Against the backdrop of the US Presidential election, renowned Saudi artist, Ahmed Mater presented his first U.S. solo exhibition at the Smithsonian Institution in Washington D.C. The exhibition explored economic, cultural and urban change in the Kingdom of Saudi Arabia. ‘Symbolic Cities’ was on view at the Smithsonian’s Arthur M. Sackler Gallery from 19 March - 18 September 2016.
Today, Saudi Arabia looms large in the collective American consciousness, eliciting effusive intrigue and occluded by misinformation in equal measure. These exterior narratives, often spun by media or politicians, are in flux; so too the perspective from the opposite end of the telescope – from inside looking out. By all accounts, it is a kingdom in rapid, irrepressible political, economic and social transformation.
As a young boy, the artist Ahmed Mater stood on the roof of his rural home, holding an antenna to the sky in search of music and dancing (banned on Saudi TV at that time, via a signal from Yemen or across the red-sea to Egypt; now he has easy access to the thoughts and ephemera of other cultures via the internet; it is a very different world. Yet, this swollen access demands its own negotiations; truths are lain bare as unilaterally as untruths and it is left to the reader, viewer, listener, online seeker on both sides of the border to make their own judgements amidst an overload of conflicting information.
For the first time in the U.S. capital, the works of Ahmed Mater (b. 1979) were presented with a solo exhibition of his sculptural works, photographs and videos. These perceptive documentary journeys opened a new window to the geographical heart of Islam. ‘Symbolic Cities: The Work of Ahmed Mater’ presents unbiased visions from these unfamiliar territories. These are taut terrains riven by tension as traditional foundations confront and elide with contemporary life. Inside the frame, Mater captures the trauma of rapid development, seeks lost landscapes once familiarly navigated and maps the strange topography of vast empty deserts set obliquely against overcrowdeded, thronging cities. Unapologetic and honest, these representations of life in the Kingdom are exposed for American viewers.
Mater is not only a leading artist in Saudi Arabia, but also a pioneer of exchange. In this exhibition, he invited the American public to approach with open minds. ‘Symbolic Cities’ demands a deeper respect and a more nuanced engagement through immersive, experiential works which generously encourage us to move away from a divisive sense of ‘them’ towards a richer and truer understanding of ‘us’.
“Mater brings the rigor of his training as a physician — as well as unparalleled access — to gather frank observations of his own time and place,” said exhibition curator Carol Huh, the Freer|Sackler’s curator for contemporary art. “The resulting imagery is straightforward and striking, while his newest research-based project presents another fascinating shift in his use of the photographic medium.”
The Smithsonian’s Freer Gallery of Art and Arthur M. Sackler Gallery, located on the National Mall in Washington, D.C., together comprise the nation’s museum of Asian art. It contains one of the most important collections of Asian art in the world, featuring more than 40,000 objects ranging in time from the Neolithic to the present day, with especially fine groupings of Islamic art, Chinese jades, bronzes and paintings and the art of the ancient Near East. The galleries also contain important masterworks from Japan, ancient Egypt, South and Southeast Asia and Korea, as well as the Freer’s noted collection of works by American artist James McNeill Whistler. The Freer Gallery of Art, which will be closed during this exhibition, is scheduled to reopen in spring 2017 with modernized technology and infrastructure, refreshed gallery spaces and an enhanced Eugene and Agnes E. Meyer Auditorium. The Freer|Sackler Gallery is open every day between: 10 am–5:30 pm.
Art Jameel supports artists and creative communities. Current initiatives include running heritage institutes and restoration programmes, plus a broad range of arts and educational initiatives for all ages. The organisation’s programmes foster the role of the arts in building open, connected communities; at a time of flux and dramatic societal shifts, this role is understood as more crucial than ever.
Art Jameel’s model is collaborative: major institutional partners include Delfina Foundation, the Metropolitan Museum of Art, the Prince’s School of Traditional Arts and the Victoria and Albert Museum. Locally, the organisation works with individuals and organisations to develop innovative programming that embraces both ancient and new technologies, and encourages entrepreneurship and the development of cultural networks.
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