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
Effat Film Festival celebrates emerging Saudi filmmakers
- More than 2,200 film submissions from 90 countries
- Dr. Mohamed Ghazala: It’s not about the money; it’s about uplifting filmmakers and nurturing a vibrant community
JEDDAH: The 12th edition of a student film festival celebrating the creativity of up-and-coming Saudi filmmakers is taking place at Effat University in Jeddah.
The Effat International Student Film Festival, which ends on April 15, has attracted more than 2,200 film submissions from 90 countries, as well as entries from 10 Saudi universities.
The competition shortlisted a total of 89 films from 28 countries, with cash prizes totaling more than SR50,000 ($13,333) available to the winners.
This year’s festival, held under the theme “From Dream to Film,” recognizes notable figures in the film industry, including Saudi director Abdullah Al-Muheisen, Saudi actor Hassan Assiri, Saudi director Khalid Al-Harbi, British director Joanna Quinn, and Prof. Ghada Gabara, president of the Egyptian Academy of Arts.
Other honorees hail from Japan, the US, and China.
Dr. Mohamed Ghazala, head of the School of Cinematic Arts and festival director, told of his passion for the event by emphasizing the importance of community and creative storytelling.
He said: “Running a film festival is just like making a film. We’re fueled by passion and the incredible support of our volunteers, contributors, and arts funding.
“It’s not about the money; it’s about uplifting filmmakers and nurturing a vibrant community. While organizing a festival can be challenging, it’s an exciting journey filled with hard work and joy.
“You don’t need a massive budget, endless time, or extensive business expertise to start a small film festival, the audience will find you. What matters most is a genuine love for film, the courage to take risks, and the drive to share meaningful stories.”
Jala Jalal, the leader of the student club at the School of Cinematic Arts, reflected on the significance of the festival for students.
Jalal said: “The showreel is more than just a collection of films, it’s a celebration of our creativity and growth as filmmakers. It’s a reflection of our voices and visions.
“What I love most about this festival is the opportunity it gives us to connect with the film industry, both locally and internationally. Working on the showreel and seeing the final outcome fills us with pride, not just in ourselves, but also in being part of a university that provides us the platform to bring our visions to life.”
The festival’s jury members come from a diverse international background. Friedrich Kluetsch, president of the documentary film jury, told Arab News: “The Saudi submissions were marked by a palpable joy in discovering the filmmakers’ surroundings and their close connection to the protagonists.
“It was evident in the films’ self-reflection, with three of them exploring filmmaking itself, portraying established filmmakers and an abandoned cinema.
“We noticed slight differences between the Saudi and international entries, particularly in the use of commentary or a narrator’s voice, which was more common in the international films and helped express the filmmakers' perspectives.”
Dr. Haifa Jamal Al-Lail, president of Effat University, highlighted the festival’s broader mission to provide a unique platform for Saudi and international film students to showcase their work.
She said: “This festival plays a pivotal role in creating connections between young filmmakers worldwide. It aligns with Saudi Arabia’s Vision 2030, fostering the country’s cultural movement and global presence in the arts.”
Dr. Asmaa Ibrahim, dean of the College of Architecture and Design at Effat University, underscored the growing international recognition of the festival, saying: “The increasing number of applications each year is testament to the festival’s growing status.
“It’s now the largest festival of its kind in the Arab world in terms of both the quality of films and the specialized focus on student filmmakers.”
Alongside film screenings, the festival features a range of seminars and workshops conducted by industry leaders, including representatives from Netflix, Sony, MBC Academy, and Toon Boom Animation.
Notable academic figures, such as professors from the University of Southern California, and the Communication University of China, were also scheduled to contribute lectures and workshops on topics like cinematography, directing, sound production, and film distribution.
An open discussion hosted by media personality Suha Al-Waal with actor and producer Hassan Assiri at Hayy Jameel also took place at the event.
Assiri, who was to be honored for his significant contributions to Saudi drama and production, shared insights into the evolving Saudi film industry, highlighting the growing opportunities for local talent and the increasing global recognition of Saudi productions.
Art Dubai to return for 18th edition with international lineup
DUBAI: Art Dubai — which is marking its 18th edition this year — is returning and brings together 120 galleries from across the Middle East, Asia, Europe and the Americas in what is expected to be one of the event’s most multicultural programs yet. Taking place from April 18-20, the event will host a calendar of daily talks, book launches, tours and other attractions.
