LONDON: This October, Sotheby’s will exhibit some 400 items from a collection including Indian and Islamic art that belonged to renowned British artist Howard Hodgkin, to be sold at auction in London on October 24.
Hodgkin, who died in March at the age of 84, is widely regarded as one of Britain’s greatest artists. He has been a central figure in contemporary art for more than 50 years.
Frances Christie, senior director and head of the department of Modern and Post-War British Art, described the artist as highly influential.
“Howard Hodgkin redefined the way in which we look at the world. Just as his eye for the exceptional resonates through his paintings, his ability to identify the extraordinary in unexpected places was deployed in his incessant hunt for art and objects of exquisite beauty. So confident was he in his selection, and of the importance of each piece to his needs, that he created his own collecting alchemy. Spanning art history through time and geography, they offer a vivid revelation of his private world in all its intense and exhilarating glory,” she said.
Hodgkin spoke about his passion for collecting in a talk given in 1991 at the Arthur M. Sackler Gallery in Washington’s Smithsonian Institution, where Indian paintings and drawings from his collection were being shown.
From the transcript of that talk, we get an insight into his thinking.
“Everything that I’ve ever done as a collector has been based, ultimately, on the strength of feeling,” he said.
The urge to collect, he observed, can stem from many motivations.
“A great collection often seems to be the result of one very rich man going shopping. It isn’t. It is really partly illness, an incurable obsession. It’s partly — sadly, in some cases — a desire for future or posthumous glory, perhaps more often for status while the collector is still alive. Also, and of course far more importantly, it represents the human desire to get near works of art. At its worst, it’s greed or the desire simply to possess, like a child at a party being given something to take home. But it’s much more than that at its highest.”
Hodgkin remarked that he found painting solitary but that collecting brought him into contact with like-minded people. Furthermore, the discriminating eye that he developed was nurtured by close friendships with experts in the field. It was Hodgkin’s art master at Eton, Wilfrid Blunt — brother of the leading British art historian and Soviet spy, Anthony Blunt — who first introduced him to non-Western art and who inspired him to collect his first examples of Indian paintings.
Later, Hodgkin became friends with the collector Robert Erskine and through him the network of various Parisian dealers, including Charles “Uncle Charlie” Ratton. Robert Skelton, who was the assistant keeper at London’s Victoria and Albert museum, became a lifelong friend with whom the artist first visited India in 1964. It was with Skelton that Hodgkin was able to meet other connoisseurs and collectors, including Jagdish Mittal, Kumar Sangram Singh, Milo C. Beach and Stuart Cary Welch, whose own collection of Islamic and Indian art was sold at Sotheby’s in 2011.
Hodgkin wrote about his fascination with Indian art in an Asian Art article entitled “About my Collection” in 1991.
“Disconcertingly, a collection begins to have a life of its own and to make demands on its owner that seem both impersonal and peremptory. For the most part, it’s really quite easy to resist the innocent charms of gap filling. But when a picture somehow demands to be bought (at whatever price) because it appears to be a great work of art of a kind not otherwise represented in the collection, it means trouble. I long wanted marvellous Basohli pictures and eventually got some good ones. Early Mughal pictures were seemingly impossible to come by, and then, by chance, I managed to acquire the fragmentary painting on cloth (titled) ‘A Prince Riding on an Elephant in Procession,’ but my favorite and longest-lasting enthusiasm has been for Kota painting.
“Elephants are heavy animals but are depicted in paintings from Kota as capable of such wild movement that they appear almost weightless — and how mysteriously they seem to haunt the rather conventional landscape.
“As a collector, my enthusiasm for these Kota pictures became my downfall — my Waterloo. The acquisition of ‘Maharao Durjan Sal and Shri Brijnathji Hunting Tigers and Wild Buffalo’ was such a traumatic event in my life as a collector that I felt I could go no further. It’s the largest, most expensive picture I have ever bought and the only one for which I have exchanged one of my paintings. This great, though fragmentary, picture finally enabled me to escape from the almost nagging lust that often keeps collectors in a slightly restless and unfulfilled condition for the rest of their lives.”
The Sotheby’s experts who catalogued Hodgkin’s collection described a treasure trove within every room of his Georgian house in Bloomsbury, near the British Museum in London.
