JEDDAH: Bringing together a combination of light and color with stimulating artworks and live performances, Raibal Events and Silent Echo staged a “Luminarium” event in Jeddah over the past 10 days. Supported by the General Entertainment Authority (GEA), the event was held between Jan. 10-20 and attracted thousands of visitors.
The luminarium tour involved a spectacular walk through a monumental inflatable sculpture of color and light. Visitors removed their shoes before entering an airlock and explored the installation. The light and shimmering colors inside the inflatable sculpture created a sense of wonderment for explorers of all ages.
The luminarium was designed by Alan Parkinson in the early 1980s in Nottingham, UK, but the idea came into existence in 1992. Inspired by natural forms and geometric solids, the luminarium is a maze of winding paths and dome structures where the visitors lose themselves in sensory bliss.
Visitors were seen sitting and lying back while enjoying the ambience in the cocooning, pod-like structure. Bandr Al-Meeman, founder of Silent Echo, said: “The scale of the structure is impressive even before anyone steps through the airlock and, once inside, it will mesmerize them. A truly unmissable experience of light and color as it plays with the senses.”
Explaining more about the experience, he said that it was created to support the special needs community, especially those who have autism. He added that since 1992, it has been set up in five continents and more than 40 countries where more than three million guests visited the attraction.
Moreover, describing the structure, he added, “The luminarium’s pneumatic environment provides a utopian vessel to contain light’s radiant brilliance and through cavernous domes visitors move in a medium of saturated color, in a world apart from the normal and everyday routine.
“It took us two months to construct the 1000sqm luminarium dome-like structure that consists of three colors and one tree,” he said.
Nasser Al-Nasseri, executive projects director of Raibal Events, said: “It was a nice opportunity to work with Silent Echo, a Switzerland-based company, and spread the idea of luminarium that is light and color in the Saudi and Middle-Eastern culture. However, having the luminarium tour alone was not enough, so we decided to expand the event by adding four other activities to the main activity.”
“We brought more entertaining activities related to the event theme — that is light and color — while focusing on all ages, both kids and adults, who have a passion for arts and entertainment,” he added.
Four different zones consisting of a kids’ color experience, show and performances, art stations and a color adventure zone were added to the event.
“This unique event bears testament to Saudi Arabia’s engaging and creative evolution, presenting to audiences a diversity of entertaining activities and experiences that underpin the Kingdom’s position as an entertainment hub,” Al-Nasseri said.
Speaking to Arab News, he explained that the entire production was built in-house using recycled materials. LED lights were made with the help of empty boxes that were initially containers used in factories to store liquids and chemicals.
The creative juices really seemed to be flowing in every corner of the event. The art station that had different workshops, 3D-modeling and art works was enthralling. The color maze presented an innovative way for visitors to have fun while they threw color powder at each other while finding their way out of the maze.
The art station zone was organized by Ninetyd, a local creative platform. At the event, they brought together more than 14 creative individuals — artists, designers, 3D artists, digital artists and animators — to present their work.
Mona Balhemar, CEO of Ninetyd, said, “Ninetyd basically runs a creative project called Passionures. The main theme of this project is to make creativity a living and bring opportunity for creatives and artists. The main aim for us to take part in luminarium was as it’s all about colors and arts, we decided to do interactive booths with the help of artists registered in our platform and help them display their work.”
Hazzan Felemban and Wijdan Al-Ghalbi, both pottery makers, displayed their products. As did Amal Abdullah who specializes in digital-art coffee mugs and cups and is founder of the Miss Coffee brand. “It was a unique experience to do live art on mugs and cups. People had a chance to understand and appreciate this kind of art,” Abdullah told Arab News.
Hind Bataweel, founder of Colorfly, said “Our space at luminarium was more like a healing space. People came to vent and express themselves freely with paints. Expression varies from one person to another, so it’s more likely a free self-expression. Our participation in luminarium was more about adult adventure so they could express themselves with color using their hands and feet. However, kids came along too to express themselves, paint without brushes, splash colors on the walls, which expressed freedom.
“The concept of painting and getting creative while expressing their feelings turned out to be one of the main attractions during the event as people sometimes want to feel creative because it is such healing process,” Bataweel added.
Visitors came in groups of friends, with colleagues, as couples and some people even came by themselves to make new friends. Live performances by musical bands and a live radio station organized by Mixed FM made it an exciting few days to remember.
Luminarium event captivates Jeddah audiences with light and color
Luminarium event captivates Jeddah audiences with light and color
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.
Michelin Guide to launch first-ever Saudi edition
RIYADH: The Michelin Guide is set to launch in Saudi Arabia, marking a major milestone in the Kingdom’s evolving culinary landscape.
Organized in partnership with the Culinary Arts Commission, a subsidiary of Saudi Arabia’s Ministry of Culture, the “new selection will focus on the bustling cities of Riyadh and Jeddah, while also beginning to explore the diverse regions of the Kingdom, including Khobar, AlUla, and many more,” according to the Michelin Guide.
