Archive for the ‘Past’ category

‘بالإنجليزي industry كلمة ‘ by Abdullah Al-Mutairi


Abdullah Al-Mutairi

10th April – 10th May 2018

يرتكز ثاني معرض للفنان عبدالله المطيري على التطور السريع الحاصل على الصعيد الإجتماعي و دور التكوينات الهجينة المولودة من تصادم مختلف الثقافات و الطبقات في تمثيل و حث هذه التغيرات

تعزيزاً لمضمون معرضه السابق بإسم ‘المنتجات الثانوية للتطور’’, ومن خلال إعادة النظر إلى الأساليب الرسمية المستخدمة لترسيخ تاريخ وزمن منطقة معينة، يقدم المعرض واقع بديل لتاريخ مستقبل الكويت مستخدما مواد و خامات ثانوية من بقايا الإستهلاك اليومي مع أخذ بعين الاعتبار التأثيرات و التقلبات النفسية والجسدية الحاصلة كردة فعل للتشبع الذهني الناتج عن سرعة التطور الإجتماعي

يشكل واقعنا الحالي فترة حادة لاصطدام أنظمة متعددة مسببة اضطراب في استيعابنا تكاليف أنماط حياتنا العصرية واختياراتنا لتحقيق ما نعتقد هو الذات .

ما وظيفة المؤسسات الثقافية في تحديد السرد الشعبي، وكيف تحدد مدى مادية هذا الرسخ ؟ ما أثر الإستهلاك المعلوماتي والمادي على استمرارية إدراك الذات؟

For his second solo show, the artist Abdullah Al-Mutairi focuses on the role liminal forms play in both representing and urging further rapid social development

Building on the concepts of his past show titled ‘byproducts of development’, and through the re-evaluation of how a region and time’s history is officially documented, the exhibit presents an alternate view of the future history of Kuwait through the use of second-hand materials and daily disposables while considering the physical and mental volatility resulting from development and our constant saturation with information

Our era is constituted by acute clashes confusing our understanding of the price of our contemporary lifestyle and how we choose to self-actualize. What is the role of cultural institutions in determining social narrative, and how is its materiality established? What are the effect of material and informational consumption on the continuation of self-actualization?

Culture Fair – Yesterday,Today & Tomorrow by Aseel AlYaqoub


Aseel AlYaqoub

13 February 2018 – 23 February 2018

The Sultan Gallery presents the second solo show of Kuwaiti visual artist Aseel AlYaqoub during the national month of February. Bringing together almost two years of research revolving around Kuwait’s postage stamps, Culture Fair focuses on AlYaqoub’s dialogue with the nation’s use of imagery and events during the Golden Era (circa 1940-1980) in particular. Known for her politically satire works of art, Aseel AlYaqoub explores various histories of Kuwait’s past and how it emerges into the present. Using nostalgia as an instrument for critical thought, rather than longing for the past, allows AlYaqoub to investigate the invention and reinvention of heritage and tradition.

In the process of collecting Kuwaiti postage stamps, AlYaqoub probes at the visually subdued and discreet nature of the propaganda exhibited. As it was once widely circulated, the postage stamp does not usually have an obvious message which in turn enhances its peculiar effectiveness. The stamp itself was ideal propaganda. It went from hand to hand and town to town; it reached the farthest corners and provinces of a country and even the farthest countries of the world. It was and may still be a symbol of the nation from which the stamp is mailed, a vivid expression of that country’s culture, civilization and of its ideas and ideals.

The exhibition is categorized into three modules of time. In Yesterday, AlYaqoub reconfigures the narratives of old stamps by dissecting and reassembling the layers, destroying the national artefact and image with her own narrative.  They are displayed as museum or cultural relics usually found in world fairs. The magnifying domes expand the seamless collages to emphasize on the continuity of history. In Palace of Justice, a dinosaur holding a large sword roams the green fields of the judicial building. Its presence suggests somewhat of a pre-historic nature in the system. A Kuwaiti man stands in the forefront with white paint on his raised hands, as though to claim his innocence.