“Surprises lay around every corner of the house. A precious 17th century Indian sandstone relief formed a backdrop in the kitchen to the artfully-stacked china on display. A wonderful fragment from a carpet, with its interlocking geometric pattern, faced a series of wall-mounted Kashan star tiles and the foliate motifs were echoed in monochrome form in the craftsmanship of an exquisite inlaid Mughal box.”
They observed that ornamentation is a prominent thread that runs through the great variety of objects he was drawn to, from both India and Islamic cultures. He especially sought fragments — particular motifs, calligraphy, colors and textures appearing in Ottoman, Indian and Islamic tiles, textiles and rugs. Fragments of calligraphy were not sought after for their meaning, but purely for the visual language of their linear forms and he honed in on specific parts of larger pattern schemes. In doing so, he focused on small yet powerful details, freeing his imagination from the original form.
Hodgkin collected in such depth that, despite covering almost every surface of his home, many of his acquisitions were not displayed. The basement library held a rich treasure trove of prints, paintings, fabric, books and furniture and exquisite fragments. Items consigned there were not relics, but an astounding array of source material of the most varied and wonderful kind. Many items were acquired on his travels, but were never as mementos. “I particularly don’t like objects of sentiment — people who have things not because they like and admire them, but because they have associations,” the artist is known to have said.
Hodgkin, who was awarded the much-coveted Turner Prize in 1985, has been the subject of numerous international exhibitions and art fans in the Middle East will soon have the chance to view highlights from his collection at the Sotheby’s gallery in Dubai between October 8-12. The full exhibition will be on show in London from October 20-24.
Indian, Islamic art collected by UK artist Howard Hodgkin to go under the hammer
Indian, Islamic art collected by UK artist Howard Hodgkin to go under the hammer
REVIEW: ‘The Bear’ season four is a triumphant return to form
DUBAI: We should’ve had more faith. Fears (including from this reviewer) that “The Bear” was floundering after the glacial pace of its third season can now be put to bed. Season four is pretty much everything fans of the show could’ve wanted: tense, dramatic, joyous, thought-provoking, funny and deeply moving. And with plenty of further proof that this might be the most talented ensemble cast currently on our screens.
Season three ended with the fate of the titular restaurant in the balance as the team — led by star chef Carmen “Carmy” Berzatto (Jeremy Allen White), his mentee Syd Adamu (Ayo Edebiri), maître d’hôtel Richie Jerimovich (Ebon Moss-Bachrach), and business manager Natalie “Sugar” Berzatto (Abby Elliott) — awaited a make-or-break review in the Chicago Tribune. That’s quickly resolved: Despite some highly positive comments, the review is ultimately a dud — thanks largely to Carmy’s stubborn insistence on changing the menu daily; a choice that isn’t just leading to inconsistent performance from his team, but in heavy hits to the budget as they can’t bulk buy from suppliers.
So, that old enemy time takes center stage, as financial backer Uncle Jimmy (Oliver Platt) and his ruthless cost-cutting friend The Computer install a countdown clock in the kitchen, giving the team 1,440 hours to save itself. That clock hits zero in the excellent final episode.
In between times, the development of several characters’ back stories that contributed to the feeling of aimlessness last year starts to pay off here, as much of the action is taken out of the kitchen and into a deeper exploration of what the show is really about: family — the ones we’re born into, the ones we choose, and the ones that choose us. Once again, there’s a Berzatto (extended) family get-together at the season’s heart in a one-hour episode set at Richie’s ex-wife’s wedding. The stage is set for another dysfunctional social disaster. Instead, we get something altogether warmer but equally dramatic. It’s exceptional television.
At the heart of it all is the characters’ continued quest for self-improvement — from Tina’s attempts to improve her cooking speed, through Syd’s efforts to silence her self-doubt, to Carmy’s endeavors to allow emotional connections into his life and stop self-sabotaging.
This season may still be a little too slow for those pining for the claustrophobic hyperactivity of season one, but the creators have found a sweet spot here between that and the stagnation of season three. “The Bear” is back.
Ronnie O’Sullivan, Laila Rouass tie the knot
DUBAI: British snooker champion Ronnie O’Sullivan and British actress Laila Rouass announced on Friday that they have tied the knot, 10 months after ending their on-off relationship.
The couple, who have been together for 13 years and have separated several times, were married in an intimate ceremony in London.