Gwendal Poullennec, international director of the Michelin Guide, spoke to Arab News in Riyadh on Tuesday and explained that the ultimate aim is to “(explore), gradually, the regions to unearth all the culinary gems and to make sure that we are letting no stone go unturned.
“I think you have the heritage, you have the dynamism, you have young talents,” he added of the Kingdom.
According to the organization, Michelin inspectors “are already in the field.” The selection will be made according to the Michelin Guide’s criteria: “The quality of the ingredients, the mastery of cooking techniques, the harmony of flavors, the personality of the cuisine and the consistency both over time and through the menu as a whole,” according to a released statement.
One Michelin star is awarded to restaurants for “high-quality cooking that is worth a stop,” two stars for “excellent cooking that is worth a detour,” and three stars for “exceptional cuisine that is worth a special journey.”
Alongside the coveted star ratings, the selection also includes the popular Bib Gourmand category, a distinction awarded to restaurants that provide good quality food at a moderate price.
Aside from impacting the country’s F&B scene, Poullennec also touched on the Michelin Guide’s effect on the local economy.
“I have to say that, beyond the selection, beyond the stars, there are also a lot of ripple effects throughout the food chain. For example, impacting the products and the farmers (who) will find a demand for local high-quality products in a region,” he said.
The restaurant selection for the inaugural edition will be unveiled toward the end of 2025.
The guide currently operates in Dubai, Abu Dhabi and Qatar.
The prestigious French guide began as a handy guidebook for Michelin tire customers in France in 1900. It was the brainchild of the Michelin brothers, who sought to “provide motorists traveling through France with all the useful information to supply their automobile, to fix it, where to sleep and eat, and which means exist to communicate, by mail, telegraph or telephone,” according to Christie’s auction house, which put a set of guides under the hammer in 2016.
The first edition saw almost 35,000 copies printed and contained useful information for motorists, including a list of hotels, groceries, bakeries, hardware stores and instructions on how to fix and change tires.
In 1931, ratings featured the current system of three stars for the first time, with the definitions becoming clear and definitive in 1933.
Although production of the guide was suspended during both world wars, the 1939 edition of the guide was reprinted by the US military in 1943, just before the June 6 invasion of Normandy the following year, as it was deemed the most up-to-date map available to the armed forces.
The push eastward is relatively recent, as until 2006, Michelin’s country guides only covered Europe.
Co-founder of digital platform The Open Crate shares Art Basel top picks
BASEL: Tunisian art expert Amina Debbiche, who co-founded digital art platform The Open Crate alongside Nora Mansour, shares her top artworks from Switzerland’s Art Basel contemporary art fair, which wraps up on Sunday.
The Open Crate allows clients to digitalize their entire collection, whether it be artwork, design objects or luxury items.
Yto Barrada at Sfeir-Semler Gallery
“I first discovered Yto Barrada’s work at the Arsenale during the 2011 Venice Biennale and was instantly captivated by her poetic and political approach. Since then, I’ve followed her brilliant trajectory across film, photography, textiles, and installation. Born in Paris and raised in Tangier, her practice explores themes of memory, displacement, and resistance. We’ve now come full circle - she will represent France at the upcoming Venice Biennale, curated by Myriam Ben Salah.”
Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited
“Alia Farid’s ‘Elsewhere’ deeply moved me with its layered storytelling and political tenderness. The work maps Arab and South Asian migration to Latin America and the Caribbean through handwoven rugs made with Iraqi weavers. It documents hybrid identities, memory, and solidarity across geographies. I’ve long admired how Alia reclaims overlooked narratives with such poetic clarity. Her voice feels both urgent and timeless.”
Eunnam Hong’s ‘Safeway’ at Mendes Wood DM booth
“Eunnam Hong’s painting … stopped me in my tracks — cinematic, hyper-stylized, and effortlessly cool. With nods to Cindy Sherman and K-drama aesthetics, the Korean artist explores identity and performance through staged, uncanny tableaus. Her figures- drenched in soft light, wrapped in curlers and headscarves, clutching vitamin D and Safeway bags - feel both retro and unmistakably now. It’s suburban surrealism meets generational moodboard, complete with Converse and quiet rebellion. Hong is one of the most compelling contemporary voices out there - sharp, relatable, and iconic in the making.
Simone Fattal’s ‘Music On My Mind’ (2024)
“Simone Fattal is a Syrian Lebanese artist whose sculptural practice draws from archaeology, poetry, and mythology to explore themes of memory, exile, and resilience. Born in Damascus and raised in Beirut, she has created only a few large-scale sculptures, making each one rare and significant. Her works are held in major collections including MoMA, Centre Pompidou, and the Sharjah Art Foundation … I was drawn to “Music On My Mind” for its quiet power — the naive, totemic form and subtle reference to sound felt deeply poetic.”