In Today, AlYaqoub proposes three concepts for postage stamps that present vignettes of Kuwait’s current culture and external politics. Inspired from an old stamp celebrating ‘Traffic Day’, Entrepreneurial Day appropriates Edward Hopper’s Nighthawks diner and resituates it into a popular area in the city of Kuwait. The originally quiet diner is packed with young familiar faces indulging in selfies, burgers and coffee. It is a private soft-opening, exclusive and elite. Due to its obscure location, the street is empty apart from an immigrant worker sweeping in the background and a couple waiting to be seated. AlYaqoub pokes at today’s ever-growing support for entrepreneurship, their exclusivity and temporary lifespans.

Tomorrow presents proposals for the future and expresses attitudes of tradition and cultural appropriation that will follow us all the way into space. Architectural Fantasies is a nod towards Russian constructivist architect Yakov Chernikhov. In the centre of the stamp is one of his designs for a future city that carries similar spheres to those on the Kuwait Towers. The architectural regional race to building cities on islands and arid deserts continues outwards into space, presenting the citizens with hope and aspiration.

The six scenarios are in and of themselves collages inspired from the visual language of the original Kuwaiti stamps. Through the process of offset plate printing, they are presented in the same four-colour printing format used to manufacture stamps. Alongside the artwork is a projected video of AlYaqoub’s thought process. In it she digitally records the slicing and reconfiguration of the stamps to involve the viewer in her decision making. The original stamps are presented, prior to their destruction, as evidence of their existence.

















A Selection of Artworks by Mohammed Ahmed Ibrahim



Mohammed Ahmed Ibrahim

November 7th – December 12th, 2017



Abdullah Al-Mutairi : Byproducts of Development


11th April – 27th April, 2017

Focusing on the impact industrial expansion has had on the bodies and identities of youth in the region, “Byproducts of Development” utilizes found materials, both digital and physical, to portray a theory of cultural transformation. The show aims to draw attention to the physiological repercussions of rapid urbanization; linking the effects of oil industry to noticeable changes in the body. Additionally, digital connectivity is scrutinized as a locus of change, prompting shifts in self-image and methods of self-actualization that mirror the drastic changes in local landscapes. Male fragility is positioned as a reaction to, as well as a consequence of, rapid development, with youth caught between a changing ecology and digital influences.

This is Abdullah Al-Mutairi’s first solo show.

يركز معرض “المنتجات الثانوية للتطور” على أثر التوسع الصناعي في الكويت على أجساد و هويّات شبابها، أعمال المعرض المادية والرقمية تستغل مواد و خامات معاد تدويرها لتوصف نظرية للتحول الثقافي.

يهدف المشروع إلى لفت الانتباه للعواقب الفسيولوجية للتطور الصناعي السريع بربطه نتاج الصناعة النفطية لتغيرات جسدية ملحوظة و محسوسة. إضافةً لذلك، يقوم المعرض بالتدقيق على خدمات التواصل الاجتماعي كموضع تغير في المجتمع و الذي يؤثر على النظرة الذاتية للشخص وأساليب تحقيق الذات.

يتنبأ المعرض أن هشاشة الهوية الذكرية تكون ردة فعل و نتاج للتطور السريع، فيصبح شبابنا محكورين بين بيئة متغيرة و تأثيرات رقمية.

 يعتبر هذا المعرض أول معرض شخصي للفنان عبدالله المطيري.

 SDD_Byproducts of development






George Awde : Still Departures


Still Departures


6th December, 2016 – 5th January, 2017

George Awde’s first solo exhibition in Kuwait, chronicles the transitory existence of a group of young men and boys – many of them migrant laborers, emigrants from Syria and Syrian Kurdistan living in the context of Beirut from 2007-2016. This exhibition considers the embodiment of becoming men, while also appreciating issues of mobility and nationality as we each etch out our place in this world.

Awde’s photographs question the relationship between citizenship, masculinity, and the sense of belonging to a place – as well as to one’s own body. The work explores the scars of the flesh with those of the soil. As these men grow and change, the photographs capture physical marks – in the form of tattoos and cuts – giving hints of struggle and survival. The shape, role, and uses of the body change as these boys age – filling out – becoming men. Parallel to changing borders of manhood are those of physical mobility which widen, contract, and close in terrains of the changing geopolitical climate.  The landscape allows us to consider our states of belonging, not just as a metonym, but a portrait of Beirut’s physical terrain in which these processes occur on/through/in the bodies of individuals.

