The Palazzo Contarini Dal Zaffo Polignac was once the grand palace of the Contarini Dal Zaffo family and later the Polignac’s who showcased parties that were to mark the beginning of European avant-garde music. The Piano Nobile (main floor), overlooking the Grand Canal, is adorned with an array of magnificent early Renaissance tapestries and classic oil paintings of the great icons that once lived there, just the way a Palazzo should be. Every velvet and wooden wall, every master painting, every elaborate gold frame, every piece of authentic furniture and every dusty book tell endless tales and speaks volumes about the great Venetian past.

Today however, the ground floor and courtyard tells similar tales through the artwork and also speak volumes about the culture of a country at the heart of the Islamic world. This private palace that has been closed off to the public for centuries, now has its doors open to an outpour of visitors interested in the creativity of Saudi Arabia and the small body of works that delve deep into the voice of the contemporary Saudi artist.

The exhibition starts with Ahmed Mater’s iconic print and installation of Magnetism. The illusion created of pilgrims circumambulating the Kaaba is “Like the sun in the centre while the people are like stars travelling in their orbit of the solar system.” People stop and stare, mesmerised by how something as simple as iron fillings and a magnet can create an image so profound.

At the facade of the palace the gate opens up to our exhibition with Abdulnasser Gharem’s Concrete barrier blocking people from entering with ease. Gharem ‘questions our relationship and trust in the structures and materials that surround us.’

Poetic echoes from Gharem’s video installation of The Path palpitate throughout the exhibition space. Upon entering the dark, secluded room, you watch in isolation the movie of the almost faded figures painting The Path (Al Siraat) across that iconic broken bridge in the Saudi Arabian valley. The only light comes from the small niche where the image of The Path hangs perfectly against a brick wall, as if that architects of the building new that room would one day exhibit this piece.

Through the curtains is the female domain of Shadia and Raja Alem and Maha Malluh. Hanging from the ceiling is Alem’s Negative no more, hundreds and hundreds of negatives of women they knew, woven together in an attempt to ‘shed the cocoon of negatives, misconceptions cast upon us.’ On the walls is Malluh’s photograms, (ironically is a method of photography without the use of a negative) which convey intimate, traditional and modern objects referencing a preservation of cultural heritage in a modern world.

The exhibition has been well received by a generally surprised public. The 53rd Venice Biennale is hosting several pavilions and collateral events of counties from the Middle East including UAE, Palestine, Syria, Morrocco, Iran and many visitors have commented that Edge of Arabia has presented the best display of the Middle East.

Edge of Arabia praised by BBC for focussing on the artists not the National Agenda…click to read on

Arabic Coffee and Incense Introduce Saudi Arabian Art to Venice… click to read on

German political magazine Der Spiegel highlights Edge of Arabia in Venice… click to read on