Bricklab, the designers of the first Saudi pavilion at Venice Architecture Biennale create a new pop-up sculpture especially for Shubbak. 22 brightly coloured units equalling in number the 22 states of the Arab League are arranged in different constellations to offer new viewpoints of geographies, nations and the power to imagine other realities. No unit can stand on its own, but has to be grafted onto others. Geographical Child’s Play conjures up poignant and surprising alignments and dependencies. Established in Jeddah in 2015 Bricklab quickly established itself as one of the most dynamic current design practices in Saudi Arabia.

Structures That Cooperate takes its name from the 2018/19 programme currently happening at Cubitt, London. It is a programme of projects that talk to Cubitt’s context as an artist-run co-operative. It is a call to question default approaches to programming a gallery space, looking instead to collective formats, imaginaries and realities. For the Ways of Learning exhibition at BALTIC 39 events will share work, process and research in collaboration with Aya Haidar, NewBridge Project, Hands on Film, BALTIC 39 Staff, Cinenova, Kirsty Clarke and the Artists’ Union England.

A book of poetry entitled Classical Poems by Arab Women and Mughal era inspired mesmerizing works of art by Saudi artist Dana Awartani. Torn between the era of Mughals and classical poetry, she methodically reconfigured and crafted a nostalgic series of Islamic art and ‘Jali’ work with artisans in India on silk panels reminiscent of the royal era. Known to reinvent classic and sacred works of the past with a contemporary style, Awartani does not disappoint in her latest work for 21,39 Jeddah Arts at Athr gallery.

There is at present a remarkable flowering of the Jeddah art scene, a sense that the young and reforming country of Saudi Arabia – having been relatively isolated from the rest of the world – has something new and different to offer on the artistic stage.

Jeddah’s yearly arts festival, 21,39, took place last week, and its ancillary events this year stretched across the country. Organisers took international visitors to Dammam, on the country’s east coast, to see the gorgeously high-spec Ithra: King Abdullah Aziz Centre for World Culture, the Saudi Aramco-funded art and cultural space that opens later this year, as well as to the King Abdullah Economic City to see the country’s first-ever solo show, Drum Roll, Please of Ahmed Mater.

The Clocks Are Striking Thirteen, curated by one of Athr Gallery’s former directors, Maya El Khalil, showed works that played with materiality and symbolism in novel ways. And it had feeling: there was a sense of things at stake.

This month, Athr is presenting Saudi artists Ghada Al-Rabea’s first solo exhibition, titled Sidi Shahin. Ghada tells Vogue Arabia that the name of the exhibition comes from a tradition in Medina that celebrates the upcoming Holy Month of Ramadan, when kids sing songs and knock on neighbors doors asking for candy.

Ghada Al-Rabea’s solo exhibition at ATHR takes place from April 30th until June 1st in Jeddah, Saudi Arabia

Art Dubai 2017, the international summit of the arts, has opened with a record-breaking bang with galleries from 43 countries showcasing the best of the global scene.

With 93 galleries representing more than 500 artists, one gallery stands out for many Saudis visiting the region’s largest art fair.

Jeddah’s Athr Gallery is the only gallery from Saudi Arabia present at Art Dubai, and is drawing interest from passersby due to its unique collection.

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An exhibition entitled “And Along Came Polyester” is opening at Athr art platform, based at Serafi Mega Mall’s office towers, featuring five solo presentations by female artists from the Gulf.

The exhibition, alongside two others opening on the same day, is part of the 21,39 Jeddah Arts non-profit initiative organized by the Saudi Art Council.

“This is the first time to host five women from the (Gulf) region to present at Athr,” Leila Evangelista, one of the organizers at Athr, told Arab News.

“The story behind the title of the exhibition is that polyester is a material derivative from oil. Oil has been the main source of economic strength in the area from which the artists come.”

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Recent Slade School of Art grad Haidar’s poetic works see embroidered postcards stacked in racks atop white plinths. According to Athr’s Maryam Bilal, the artist “moved to England because of the war in Lebanon, so being a refugee is always a theme of her work. She wants the embroidery to expand elements in the postcards, cities, and landscapes that she finds most beautiful.” Within the works (each stand priced at £1,800) picket fences are sewn with black thread; swimmers lounging around municipal swimming pools are given lobster-red lifejackets. The series, titled “Wish You Were Here,” is “about this feeling of wanting to go home,” Bilal noted.

“Symbolic Cities,” which Mater shot over three years, explores the impact of urbanization and economic change on the landscapes of his native Saudi Arabia through long-form photography and video. The exhibit consists of large-scale photographic works, shot in color, as well as two short films and a collection of smaller photographs.

Viewers traveling through the exhibit begin with “The Empty Land,” a series of 15 photographs that depict parched Saudi landscapes devoid of human presence, abandoned public works projects and discarded oil barrels — objects that represent the abandonment of traditional values and agrarian ways of life in the face of modernization.

The first US solo exhibition of the renowned Saudi artist, Ahmed Mater, has opened this week at the Smithsonian Institute in Washington DC. The ‘Symbolic Cities’ exhibition, presented in collaboration with Culturunners in partnership with Art Jameel, will be on display at the Arthur M Sackler Gallery until Sept. 18.