LOS ANGELES: Hollywood spoke with one voice at the Golden Globes on Sunday to declare war on the film industry’s culture of sexual harassment and abuse.
The industry’s elite turned the red carpet black for the Globes, the glitzy launch of Tinseltown’s awards season, in a fashionable repudiation of disgraced mogul Harvey Weinstein and others ensnared in allegations of misconduct.
Billed as the most raucous event in the showbiz calendar, the Hollywood Foreign Press Association’s annual prize-giving is a draw for filmmakers and actors looking to create some buzz ahead of the Oscars in March.
But this year’s ceremony, seen as the first big opportunity for the industry to unite and deliver a message about how Hollywood can move forward, struck a more serious tone.
“Speaking your truth is the most powerful tool we all have,” actress and media powerhouse Oprah Winfrey told the audience at the Beverly Hilton as she accepted a lifetime achievement award.
“For too long, women have not been heard or believed if they dare speak the truth to the power of those men. But their time is up,” she added, earning a standing ovation.
Actors and actresses turned out in black in solidarity with victims of Weinstein and numerous other figures exposed by the harassment and abuse scandal, including Kevin Spacey, Brett Ratner and Dustin Hoffman.
And the overall message was a call for continued change.
“People are aware now of a power imbalance. It’s led to abuse in our industry. (...) It’s everywhere,” Meryl Streep, who is vying for a Globe for her work in media drama “The Post,” told E! network on the red carpet.
Fellow Oscar winner Viola Davis added: “It’s all of these women just embracing their authentic voices and standing in solidarity with each other.”
Seth Meyers, making his debut as Globes host, opened the show with joke after joke about Hollywood’s post-Weinstein reckoning.
“It’s 2018, marijuana is finally allowed and sexual harassment finally isn’t. It’s going to be a good year,” the late night NBC funnyman said.
“For the male nominees in the room tonight, this is the first time in three months it won’t be terrifying to hear your name read out loud.”
The ceremony at the Beverly Hilton is not as reliable at predicting Oscars glory as the galas held by Hollywood’s acting, producing and directing unions.
But it remains one of the most high-profile and glamorous events of the awards calendar and tends to generate more headlines for tipsy tributes and wacky one-liners.
Leading the pack this year is Guillermo del Toro’s fantasy romance “The Shape of Water” with seven nominations, while “The Post” and “Three Billboards Outside Ebbing, Missouri” went into the night tied for second, with six each.
Overall, 25 awards are given out — 14 for movies and 11 for TV — and, as usual, the 90-member HFPA has sprung more than a few surprises in the nominations, placing horror satire “Get Out” in the best comedy-musical category.
But there were no nominations at all for female filmmakers despite huge successes in 2017 for Greta Gerwig (“Lady Bird“), Patty Jenkins (“Wonder Woman“), Dee Rees (“Mudbound“), Kathryn Bigelow (“Detroit“) and Sofia Coppola (“The Beguiled“).
The first film award of the evening went to Sam Rockwell, who took home the best supporting actor in a film prize for crime drama “Three Billboards.”
He paid tribute to his “actor-friendly” director Martin McDonagh and co-star Frances McDormand, whom he described as “a force of nature.”
McDonagh also won for best screenplay. But Del Toro took the best director prize.
While many fields were wide open, James Franco (“The Disaster Artist“) was always a shoo-in to win best actor in a musical/comedy movie.
Franco — who also directed the film about Tommy Wiseau’s flop-turned-cult-hit “The Room” — gave a shoutout to his brother and co-star Dave, telling the gathered celebrities: “I love him more than anything. Thanks to my mother for giving him to me.”
On the small screen, HBO’s “Big Little Lies” scooped up a rare trio of acting awards for Nicole Kidman, Alexander Skarsgard and Laura Dern.
“I hope we can elicit change through the stories we tell and the way we tell them,” said Kidman, who was named best actress in a limited series for her role as an abused wife in the show.
Dern urged Hollywood to support survivors of abuse and to promote restorative justice.
“May we teach our children that speaking out without the fear of retribution is our culture’s new north star,” she said.
“The Handmaid’s Tale” followed up its Emmys night glory, when it won four statuettes, by beating perennial awards juggernaut “Game of Thrones” to the Globe for best TV series.