Its diverse program includes Art Dubai Modern, curated this year by Magali Arriola and Nada Shabout, and Art Dubai Digital by Gonzalo Herrero Delicado and Bawwaba — which means “Gateway” — presenting 10 solo presentations by artists from various countries curated by Mirjam Varadinis and focusing on themes of migration, identity and displacement.
The event’s digital section, the first of its kind in an art fair, organized in partnership with Dubai Culture, highlights the rising influence of artificial intelligence and immersive technology in artistic creation. Installations by Hybrid Xperience, Breakfast, and Ouchhh Studio are featured, as well as 22 digital platforms from Dubai and internationally.
Entitled “After the Technological Sublime,” Delicado told Arab News that the theme aimed to provide “an opportunity to rethink what sublime is today: the concept that we have inherited since the 17th century when explorers were going out to explore the world. Now we can contrast that moment with what we are living today in the age of information and social media.”
In light of 30 new participating galleries from around the world, Pablo del Val, the event’s artistic director, said: “The really exciting aspect of this fair is the quality of the artworks.
“I think that this year you can see the maturity of the participants and really understand the vocabularies and the formats and the media that sell well in the city.
“There’s also a lot of color. The works we are showing this year show the state of the world we are living in, from technological change to a desire for escapism.”
Sir Brian Clarke’s artwork in Bahrain depicts vision of harmony
MANAMA: Symbolizing hope and beauty, an impressive stained-glass artwork by veteran British artist Sir Brian Clarke has been unveiled at Bahrain International Airport. Brimming with vibrant hues, brought alive by natural light shining through the glass, it is a visual symphony of geometrical details and natural elements, such as jasmine flowers, birds, and dragonflies. The work is called "Concordia" – the notion of living together in peace and harmony.
"What art does best is it transcends borders, speaks to everyone, brings us all closer together," Sheikh Salman bin Khalifa Al-Khalifa, Bahrain's minister of finance, said in the opening remarks at the April 10 unveiling event, attended by dignitaries including Bahrain's prime minister, Salman bin Hamad Al-Khalifa. "This visionary masterpiece by Sir Brian Clarke shines a light on the Kingdom of Bahrain's longstanding commitment to integrating our culture and heritage into national projects. But 'Concordia' is more than just a work of art. It is a symbol of Bahrain's openness, hospitality and ambition."
The work references Islamic geometry, and also features elements of medieval European tapestries and illuminated Christian manuscripts from the Books of Hours, prayer books from the Middle Ages. The work itself, standing tall at 34 meters in width and 17 meters in height, was an intensive labor of love that took more than two years to design, produce and install.
The colorful glass of “Concordia” was crafted by a team of artisans in Germany over a period of 40 days. It took 43 days to install the 127 individual panel work at the airport. For Clarke — whose stained-glass pieces can be found in the UK, Spain and Japan, among other places — “Concordia” has a special place in his practice.
“I have always had a dream of making a composition in a building on a great rectangular scale that is like a view through to another world,” he said in a written statement shared after Arab News attended the unveiling event. "It’s something that in some ways unites the two parts of the world, the one that I come from and this region. Everything I have ever learned about stained glass is in some ways expressed in this window. I am very grateful that I am able to share my enthusiasms about paradise with anyone who sees this window.”
Arab designers shine at Milan Design Week
- Several designers and firms from the Middle East presented creations with features highlighting Arab culture and heritage
DUBAI: Arguably the largest annual global gathering for interior and furniture designers, Milan Design Week, staged this year from April 7-13, saw several designers and firms from the Arab world present at the prestigious event.
One exhibition there, Gucci’s “Bamboo Encounters,” curated and designed by 2050+ and its founder Ippolito Pestellini Laparelli, explores the role of bamboo in the brand’s history, featuring specially commissioned pieces by contemporary designers from around the world.
In post-World War II Italy, raw materials were difficult to source and so the fashion house’s founder Guccio Gucci opted for the lightweight and resilient bamboo as an alternative handle for bags. Florentine artisans creating Gucci bags supported a design that incorporated bamboo. The result was the iconic Gucci Bamboo 1947 bag.