Rouass, who is of Moroccan and Indian heritage, shared the news on Instagram, writing: “The Palestinians have taught me so much, most importantly to honor human connection, make love your motivator and to keep refreshing it. So after almost a year break … this was one way of pressing the refresh button.”
She also revealed that the ceremony took place on Cable Street in Shadwell, the London neighborhood where she was born and which she described as holding deep personal and historical significance.
According to The Sun, the pair are now planning to relocate to Dubai for a fresh start.
Recipes for Success: Chef Eric Vidal talks patience, pasta, perfectionism
DUBAI: Running six restaurants, a bar and a beach club might sound like a logistical nightmare, but for French chef Eric Vidal, it is just another day at Delano Dubai.
As executive chef of the new luxury destination, Vidal oversees everything from in-room dining to curated tasting menus across venues including Blue Door, Gohan, Tutto Passa, and La Cantine Beach.
Here, Vidal offers advice and a recipe for grilled seabass.
When you were starting out, what was the most common mistake you made?
I was absolutely determined to make every single element perfect, down to the tiniest garnish. If a microgreen was not angled just right or a sauce swirl looked a little off, I would start over. That obsessive attention to detail came from a genuine love for the craft, but it also meant I was constantly behind. During training, I was almost always the last to plate and serve. While others were already wiping down their stations, I was still fussing over aesthetics that, in hindsight, barely made a difference.
Looking back, I realize that pursuit of perfection wasn’t the problem, it was the way I went about it. In a professional kitchen, you simply can’t afford to sacrifice speed for polish that only you notice. I have learned that excellence is not about obsessing over every detail, it’s about knowing which ones truly matter. Ultimately, a great plate is one that delights the diner and makes it to the (table) on time.
What’s your top tip for amateur chefs?
Enjoy the process. Try not to treat dinner like a high-stakes performance. Take a breath. Cooking should be something that grounds you, not stresses you out.
It also definitely helps to have a few basics in place, like a solid grasp of simple techniques, equipment that actually works with you (not against you), and good-quality ingredients that you’re excited to use. When you have those essentials sorted, you can approach each meal with a mix of care and curiosity, whether you’re following a recipe or freestyling from the fridge.
What one ingredient can instantly improve any dish?
For me, it’s a close call between garlic and good-quality olive oil with a squeeze of fresh lemon. These are not just great ingredients on their own, but they form a trio that can transform even the simplest of dishes into something really special.
Garlic is one of those essentials I cannot live without. If it is raw and fiery or slow-cooked until soft and sweet, it brings a depth of savory flavor that is hard to beat. It’s the backbone of so many cuisines and adds warmth and complexity that instantly makes a dish feel more complete.
Good-quality olive oil is so much more than a cooking medium. The right bottle adds real character — fruity, sometimes peppery with a richness and silkiness that gives food a beautifully rounded finish. It also carries a personal significance for me. It brings back memories of the flavors I grew up with. And just a dash of fresh lemon juice can completely change a dish. It cuts through richness, lifting flavors, and adding that bit of brightness that makes everything taste fresher, lighter and more alive.
When you go out to eat, do you find yourself critiquing the food?
I try to approach the experience with an open mind rather than picking things apart. If something doesn’t quite suit my palate, I simply make a quiet mental note and I’m probably just not going to order it again. Cooking is a form of expression, and not every dish is meant to please everyone.
What’s the most common issue that you find in other restaurants?
It tends to come down to the basics: attention to detail and solid training. It’s often the small things — an under-seasoned sauce, a lukewarm plate, or a misstep in communication between the kitchen and front of house — that can affect the whole experience. Most of these issues are not about talent, they are about consistency, care and making sure everyone on the team is properly supported and well-trained. When those foundations are in place, it really makes all the difference.
What’s your favorite cuisine to order?
I have a soft spot for the artistry and surprise of Japanese cuisine, but what I really savor when dining out is the chance to explore new culinary styles — whether it’s the bold flavors of street food, the elegance of fine dining, or the comfort of a cozy local spot. I love that feeling of trying a new flavor or technique for the first time — it keeps things exciting for me.
What’s your go-to dish if you have to cook something quickly at home?
A simple pasta dish. The combination of garlic sautéed in olive oil with a basic tomato sauce is incredibly quick to prepare and always satisfying. Alternatively, a no-cook option I often rely on is a classic French cheese and salad with crusty bread — minimal effort for a delicious and well-balanced light meal.