Its star Elisabeth Moss also took home the prize for best actress in a drama, and thanked Margaret Atwood, who wrote the best-selling dystopian novel on which the Hulu series was based.
“Margaret Atwood, this is for you and the women who came before you and after you who were brave enough to speak out against intolerance and injustice and to fight for equality and freedom in this world,” Moss said.
Hollywood stars declare war on sexual misconduct at Globes
Hollywood stars declare war on sexual misconduct at Globes
Artist William Brooks seeks fresh inspiration in Saudi Arabia’s Diriyah Art Futures program
- Hub picks 12 artists for inaugural scheme
DUBAI: Saudi creative hub Diriyah Art Futures has handpicked 12 artists for its inaugural Emerging New Media Artists Program this winter, with Welsh talent William Brooks making the cut.
Set to run for one year, the newly launched program offers access to professional equipment and facilities, a production budget, learning experiences with international guest professors specializing in new media art, and mentorships.
Brooks spoke to Arab News about his artistic process and what he hopes to gain from the opportunity.
“The prospect of working in a place that is culturally and geographically far removed from my homeland offers a unique experience,” he explained.
“I anticipate that the historical significance of Diriyah, combined with the vibrant contemporary discourse on art, technology, and culture in the region, will inform new directions in my work and deepen my engagement with the concepts I explore.”
To work with a global cohort of artists, researchers and mentors is something Brooks is particularly looking forward to, and he added: “I believe a crucial aspect of being an artist is being inquisitive. This opportunity affords me the means to draw from a diverse and far-reaching wealth of knowledge.”
When it comes to his work, the multi-disciplinary artist has most recently been experimenting with the medium of installation in a bid to merge historical processes with new technologies. His most recent work, for example, “(conflates) the use of traditional etching processes on metal with digital imaging of the often overlooked but pervasive presence of digital communication.”
Brooks’ interest in digital signals and their vital role in daily modern life aims to explore and highlight how “these connections shape our interactions and identities in ways we often overlook.”
He added: “By making these digital elements visible, I aim to spark reflection on the implications of living in a world increasingly mediated by technology.”
Despite the seemingly futuristic nature of his work, the artist is keen to look back at history to inform his process.
He said: “When approaching a project, I start by immersing myself in archival materials, historical documents, or artifacts, aiming to uncover the ways in which older technologies or media forms were once used, understood, and experienced.
“This historical research is an attempt to see how these past media forms can recontextualize and critique present-day technological advancements.”
Brooks recognizes that it is no mean feat to translate such abstract concepts into physical artworks and pointed to his 2022 work “Radio Tapestry” as a piece he is particularly proud of.
He said: “This work involved translating data from wireless networks and digital devices into a visual and sonic installation of etched plates, allowing the audience to experience the otherwise invisible electromagnetic signals that we rely upon and surround us every day.
“The challenge lay in not only making the technology function smoothly, but also in creating an installation that communicated the conceptual depth of the work — highlighting how these intangible signals shape our environment.”
Shattering expectations: Saudi artist’s journey into glass art
- Aseel Al-Maghlouth breaks glass to break through in the local art scene
RIYADH: Saudi artist Aseel Al-Maghlouth is hammering a niche for himself by using glass as his canvas.
He stumbled upon the technique while working on his graduation project in mechanical engineering. “I discovered the potential to employ broken glass to create distinctive artistic designs,” he told Arab News.
The intricate details that appear when glass breaks inspired him to create shapes and visuals and developed a technique that reflected his artistic vision.
Al-Maghlouth had a love for drawing from a young age, but it was not until he discovered his ability to express ideas in unconventional ways that his true passion for art crystallized.
“I have always drawn inspiration from the surrounding nature and the intricate details of daily life,” he said. This connection to his environment, combined with his experiences in exploring artworks, helped shape his unique style.
He finds beauty in the mundane and translates that into his creations, often using glass to convey emotions and narratives that might resonate with viewers.
HIGHLIGHT
By embracing the fragility of glass and transforming it into something beautiful, Saudi artist Aseel Al-Maghlouth challenges perceptions of what art can be.
Al-Maghlouth has gained significant recognition on social media, where his works are widely admired.
This newfound fame has allowed him to sell his works and create custom pieces for clients, including various artists and celebrities. “Creating for such esteemed individuals is an honor, and it motivates me to push my artistic boundaries,” he said.
