Her work has appeared in group exhibitions including those at the Palais de Tokyo, Paris (2004); Tate Modern, London (2006), Moscow
Biennial (2007); Zachęta – Narodowa Galeria Sztuki, Warsaw (2009); Performa Biennial, New York (2009, 2013); Witte de With, Centrum vo
Hedendaagse Kunst, Rotterdam (2011); and MoMA PS1, New York (2013). In addition to a curatorial residency at International Studio and Curatorial Program, New York (2005), she has had residencies at Zentrum Paul Klee, Bern (2009), and Iaspis, Stockholm (2013). In collaboration with architect Aleksandra Wasilkowska, Kurant represented Poland at the 2010 Venice Architecture Biennale with the pavilion presentation Emergency Exit. Kurant lives and works in New York.

For the Palimpsest of Time exhibition that occurred in AlUla, Agnieszka Kurant exhibited past work, including prints from the series Maps of Phantom Island. “Chemical Garden” investigates the digital, biological, and mineral relationships and consists of complex crystalline structures resembling plants. These structures were created by mixing water glass (sodium silicate) with inorganic chemicals, including salts of metals (copper, cobalt, manganese, chromium, and iron) used in modern computers and whose industrial extraction leads to the devastation of entire ecosystems. #Paradoxically, modern research shows that chemical gardens in hydrothermal vents on the seafloor are a plausible path for the origin of life on Earth. Some of the earliest purported fossils of life might be from fossilised chemical gardens. The work explores how organic and inorganic substances are continually reorganised into various unstable forms. The work was created in collaboration with Dr Magdalena Osial. Maps of Phantom Islands depict non-existent islands observed as mirages or invented by past explorers and placed on important political maps throughout the history of cartography. These fictitious territories often lead to real political conflicts.

On 26th of February, Agnieszka Kurant’s talk gave the local community of AlUla a sense of her past works and connexion with her researches made in AlUla about the correlation between social change, climate change and the mutations and transformations of the living matter and geology. Around AlUla, she witnessed the evolution of geological and architectural forms blended with that of evolving languages, writing systems and living species. These mutating forms, from the quasi-melted rocks shaped by the ocean millions of years ago and more recently by desert winds, to evolving systems of writing documented on the surface of ancient rocks, were of particular interest to her.

The post Agnieszka Kurant appeared first on Sigg Art Foundation.

Zedani’s recent projects include The heavens is for all, Islamic Arts Biennale, Jeddah (2023); between desert seas, Louvre Abu Dhabi (2022); The keepers, Staatliche Kunsthalle Baden- Baden (2022); the Valley of the Desert Keepers, Desert X Alula, AlUla (2022); Terrapolis, The Sustainability Pavilion, Expo 2020, Dubai (2020); Between the Heavens and the Earth, Lahore Biennial, Lahore (2020).

Continuing his previous research on the parasitic plants of the Arabian desert, Ayman Zedani furthered his investigation during his recent residency to include the new archaeological discoveries in AlUla and Khaybar.

These new findings provoked a lot of questions and reflected the need for further historical research. Zedani attempted to create a story connecting different civilizations that have lived in AlUla and Khaybar, which is an ongoing process. He is trying to fill the missing historical gaps with science fiction to create a coherent narrative attempting to make what was happening there more fathomable.

This speculative approach based on fictional scenarios resonates with other works by Ayman Zedani, in which he uncovered a broad spectrum of possibilities through well-known objects from the environment of the region, as seen in his installation, The Keepers.

The installation « The Keepers » presented at the AlUla Artist Residency is a culmination of Ayman Zedani’s research on the parasitic plants of the Arabian desert over the past few years.

These plants are known for their ability to acquire genes from their host plants, thereby ensuring the survival of their offspring. This continuous process of gene appropriation results in the formation of an archive of the desert’s history and, possibly, the keys to a liveable future.

This work is part of an extensive series that Ayman Zedani has been developing to shed light on non-human models that can help us contemplate the impacts of climate change, the loss of biodiversity, and the future of the Earth.

The film « To The Eagles » (2023) is a speculative fiction short film bringing together Ayman Zedani’s research outcome during the AlUla Artist Residency. It weaves together factual information with science fiction narrative to connect the different human civilizations that lived in Alula and Khaybar. It explores the idea that the tombs of Dadan and Hegra as well as the different markers in Khaybar are portals to other dimensions which were activated and used by different civilizations.

Ayman Zedani’s investigative practice aims to subvert our understanding of the past and challenge our acceptance of the future. The immersive environments, installations, and videos Zedani consider possible futures for the Gulf and consistently renegotiate the relationship between humans and nature. Zedani’s past installations have featured stone, clay, charcoal and concrete while the artist’s current practice features the manipulation of organic materials in order to reframe nature as a protagonist. Keep watching to see how this has manifested in Zedani’s time in AlUla!

The post Ayman Zedani appeared first on Sigg Art Foundation.

