert–David Jones
HOUSTON
students of #Bates2Saudi
Spectrum Neon
James & Ann Harithas
Will Ash
Chris Turner
Joshua Poole
Sylvia Hawks
_
Alan Schnitger
Ben Lizzotte
SALT LAKE CITY
Alex Tu
Scott Tiner
Kristian Anderson
Karen Farber
Dan Mills
Elly Baldwin
Hadia Mawlawi
Prof. Loring Danforth
John Burdick
Dion Laurent
Piney Kesting
Lori Johnson
Kevin Lucey
David White
David Scanavino
Christie Marcy
Kevin Mireles
Basmah Felemban
Jared Steffensen
Saad Kidwai
Nada Farhat
Kendal Sudman
Kathy Dumlao
Philip Vang Noobtsaa
Michelle Sulley
Ryan Watt
Sanjit Sethi
Brian Maya
Dr. Etty Terem
Jillian Nakornthap
Denise Dragoo
Tracy Lauritzen–Wright
_
Dr. Laura Nelson
Tiffany Hall McClung
GALLERIES &
Maura Powers
Saad Kidwai
COLLECTIONS
Robert Volker
_
Farook Foundation, Dubai
Salt Lake County
BROOKLYN
Hafez Gallery, Jeddah
Sam and Diane Stewart–
Anne Pasternak
Ayyam Gallery, Dubai
Family Foundation
Catherine Morris
Sabrina Amrani Gallery, Madrid
Sentry Financial
Hope O’Reilly
Cuadro Gallery, Dubai
State of Utah
David Berliner
Athr Gallery, Jeddah
Steven Labrum
Allie Rickard
A–Political Collection, London
Jenney Wilder
Lance Singletary
Gharem Studio, Riyadh
Tom and Karma Thomson
Caitlin Wunderlich
Pharan Studio, Jeddah
Val Antczak
Diolan Doydora
Art Jameel Collection, Dubai
Barbara Polich
Lars Müller
_
Zions Bank
Andrei Tretyakov
OTHER
_
Becky Haghpanah–Shirwan
Mohammed Alsaad
MEMPHIS
Leo Porto
Abdulaziz Alqurashi
Dr. Leslie Luebbers
Nazy Nazhand
Sarah Alnajjar
Warren Perry
Yusef Alahmad
Anita Huggins
Ziad Al Sayed
Jason Miller
Hamza Serafi
Neil O’Brien
Jumana Ghouth
H. Doug McWhirter
Mohammed Hafiz
Dr. Diana Gill
Mario Cristiani
Dr. Anne Hogan
Lorenzo Fiaschi
Gerry Keen
Maurizio Rigillo
Dr. Beverly Tsacoyianis
Ilaria Pigliafreddo
Dr. Nabil Bayakly
_
Latosha Dexter
WASHINGTON D.C.
Samire Rahbe Chambers
Kate Seelye
Jennalyn Krulish
Joseph Kunkel
Hannah Clevinger
Maria del Carmen Montoya
Clivona Burse
Caroline Woolard
George Burton
Asad Ali Jafri
Reiley Wilson
Abdulrahman Gazzaz
LeRoy Pettyjohn
Anne Senstad
Geoffrey Collins
Yusef Alahmad
Lisa Fisher–Wood
Michael Mogensen
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