“The best work I own is the painting of Crown Prince Mohammed bin Salman. Frankly, I consider it the most valuable painting I have ever owned, but I refuse to sell it because it was a special gift from me to the crown prince,” he said.
“I have received many offers but I refuse to sell it. As for the rest of my paintings, I prefer not to mention the prices because the value of art for me is not limited to a number. Each painting has its own place and story that distinguishes it.”
One of the greatest challenges Al-Maghlouth faced as an artist was transforming his creations into messages that resonated with his audience. “The biggest challenge was ensuring that my art conveyed a clear idea,” he said.
I want to highlight the beauty of arts in our Saudi culture and connect it with Saudi Vision 2030.
Aseel Al-Maghlouth, Saudi artist
Through experimentation with the nature of glass fractures and the control of his technique, he minimized errors and created pieces that told meaningful stories.
Each strike of the hammer is deliberate, aimed at producing not just a fragment but a narrative that can be interpreted and appreciated by those who view it.
“I want to highlight the beauty of arts in our Saudi culture and connect it with Saudi Vision 2030,” he added, emphasizing the importance of cultural representation in his work.
Al-Maghlouth’s vision for the future is ambitious. He aspires to participate in international exhibitions, representing Saudi Arabia on a global stage. “I dream of organizing a personal exhibition in Riyadh to showcase my works and exchange inspiration with other artists,” he said.
For emerging artists, Al-Maghlouth has simple yet profound advice: “Don’t be afraid of trial and error. Each piece of art reflects a part of you.”
He encourages newcomers to continue developing and learning from every experience, and emphasizes the importance of perseverance in the face of challenges.
His journey is testament to the idea that creativity flourishes in an environment where risks are taken and failures viewed as stepping stones rather than obstacles.
Al-Maghlouth’s work serves as a reminder that art can emerge from the most unexpected materials and methods, encouraging others to explore their creativity without constraints.
By embracing the fragility of glass and transforming it into something beautiful, he challenges perceptions of what art can be.
Al-Maghlouth remains committed to honoring the stories behind each piece, proving that even the most broken fragments can come together to create something truly extraordinary.
Alkhobar offers a visual feast with 56 works exploring new realities
- Artists from Saudi Arabia and the world are screening creations
- Kingdom’s Lina Saeed Qattan showing ‘Lena and the Magic Carpet’
ALKHOBAR: The sixth International Video Art Forum launched this week at the Cinema Society headquarters in Alkhobar, offering a visual feast for afficionados.
Organized by the Saudi Society for Culture and Arts, in collaboration with the Cinema Society, the event runs for 10 days and will feature groundbreaking video art from around the globe.
A jury of experts selected 56 artworks, narrowed down from 127. And the space showcases work from 29 countries, narrowed down from 41.
“There is no particular theme this year — aside from it being within the realm of ‘imagination embodied, reality transformed,’” Yousif Al-Harbi, director of SASCA’s Dammam branch and general supervisor of the forum, told Arab News.
“This year’s works continue to express the transformation of imaginative ideas and perceptions into tangible works of art that can have an impact on the reality that we live in.”
The videos can be watched in the upstairs space, which is covered with a black cloth door. Only three people can watch the short films as they play on a loop.
This year’s works continue to express the transformation of imaginative ideas and perceptions into tangible works of art that can have an impact on the reality that we live in.
Yousif Al-Harbi, Saudi Society for Culture and Arts director
The longest video is 7 minutes and the shortest under a minute.
A notable video is the 3-minute “Choreography of Space and Time” by German-based Egyptian artist Ehab Aziz that blends abstract imagery and dynamic movement.
In addition, Saudi Arabia’s Lina Saeed Qattan’s minute-long “Lena and the Magic Carpet,” uses artificial intelligence to showcase vibrant colors as Lena travels through the desert.
Arab News spoke with the 21-year-old Yemeni director, Yousef Ahmed, who has lived his entire life in the Eastern Province, about his short film, “Dose.”
“The film is about a depressed person who replaces his medication with sweets after reading a newspaper article,” he explained.
“It explores his journey of shifting perspectives — rising out of his sadness, only to sometimes fall back into it. We’ve all had days like this, and that’s completely normal.”
The film, under a minute long, was shot and edited entirely on a mobile phone over a month, specifically for the forum. “The phone is always available and accessible,” he said.