The first iteration of the project will take the shape of a Virtual Reality as well as a video. His work has been exhibited at Des Corps Libres, Reiffers Initiatives, Paris. Drop 06, Zien, Online. Global Gallery, Worldwide. Organized by Porsche and König Galerie. Salon de Montrouge, Paris.

During his AlUla Artist Residency, Ben Elliot has been inspired by the scenery, the local wildlife, the people in AlUla and the developments brought on by Saudi Arabia’s Vision 2030. He imagined the future of these landscapes and produced a powerful immersive Metaverse experience, challenging the past and future through the digital realm, based on his historical site visits and with the help of the local community and experts.

During the “Palimpsest of Time” exhibition, Ben Elliot showcased Smartsuit, a speculative garment designed by him, which envisions the future of clothing for the human body. Perfectly designed for AlUla’s desert, it is minimalist, utilitarian and streamlined for everyday use, Smartsuit acts as a true bioskin, responding to the needs of the body in a technology driven society. Constructed from intelligent biomaterials and acting as a new exoskeleton, Smartsuit adapts to unlimited colours and intuitively shapes itself to the individuality of its user while responding to its environment. The suit adapts to the weather, provides warmth, energy and nutrients to the host, optimises the body’s performance levels, enhances the senses, stores unlimited data and connects intuitively to all social networks. The Smartsuit is self-cleaning, self-healing and self-fragilising.

On March 8th, the event “Sands of tomorrow” included an off-white cocktail and finger food and recital of Ben Elliot’s writings by Alanood.

At the intersection of physical and digital paradigms, Metaone is divided into different environments inspired by innovative places, like AlUla. Metaone envisions being a digital answer to these new kinds of cities and societies, which are at the same time smart and in adequacy with their natural habitat (i.e. biomimetic shapes).
For Elliot, AlUla represents a very exciting ambition for a futuristic country where history, nature, technology, and sciences coexist to create progress. He is interested in the conception of new spaces that rethink humanity’s relationships to the space we live in – which is also something the metaverse should provide reasoning about through the shapes (architecture, urban planning) or values (sustainability, well-being) it carries.

Ben Elliot’s workshop was intended for the younger local generation of AlUla.

The post Ben Elliot appeared first on Sigg Art Foundation.

Bricklab’s team, Aseel Alamoudi, Ghaida Gutub, Zahiyah Alraddadi are saudi architects that have joined at a later stage the AlUla Artist Residency Program in March 2023. Aseel Alamoudi holds a Master of Architecture from SCI-Arc in Los Angeles, USA. She has developed a visual design language which she uses as a tool to create objects of different scales. She experiments with the ontology of her objects in different contexts using digital and physical mediums such as animation and 3D printing. Aseel’s work was exhibited in Raw Print pop-up, Hayy Jameel and Noor Riyadh 2023. Ghaidaa Gutub graduated with a Bachelor’s Degree in Architecture with Honors from Effat University in 2017, she then went on to take her Master’s Degree in Advanced Architecture from Columbia University in New York; Ghaidaa is a member of the Saudi council of Engineers. Zahiyah Alraddadi graduated with a Bachelor’s Degree in Architecture from Effat University in 2019 and is a member of the Saudi council of Engineers. She is a painter at her studio and an expert in 3D modelling and visualizations. She has been shortlisted for the Tamavouz International Awards and has wind the WA Award in 2019.

“Experiments in Rammed Earth” explores the connection between spatial qualities and human perception.

In an attempt to capture the essence of AlUla and its textures through a collection of objects including rocks, sand samples and pigments extracted from natural resources collected from different areas of AlUla,
Bricklab’s team invited the public to a two-part show, first to have an overview of the collected items and a perception of their experience in the city and second for the children to participate and experiment with the natural resources and connect with the texture of the region by making their own rammed earth objects.

The artists and the children revealed the created experiments and showcased the results.

The post Bricklab appeared first on Sigg Art Foundation.

For Gregory Chatonsky, AlUla is a place where the mineral is omnipresent and puts us in front of the long work of erosion which gives shape to the Earth according to scales of time which exceed us. This patient work of terraforming is as if pursued by the work of the human being who engraves, draws, numbers, writes and digs the rocks. A continuum between nature, art and technique is invented in the desert.

Exploring the indivisibility between these processes through a language of stones, the artist mixes materiality and AI to explore the different temporalities of flows and the metamorphic power of AlUla. “Perhaps we hallucinated in the clouds, stars and stones, possible forms and a world to come where past and future, rather than opposing, would overlap.” Gregory Chatonsky finds that the fragmentary history, the incomplete traces, the broken sculptures could then be completed to resurrect what took place, as if it were the first time.

The post Gregory Chatonsky appeared first on Sigg Art Foundation.