Among the various commissioned designers in “Bamboo Encounters” is Dima Srouji, a Palestinian architect and artist. Her bamboo-style baskets, “Hybrid Exhalations,” showcase basketry traditions of the Levant, incorporating hand-foraged bamboo with delicate blown glass by the Twam family in Palestine. The pieces evoke a sense of fragile beauty and resilience.
During her three months of research, Srouji fell in love with the history of basket-making.
“I really like this idea of time passing and the amount of time that it requires to weave baskets really slowly by these anonymous artisans from all over the world,” she told Arab News.
“Some of these baskets were found online, like on eBay. Some of them were from different auctions, and each one is from a different country. Some are even flower baskets from Japan; fish baskets and egg baskets from Philippines, one is a World War II hat from the UK from an English gentleman that got it from Vietnam in the 1940s.”
Srouji transformed them into playful, organic forms by combining them with blown-glass pieces that she made with Palestinian glassblowers; the Twam family that she has been working with for the past 10 years. They are based in Jaba’, a historic village located northeast of Jerusalem between Ramallah and Jerusalem.
“The combination of the glass and the baskets happened in my studio where I started weaving the glass into the already woven baskets and they became their own living creatures,” Srouji said. “They’re airy, playful, and each (piece) has embedded memories in them. Each one tells a different story from a different part of the world, and it’s an important moment to think about joy and celebrate the history of Palestinian tradition, and especially during such a dark time.”
At Isola Design Festival by Isola Design Group, which has offices in Dubai Design District (d3), several emerging designers from the Arab world presented their work. One is Jordanian designer Victoria Dabdoub who presented her first collection, “Stone Objects: A Study of Core Solids,” made of several hand-shaped stone masses connected by a brass piece. The result is elegant and playful candle-holders that invite the user to make their own display using several pieces.
“My work looks at local practices in Jordan and Palestine and aims to work with local artisans to develop contemporary pieces,” Dabdoub said. “My first collection is a collection of stone candle-holders that I made during two workshops in Amman, one involving metalwork and the other stonework.”
She added: “I think it is important to produce high-quality products locally. The stone is limestone from the south of Jordan and the brass is sourced in the market, likely from Italy or elsewhere. Whether I am working from Jordan or Palestine, it is important to try and incorporate local practices, especially given the war taking place and the number of voices that are unheard. Trying to say something through design, crafts and material and heritage is crucial.”
Etereo, the creative studio based between Dubai and Milan, returns to Milan Design Week with an immersive exhibition at Nilufar Depot, featuring its popular “Faraglioni” and “Grottesche” collections. The alluring forms, materials and colors of these pieces celebrate the synergies between design and nature, especially those found in the Mediterranean.
The “Faraglioni” collection, produced exclusively for Nilufar in a limited edition, showcases the essence of the sea within interior spaces through sculptural designs — a centerpiece table, dining table, coffee table, and two consoles that pay homage to the famous Faraglioni rocks of Capri that represent timeless natural wonders and heritage.
Cristiano Ronaldo, Georgina Rodriguez star in Saudi cruise campaign
DUBAI: Portuguese footballer Cristiano Ronaldo and Argentine model Georgina Rodriguez appeared together in a new campaign for Saudi Arabia’s luxury cruise line, Aroya Cruises.
In the video, the pair exchange a lighthearted moment in Arabic, with Rodriguez saying “yalla” after selecting the cruise on her phone and Ronaldo replying with a cheerful “yalla,” meaning “let’s go.”
The campaign then transitions into scenes of the couple exploring the cruise experience, showcasing panoramic sea views, luxurious interiors, and their private accommodation on board.
Both Ronaldo and Rodriguez shared the campaign on their social media profiles, captioning the post: “Home isn’t just a place—it’s a feeling.”
The Aroya cruise ship features a range of amenities, including a spa, multiple restaurants, a theater, water park, retail area, kids’ zone and several swimming pools.
Currently operating primarily from Jeddah, Aroya Cruises offers voyages across the Red Sea, with stops at destinations such as Sharm El-Sheikh in Egypt, Aqaba in Jordan and Jabal Al-Sabaya Island.
Starting June 2025, the cruise line will expand its operations to the Eastern Mediterranean, with new itineraries departing from Istanbul and visiting ports in Greece and Turkiye, including Mykonos, Rhodes and Antalya.