Awde’s practice of using a large format camera, and the slow process it requires, contributes to the intimacy and guides the aesthetics of his photographs. This process mirrors the gradual approach he has of building trust and familiarity through a collaborative process of photography over a number of years.  Awde has a compulsion of returning; revisiting the same spaces, people, and obsessions time and again. From this emerges a passage, which creates a broken continuity – a process unfolding like that of aging, moving, or staying.

George Awde is currently an Assistant Professor of photography at Virginia Commonwealth University in Doha, Qatar and co-director of marra.tein, a residency and research initiative in Beirut. His awards include the Aaron Siskind Foundation’s Individual Photographer’s Fellowship (2012), Philadelphia Museum of Art’s photography Portfolio Competition (2012), Fulbright US Scholar Grant to Egypt (2012-2013), Alice Kimball English Travel Fellowship (2009), and The Richard Benson Scholarship for Excellence in Photography (2008). In 2015 Awde was an artist in residence at Light Work in Syracuse, New York.  Awde’s work has been exhibited internationally, including cities such as Los Angeles, Istanbul, Beirut, Paris, Doha, Dubai, Lahore, Cairo, London, and New York.


Khalid Al Gharaballi : Poor Image


The title of the exhibition is taken from German artist Hito Steyerl’s 2009 essay “In Defense of the Poor Image.” In it she says: “The poor image is a copy in motion. It’s quality is bad, it’s resolution substandard. As it accelerates, it deteriorates. It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped, remixed, as well as copied and pasted into other channels of distribution…The poor image is a rag or a rip; an AVI or a JPEG, a lumpen proletarian in the class society of appearances.”

While Steyerl was referring to sharpness and resolution as indicators for placement within the hierarchy of images, the subject matter for this group of paintings isn’t focused solely on the clarity and quality of the source image but also on it’s geographical and historical origin. A low resolution thumbnail of a house found on a Kuwaiti real estate website, a blurry photo of a floor-bound sectional divan posted – years ago – on a now abandoned online Saudi forum, images where practicality rules and aesthetics are of no consequence and whose intended audience is limited to it’s geographical origin. While existing on the fringes of our collective online consumption, these images are inadvertently documenting the domestic landscapes of the Gulf.

This is Khalid al Gharaballi’s first solo exhibition after first establishing a duo practice with Fatima Al Qadiri and then co-founding GCC, the artist collective whose work has been exhibited at MoMA PS1, the Sharjah Art Foundation, the New Museum, the Fridericianum, Musée d’Art Moderne de la Ville de Paris, and the Whitney Museum of American Art.

Omar Khouri : Tensile Modulus


Abstraction and representation; self and other; science and art; geometric structures and natural shapes; autonomous units and parts of the whole; the suspended present moment and the perpetual flow of time… Our world is filled with dualities that pull at our lives in opposing directions, creating the tensile forces that move us forward. Taking the tension between the artist’s Arab cultural background and his Western one as its departure point, “Tensile Modulus” is a series of portrait experiments exploring the opposing concepts that suspend each of us in our unique and lonely spot in the infinite net of being that paradoxically connects us all.


Omar Khouri was born in London in 1978, but spent his childhood in Lebanon. In 2002, he graduated from Massachusetts College of Art and Design in Boston with a BFA in illustration. Back in Beirut in 2006, Omar cofounded Samandal Comics Magazine, the first experimental comics periodical in the Arab world. He is currently an Editor of Samandal and one of its many international contributing artists. Omar’s work spans many art forms including painting, comics, animation, theater, film, and music.

Ammar Al Attar : Sibeel Water


An article in the National Geographic titled, Water, The Age of Scarcity Begins, inspired Ammar Al Attar to do a project about water.  Moved by the fact that our most basic necessity is a scarce and precious resource, the artist chose the UAE in which to explore the contradictory notion that water is often given away for free; remaining easily accessible and freely available to many.  In his study of this paradox, Al Attar investigates two pivotal questions: is the notion of giving away free water increasing out of conscious necessity? Or, is it simply that an urbanized people have forgotten the importance of conservation? Al Attar visits various UAE neighborhoods to observe different types of water coolers.

The artist captures different types of coolers in different spaces.  The most commonly used steel-box coolers are specially made using mosaics by a charitable organization in collaboration with an Islamic architect. They occupy a distinct space outside private homes and mosques.  The artist’s most unique subject was a bench with different taps, stationed outside a mansion in Um Al Quwain. People with large jars crowded the area, in the wait of water. The crowds grew so large that the owner of the house scheduled specific hours for water collection, so that he may have enough time to refill his tanks Al Attar presents his “Sibeel Water” series on a pressingly current issue to emphasize the scarcity of water and the importance of sustaining our most precious element.