In January, AlUla Artist Residency welcomed Manon Wertenbroek, who lives and works in Paris and Zürich. Her sculptures, installations and photographs are almost always about the body, but without explicitly depicting it. Wertenbroek is interested in psychoanalysis, desire, and identity. With her work, she investigates the concept of skin as a membrane between the interior and exterior world. Her works have been presented in exhibitions at Muzeum Susch, Centre Culturel Suisse Paris, Istituto Svizzero in Rome and Milan, Coalmine Winterthur, Foam Amsterdam, Le Centre d’Art Contemporain Geneva, and Last Tango Zürich, among others. In 2017, Wertenbroek was awarded a Swiss Art Award by the Federal Office of Culture. In 2018 she was granted a year-long residency at the Swiss Institute in Rome.

Since arriving in AlUla, Manon Wertenbroek quickly grew an interest in its tafoni, cavities formed by wind corrosion in the most fragile parts of rocks and mountainsides. Observing their organic shapes, textures, and tints, she imagined the mountains as giant bodies that could be walkedthrough. With the very particular way she detects an organic, carnal, and possibly living dimension in the most varied objects, Manon Wertenbroek also walked through AlUla’s city center and examined the specific ornaments of the area to inform her own artwork.

Specialising in installation, scultpure, and photography, Manon Wertenbroek’s work explores the human condition and the physiological effects of interacting with one another and the world around us. Wertenbroek has been inspired by the contours of AlUla’s landscape and draws a comparison to those of human skin. Her work focuses on the body and skin as an artefact carrying traces of the past, physical and psychological. She has been inspired by traditional leather practices as well as the unique doorways in AlUla. Watch to hear her experience of the residency so far!

In AlUla, Manon Wertenbroek collected over 120 photographs of its metal doors which she gathered into a digital archive. As part of her interest in domestic spaces, the door symbolises the passage between private and public, suggesting a sense of inaccessibility while allowing room for projection. Her research led to the creation of this sculpture, manifesting her interest in the geometric patterns and patinas of the doors. The title refers directly to the notes and signatures written on each. « I was here », 2023, locally sourced leather tinted with natural dyes, palladium-plated brass, stainless steel piercings, 121 x 35 x 3,5 cm. The sculpture is an outcome of Wertenbroek’s research around the geometric patterns and patinas of the doors. The title refers directly to the notes and signatures written on them.

Through this series of light sculptures “Conatus” made out of latex, acrylics and textile mixed with sand and pigments from the desert of AlUla, Manon Wertenbroek creates a connection between landscape and body, recalling the energies and memories of the places she visited during her AlUla Artist Residency.

The post Manon Wertenbroek appeared first on Sigg Art Foundation.

Monira Al Qadiri is a Kuwaiti visual artist born in Senegal and educated in Japan. Al Qadiri has spent the last decade creating sculptures, installations, videos and performances that assume a range of strategies to explain the Persian Gulf region’s stunning urban and economic development over the last decades. Al Qadiri’s understanding of The Middle East is allowing her to express AlUla in an informed fair and unique way. Her interpretation of the Gulf’s so-called “petro-culture” is manifested through speculative scenarios that take inspiration from science fiction, Arab soap operas, Gulf War-era pictures of burning Kuwaiti oil fields, traditional melancholic music, pearl diving, and oil drilling machinery. Al Qadiri’s objects extract understandings of the present through the manifold contradictions of consumption. Her works have been presented at Sharjah Biennale (2023), Guggenheim Museum Bilbao (2022), Blaffer Art Museum (2022), Haus der Kunst, Munich (2020), Palais de Tokyo, Paris (2020), MoMA PS1, New York (2019-20). In 2022, she was featured in the Venice Biennale’s central exhibition “The Milk of Dreams.”

Growing up in Kuwait, Monira Al Qadiri has always been fascinated by historical and archaeological specificities of the Gulf region, and especially in Saudi Arabia. Since the beginning of her residency, Monira Al Qadiri has been particularly inspired by the hidden structures and geological features of the desert, a theme that she extensively deals with in her practice. During her Residency in AlUla, she has been exploring the vast deserts surrounding the oasis-city of AlUla, and has paid particular attention to the different manners by which humans and nature mutually challenge one another. Where humans readily appropriate the resources their lands provide, nature, with no shortage of tricks, retaliates to construct environments that are hostile to our presence.

“The Guardian” (2023) short film, result of the AlUla Artist Residency program, co-founded by Royal Commission of AlUla in collaboration wih the French Agency for AlUla Development. Through this film, Monira Al Qadiri stages and makes tangible the extraordinary sensation one can experience after spending time in the solitude of remote nature. Elements, landscapes, and even the most discreet living beings gradually acquire a separate, intimidating presence whose spiritual or otherworldly power is invisible but irrevocable.
In this work, seemingly ordinary scenes taken in natural landscapes are brought to life by a whispering voice as if speaking through them.
“The Guardian” suggests a dreamlike dialogue between humans and the environments from which they come, as much as it is foreign to them.

The post Monira Al Qadiri appeared first on Sigg Art Foundation.