Selections Magazine

The Last Garden of Khidr is the imagined sculptural and illustrative aftermath of restricting the human imagination, a contemporary rendition of the character Khidr, an elusive figure spoken of in various Islamic narratives and found across many world myths and traditions. The origins of the name “Khidr” are obscure, with roots spreading from Quranic traditions into wider cultural lore, as well as traced through Western literary and architectural motifs dating back to the medieval age. One reading is that his name comes from akhdar (green, in Arabic), and he is, therefore, “The Green One” or “The Verdant One,” from whose head a garden grows. The artist mines this abundant tradition to explore ideas of creative freedom. Aniconism is the avoidance of images of sentient beings in some forms of Islamic art. In more stricter interpretations, this ban extends to God and deities to fictional characters and the depiction of the self. In this stricter uncompromising law, all living beings, and everything that exists fall under a prohibition of the mimicry of life. The artist recalls how, as a child, art teachers in Saudi Arabia would instruct him and other students to strike a line through the necks of illustrated drawings. This was a technical “work-around” to this religious prohibition conjured up by his teachers, but to Shono’s mind this contemporary commandment constituted a violent act, an attempted beheading of his imagined world and the living creations that dwell within it. The Last Garden of Khidr is the story of those who choose to reclaim their creative and imaginative minds and refuse to be silenced. Commissioned by the Saudi Art Council for the group show ‘I love you urgently’ curated by Maya El Khalil.

Being Muhannad Shono: Last Garden of Khidr

This article appeared in Being Muhannad Shono Issue #70 which delves into the world of Saudi artist Muhannad Shono, exploring his creative journey, artistic process, and global impact. Through visuals and an in-depth interview, it highlights Shono’s works that connect…

The Teaching Tree, 2019, Sculptural installation, Palm fronds, pigment, pneumatics and metal structure. Photo ©️ Artur Weber.

Being Muhannad Shono: The Teaching Tree

This article appeared in Being Muhannad Shono Issue #70 which delves into the world of Saudi artist Muhannad Shono, exploring his creative journey, artistic process, and global impact. Through visuals and an in-depth interview, it highlights Shono’s works that connect…

Zena Assi-Flora and Fauna-2022-Mixed Media on Canvas-58cmx150cm

Five Art Exhibitions not to miss in Beirut this week

Beirut’s art scene offers an array of exhibitions this week, highlighting the city’s dynamic cultural pulse. From Mazen Rifai’s exploration of light and form at Agial Art Gallery to Daisy Abi Jaber’s introspective works at Mark Hachem Gallery, these shows…

On This Sacred Day, 2022, Reclaimed foundry sand and burning palm matter, Exhibited at AlUla, Saudi Arabia, 2022. Photo © Artur Weber.

Being Muhannad Shono: On This Sacred Day

This article appeared in Being Muhannad Shono Issue #70 which delves into the world of Saudi artist Muhannad Shono, exploring his creative journey, artistic process, and global impact. Through visuals and an in-depth interview, it highlights Shono’s works that connect…

On Losing Meaning, 2021, Robotics petroleum jelly, wax, graphite and pigment.

Being Muhannad Shono: On Losing Meaning

This article appeared in Being Muhannad Shono Issue #70 which delves into the world of Saudi artist Muhannad Shono, exploring his creative journey, artistic process, and global impact. Through visuals and an in-depth interview, it highlights Shono’s works that connect…

Danish AlSaleh, Suzanne Kriemann,

‘ALAMAAT’ at Athr Gallery AlUla

Athr Gallery announced the soft opening of ALAMAAT on December 26, 2024, an exhibition featuring works by artists Daniah Al Saleh and Susanne Kriemann. Created during their residency in AlUla, with support from the Goethe Institute and the German Embassy,…

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