This exhibition is in collaboration with Cuadro Gallery, Dubai.

About the Artist:

Ammar Al Attar was born in Dubai in 1981 and currently lives and works in the United Arab Emirate of Ajman. He holds a Masters in International Business from the University of Wollongong in Dubai and a Bachelor in Business Information Technology from Dubai’s Higher Colleges of Technology.

He has attended a number of photography courses both in the UAE and abroad and is a member of the International Federation of Photographic Art (FIAP), the Photographic Society of America (PSA), and the Abu Dhabi International Photographic Society (ADIPS). Al Attar’s work has been shown in various group exhibitions in the UAE, including Emirati Expressions and the Thessaloniki Museum in Greece in 2011. In 2013 he exhibited at the Sharjah Biennale, Athr Gallery (Jeddah) and Riwaq Bahrain. Al Attar’s ‘Prayer Room’ series can be found in the collection of the Sharjah Art Foundation.




COMPLICITY  is a group exhibition curated by Aleya Hamza in collaboration with Gypsum Gallery, Cairo, Egypt.

Within a few days he showed me the contact sheet. “This one has the magic,” he said.

When I look at it now, I never see me. I see us.

This exhibition is inspired by the quote from “Just Kids”, a memoir penned by the poet, artist and singer Patti Smith about her complicated and intimate relationship with the artist Robert Mapplethorpe. The quote refers to a black and white photographic portrait he shot of her for the cover of her first album in 1975.  Smith’s words suggest that artists are often present in their works even when they are not the subjects.

Featuring video, photography, photomontage, painting and drawing, the show brings together a group of works in which artist and subject are inextricably bound. Many of the works stem from a private story, a recurring memory or an intense personal experience. They compress and translate, through the physical form of an artwork, intangible desires and vulnerabilities.  Because of the introspective and psychological nature of the work, they often trigger in the viewer a sense of unease, as if they are seeing or partaking in something that is not quite legitimate. And often, beneath the veneer of the personal revelations, more complex and collective power relations reveal themselves.

Artists :

Doa Aly , Jumana Manna, Mahmoud Khaled, Nermine Hammam, Setareh Shahbazi, Shady Elnoshokaty and Tamara Al Samerai.

Exhibition dates: 19th January – 24th February,  2016


Mohammed Al Kouh – Four Hands Can’t Clap


Sultan Gallery is pleased to present ‘Four Hands Can’t Clap’ an exhibition of hand-colored photographs by Kuwaiti artist Mohammed AlKouh.

“Four Hands Can’t Clap” is born out of an investigation on the human desire of love. Originally, AlKouh set out to Syrian refugee camps to document the triumph of romance in a war inflicted circumstance. However, what he discovered was a series of broken love stories very similar to ones we experience outside of conflict. Greed, betrayal, and adultery led to the heartbreak of stealthy men, who survived the war in Syria but have not survived the haunt of their beloved.

AlKouh works to capture the memory of happiness and hope in these men who are numbed by stories of conflict but touched by the memory of their loved one.

Four Hands Can’t Clap plays on the Arabic expression “One hand can’t clap”. Despite the war torn conditions of these portraits, there seems to exist a prevalence of common heartbreak stories. The human need for love is once again defeated by family values, social expectations, and economic motivations. If love were to conquer all, then perhaps we would not have reached this place to begin with.

About the Artist :

Born in 1984, Mohammed Al Kouh lives and works in Kuwait. AlKouh is a self-taught artist who has explored different aspects of art since childhood.

After graduating from Kuwait University with BA in Business Administration & Marketing, AlKouh took his passion to a new level. As a child he was captivated with the idea of “Stealing Souls and Keeping Them in Negatives” so he began to photograph everything he wished not to lose. Photography became his way to steal his favorite moments in life and keep them in his closet. Growing up he developed a great nostalgia to an era he never lived, an era where everything was romantic and beautiful. With the sensitive technique of hand coloring black and white photographs he traveled back to that time by creating staged realities that give a contrast between past and present.

“In Dreams you’re always more beautiful than reality. You’re always happy and with the ones you love, and no one can hurt you… ” – Mohammed AlKouh.