What customer request most annoys you?
I genuinely don’t find requests a hassle; I see them as an opportunity to really understand individual needs and come up with creative solutions. Flexibility and a bit of patience are crucial in making sure everyone has a great experience.
What’s your favorite dish to cook?
Veal cheek blanquette. It requires a few patient hours of simmering, but the process is incredibly rewarding. I really enjoy the mindful attention it demands, from the initial browning to the gentle simmering that fills the kitchen with a comforting aroma.
What’s the most difficult dish for you to get right?
I find Indian cuisine the hardest. The art of balancing the blend of spices is not easy. It’s not just about knowing which spices to use, but also the quantities and the precise moment to add them during cooking. It is a delicate dance to make sure no single spice dominates the others.
What are you like as a leader? Are you a disciplinarian? Or are you more laidback?
My approach is all about empowerment and trust. Of course, a structured and disciplined environment is important to maintain high standards, but I firmly believe that respect and genuine support are far more powerful motivators than fear or intimidation. I aim to create a team where everyone feels proud of what they bring to the table and confident enough to take initiative. They know they’ve got my full support, which gives them the freedom to grow, experiment and really shine in their roles.
RECIPE
Chef Eric’s Mediterranean grilled seabass with vierge sauce
Ingredients:
1 whole Mediterranean seabass (1.2 Kg)
Fleur de sel
9 gr fennel seeds and herbs (tarragon, dill, thyme, rosemary)
1 pc of lemon
20 cl extra virgin olive oil
Method:
1. Clean and pat the fish dry (ask supplier for scaling/gutting).
2. Brush the fish inside and out with olive oil.
3. Score skin with cross marks on both sides.
4. Stuff the belly with lemon slices and mixed herbs.
5. Place the fish on a tray, drizzle with olive oil, herbs and fleur de sel.
6. Bake it in a preheated oven at 180°C for 15-20 minutes.
7. Rest the fish, tented with foil, for 5-10 minutes before serving.
8. Fillets will be easy to remove after resting.
9. Serve hot with sauce vierge.
Note: Cooking time varies with fish size.
Vierge sauce
Ingredients:
Tomatoes on vine – 150gr
Basil leaves – 24gr
Taggiasche olives – 50gr
Lemon pulp diced – 50gr
Olive oil extra virgin – 120grs
Salt
Pepper
Method:
Score tomato skin with a cross, blanch in boiling water for 20 seconds, deseed and peel.
Sprinkle tomato petals with salt and drain on paper towel.
Quarter the taggiasche olives.
Dice the fresh basil leaves.
Dice the lemon pulp evenly.
Dice the salted tomato petals evenly.
Combine all ingredients in a bowl with salt, pepper and extra virgin olive oil.
Adjust seasoning.
Serve at room temperature.
Saudi artist Mohammad Alfaraj’s ‘Seas Are Sweet, Fish Tears Are Salty’ opens in Dubai
DHAHRAN: Saudi artist Mohammad Alfaraj, who recently won an Emerging Artists’ Medal at the Art Basel Awards in Switzerland, launches his first institutional solo exhibition this month at Jameel Arts Center in Dubai.
“Mohammad Alfaraj is part of a new generation of fast-rising artists from the region, deeply attuned to their landscapes, communities and traditions,” Art Jameel’s deputy director and head of exhibitions and programs Nora Razian said in a statement. “His is a practice that is both poetic and critical, and we are incredibly thrilled to host his first institutional solo exhibition, which offers a profound and intimate glimpse into the ways cities, communities and even languages experience change.”
“Seas Are Sweet, Fish Tears Are Salty,” which runs until January, consists of multimedia works that often incorporate found objects as well as organic materials indigenous to Alfaraj’s hometown of Al-Ahsa, such as palm fronds and dates.
Curated by Art Jameel’s Rotana Shaker, the show winds through both the indoor galleries and outdoor courtyards of the center. Themes of environment, community and shared memory emerge — often filtered through humor and tenderness.
“I’m pretty new to the ‘art world’ but definitely immersed in art itself, whether I choose to be or not,” Alfaraj tells Arab News. “I’m always looking for metaphors and different ways of looking at the world, and trying to piece it together as an enormous complex mosaic that I’m lucky to experience and be part of.”
The title aptly captures the tone of the exhibition — childlike, poetic and emotionally resonant.