He added that finding the right music and fitting it into a larger format such as a TV screen was a challenge.
Workshops dedicated to AI and painting with light, were also part of the programming, as well as panel discussions with filmmakers and artists.
The forum has become one of the region’s top international platforms for video art, having featured more than 823 artworks from over 70 countries.
It has also hosted 31 lectures and workshops, offering artists a unique opportunity to connect and share their work with a global audience.
The winners will be announced at the conclusion of the event.
Riyadh festival celebrates Saudi creativity, theatrical arts
- The Riyadh Theater Festival reflects the commission’s commitment to supporting the performing arts and Saudi talent to achieve a strong presence on the regional and international stage
RIYADH: The Theater and Performing Arts Commission will host the second Riyadh Theater Festival at Princess Nourah bint Abdulrahman University.
The commission’s CEO Sultan Al-Bazie announced details of the event, which runs from Sunday to Dec. 26, to an audience of leading figures from the theater world and the media at the Saudi Music Hub.
The festival, he said, was a cornerstone for enhancing the theatrical movement in the Kingdom and raising public awareness of the performing arts.
HIGHLIGHT
The Riyadh Theater Festival reflects the commission’s commitment to supporting the performing arts and Saudi talent to achieve a strong presence on the regional and international stage.
This year’s event would feature 20 performances, selected by a committee of experts, to reflect the diversity of theatrical arts in the Kingdom, including its intellectual and developmental programs, Al-Bazie said.
The festival will also honor the late Ahmed Al-Sabbagh, who was a notable figure in the field.
The Riyadh Theater Festival reflects the commission’s commitment to supporting the performing arts and Saudi talent to achieve a strong presence on the regional and international stage.
It will conclude with the presentation of awards to the distinguished performers.
Prominent artworks at Riyadh Metro stations blend daily life, creativity
- Masterpieces transform the daily commute into a celebration of art, architecture and creativity
- Since its launch in 2019, Riyadh Art has seamlessly integrated art into the urban fabric
RIYADH: Riyadh Art, one of the world’s largest public art programs, has unveiled four monumental public artworks with the launch of the Riyadh Metro, transforming stations into cultural landmarks.
At the King Abdullah Financial District Metro Station, designed by the internationally acclaimed Zaha Hadid Architects, Alexander Calder’s “Janey Waney” takes center stage.
The lofty and colorful sculpture exemplifies Calder’s pioneering spirit in kinetic art, creating a dynamic and engaging experience for visitors.
Nearby, Robert Indiana’s “LOVE (Red Outside Blue Inside)” — one of the world’s most recognizable artworks — captivates visitors with its vibrant interplay of color and universal themes of connection and hope.
Together, these masterpieces transform the daily commute into a celebration of art, architecture and creativity.
At the Qasr Al-Hokm Downtown Metro Station, designed by the renowned architectural firm Snohetta, Ugo Rondinone’s “The Sun” makes a striking golden centerpiece, symbolizing energy and renewal.
Complementing this is Zaman Jassim’s “When the Moon is Full,” a reflective and poetic piece inspired by Riyadh’s cultural heritage.
“These permanent artworks embody our vision of transforming Riyadh into an open-air gallery that enriches the quality of life and fosters a deeper connection between people and art,” said architect Khalid Al-Hazani, executive director of Riyadh Art.
“By collaborating with some of the most creative minds of our time, we’re not just adding art to public spaces — we’re creating cultural landmarks that inspire and engage generations,” he added.
Al-Hazani told Arab News: “The beautiful thing is that there is a specialized program under Riyadh Art dedicated to installing artworks in all 85 stations that we’ve already selected, which will be produced and placed within the upcoming year.”
Led by the Royal Commission for Riyadh City, Riyadh Art is championing cultural innovation and economic diversification, and positioning the Kingdom’s capital as a global center for contemporary art and culture.
Since its launch in 2019, Riyadh Art has seamlessly integrated art into the urban fabric, displaying over 500 artworks by more than 500 local and international artists, hosting more than 6,000 community engagement activities, and engaging more than 6 million visitors.
As the program continues to expand, the number of artworks and initiatives is expected to grow significantly, fostering a sense of community, enriching the city’s identity, and elevating Riyadh’s standing as a global arts destination.
