Barjeel’s debut exhibit in Kuwait - in pictures

Adam Henein’s His Papyrus, from 1992, evokes the river through the artist’s choice of medium – papyrus paper. Courtesy Al Seef

Camille Zakharia’s Coastal Promenade, a series of makeshift fishing huts has been photographed, capturing a way of life under threat and also immortalising accidental architecture. Courtesy Al Seef

Art from the building of the Aswan Dam by Effat Nagy. Nagy’s piece is more abstract and slightly sinister: black lines slice through the canvas and depict the onset of an industrial age. Courtesy Al Seef

Rafaat Ishak’s Nomination for the Presidency of the New Egypt, a work from 2012. The piece is a fictional manifesto for a post-Mubarak Egypt in which the artist suggests, among other things, a deconstruction of the Aswan Dam. Courtesy Al Seef

Adam Henein’s 1969 bronze statue Marie Nilus. This minimalist sculpture poetically weaves together two tales of creation: the ancient Egyptian legend that says all life stemmed from the River Nile and the narrative of Mary, Jesus’ mother. Courtesy Al Seef

Aswan (Dam) by Ragheb Ayad, Ayad’s work focuses on the massive manual labour force it took to construct the dam. In his piece, no hands are idle, and the rhythm and toil of the workers is made clear through the work’s many layers. Courtesy Al Seef

Ziad Antar’s Portrait of a Territory, images taken between 2004 and 2011 along the coast of the UAE also capture a time gone by, subject to constant change. Part of the exhibit Al Seef in Kuwait, Jan 2015. Courtesy Al Seef

Camille Zakharia’s Coastal Promenade, a series of makeshift fishing huts has been photographed, capturing a way of life under threat and also immortalising accidental architecture. Part of the exhibit Al Seef in Kuwait, Jan 2015. Story by Anna Seamn, A&L. Courtesy Al Seef