“Imagining, and believing, that what makes the oceans and seas salty is fish’s tears is very childish — and super-empathetic too,” he continues. “To feel and recognize the suffering of the other — whether a human, an animal or any living creature — is absolutely necessary in today’s world, which unfortunately seems to be heading towards more apathy.”
Alfaraj comes from a family of farmers, and Al-Ahsa — a lush oasis full of palm trees — frequently inspires his work. He often uses nature as both a canvas and a tool, letting organic material shape his artistic language.
“I’m attracted to a certain material because it matches the concept and the idea of the work; like, to use rice paper to tell stories about the fading rice farming in Al-Ahsa, or making a film about water irrigation while filming it and projecting it at the same angle on water. This way of coupling the medium and concept seems to have a much stronger impact to me — more tactile, engaging and alive,” he says. “Intuition is a wonderful, mysterious compass.”
For “Seas Are Sweet, Fish Tears Are Salty,” Alfaraj and Shaker sifted through the artist’s archives to try and understand the different ways in which he expressed his work through various mediums.
“(Alfaraj) is an artist whose practice doesn’t really fit rigid definitions; it’s very fluid, oftentimes using found or natural materials,” Shaker tells Arab News. “It was a fun process to spend time with Mohammad and understand all these different facets of his practice, to pull out prints and drawings from his stacks of papers in his studio in Al-Ahsa, or to go through his hundreds and hundreds of photographs that he’s digitized, as well as to think playfully about what it is that he wants to intervene in within the exhibition space.
“The experience was a balancing act between finding moments we can create impactful presence within the space, while at the same time allowing for in-situ interventions, which are very much characteristic of Mohammad’s practice,” Shaker continues.
Several new commissions were also developed specifically for this show.
“He came (to Dubai from Al-Ahsa) with a suitcase of papers and drawings,” Shaker says. “I found a note amongst his papers where he had scribbled an idea and it was a great opportunity for us to bring this to life.”
The show offers a contemplative and immersive encounter with a world shaped by memory, landscape and imagination; inviting viewers to take a deep breath, listen deeply, and trace the intricate connections between place, language and time.
On the exhibition’s opening night, June 25, Alfaraj and Shaker will discuss the show and the real and imagined worlds they evoked within. That will be followed by a 10-minute reflective performance by Alfaraj titled “The Missing Piece.”
And the artist is hopeful that his show will inspire change in its viewers.
“To make them feel — to inspire them to be more kind, to be more caring and more sensitive,” he says. “That would be more than I could ever wish for.”
Review: Toronto Arab Film Festival screens searing ‘Arze’
DUBAI: The Toronto Arab Film Festival, running from June 20- 29, screened the scathing yet poignant Lebanese film “Arze,” directed by Mira Shabib.
The ambitious “Arze” — which means "cedar" in Arabic — follows the story of Arze, a single mother supporting her teenage son and love-struck sister through a homemade pie delivery business. In an effort to improve their lives, she steals and sells her sister’s jewelry to buy a scooter for her son to use for deliveries. But when the scooter is stolen, mother and son embark on a frantic journey across Beirut to recover it.
On the surface, “Arze” tells a story that resonates deeply with many Lebanese families caught in financial limbo. It explores the emotional toll of such hardship, with questions arising as to whether one should leave the country or give up remnants of a once-comfortable life to survive Lebanon’s shifting socio-economic landscape.
Beneath the family drama lies sharp satire. Even the film’s title that references the cedar tree, a national symbol of Lebanese identity, carries layered meaning. Like the character herself, that identity appears fragmented, constantly lost amid the country’s sectarian divides. This is where the film truly shines: Arze, portrayed with emotional depth by Diamand Abou Abboud, dons various religious symbols and disguises to navigate Beirut’s fractured neighborhoods.
Shabib excels in exposing the farce of sectarianism, insinuating that Lebanon’s religious divisions are not deeply rooted but socially constructed and performative. Arze’s ability to blend into different communities simply by changing her appearance highlights how fragile and superficial these boundaries truly are.
In this sense, the film excels in its portrayal of a fourth main character: Beirut itself. Through Shabib’s lens, we are taken on a tour of a city so diverse it borders on overwhelming. Yet this diversity, rather than being a source of division, becomes a stage for a pointed critique, one that targets society’s fixation on appearances and its preference for the performative over lived reality.