M'barek Bouhchichi’s Terra series. 2024. Wool weaving and natural dye. 220x170cm at Selma Feriani booth
“I love this work for its quiet intensity and material poetry and Selma Feriani, who presents it, is one of the few truly independent voices from the region to make it to Art Basel with a consistently bold program. M’barek Bouhchichi, born in southeastern Morocco, lives and works in Tahanaout, Morocco. The artist collaborates with women artisans to create henna-dyed wool works that evoke both landscape and memory. His ‘Terra’ series explores cultural links between Morocco and Mali through ancestral weaving techniques. These minimal, earthy compositions blur the line between textile and painting. A major solo show in Tunis is coming this September.”
Noah Davis’s ‘The Goat from Grayson’ (2008) at David Zwirner
“I’ve always been drawn to Noah Davis’s ability to create scenes that feel both dreamlike and grounded in Black lived experience. “The Goat from Grayson” (2008), shown here at David Zwirner, captures his signature blend of poetic realism, rich symbolism and painterly tenderness. The glowing tree, the quiet tension, and the spiritual undertone pull you in. Davis, who passed away tragically young at 32, was not only a brilliant painter but also the founder of The Underground Museum in Los Angeles, a vital space for Black art and community. His work was the subject of a major retrospective at the Hammer Museum in 2020, cementing his legacy as one of the most influential artists of his generation.”
Eric Fischl’s ‘After the Funeral’ (2017)
“Eric Fischl’s paintings often feel like paused movie scenes, loaded with tension, memory, and unspoken drama. I was instantly drawn to these two women, something about the cigarette, the ice cube, the gaze, it felt like I’d stumbled into a Woody Allen film mid-conversation. Fischl captures that strange mix of intimacy and detachment with uncanny precision. A key figure of American figurative painting since the 1980s, his work explores suburban psychology and social dynamics. He is represented by Skarstedt, a gallery known for championing major contemporary artists like David Salle, Cindy Sherman, and George Condo.”
Sheila Hicks’s ‘Lianes Etoiles’ (2020)
“Sheila Hicks’s ‘Lianes Etoiles’ is pure visual rhythm. Its vibrant threads, soft textures, and sculptural layering instantly drew me in. There is something meditative and sensual about the way the colors pulse across the surface. Hicks, a pioneer of textile art, has redefined fiber as a sculptural and painterly medium for over six decades. This piece feels both contemporary and ancestral, like a coded language of color and craft. It is shown by Alison Jacques, a gallery that consistently champions strong, visionary practices.”
Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii glass amphora (#06)’ (2023) at the booth of Lia Rumma
“Wael Shawky’s amphora sculptures are a masterclass in historical layering and contemporary wit. Representing the Egyptian Pavilion at the last Venice Biennale, his work was among the most celebrated and nearly won the Golden Lion. The video “Drama 1882” retelling of the ’Urabi revolution that was co‑funded through support from Mai Eldib, who organised key patronage, was later acquired by a major institution in the Middle East. These Murano glass forms, draped in ornate textiles, are as subtle as they are rich in reference. Shawky continues to expand the visual language of Arab myth, ritual, and storytelling with quiet force.”
Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery’s booth
“This striking portrait by Amoako Boafo was exhibited at the Gagosian booth, where the brilliant Rola Wazni, director of Gagosian Paris, walked me through a presentation curated by Francesco Bonami. Boafo, originally from Ghana and based in Vienna, is known for his lush finger-painted figures and bold exploration of Black identity and presence. His textured brushwork and floral detailing here are both tender and defiant. The composition radiates quiet power, dignity, and individuality. Rolla’s sharp eye and grace made the experience even more memorable.”
Maurizio Cattelan and Rudofl Stingel at Gagosian Gallery’s booth
“Gagosian’s booth at Art Basel 2025, curated by Francesco Bonami, offered a brilliantly irreverent pairing of Maurizio Cattelan’s ‘No’ (2021) and Rudolf Stingel’s ‘Untitled’ (2012). Cattelan’s kneeling figure in a suit, head covered by a paper bag, delivers a biting satire of modern-day capitalism and mental health collapse — a man caught between denial and trauma, refusing to face symbolic castration or mortality. Stingel’s silvery abstraction provided a haunting, meditative counterpoint, echoing themes of absence and ego. Together, the works reflected on visibility, repression, and the absurd rituals of the art world. The result was a sharp, minimalist statement that lingered long after.”
Saudi Arabia’s Prince Faisal bin Salman joins King Charles at Royal Ascot opening
DUBAI: Saudi Arabia’s Prince Faisal bin Salman bin Abdulaziz Al-Saud joined the UK’s King Charles III and Queen Camilla at Royal Ascot, one of the most prestigious equestrian racing events in the world.
Prince Faisal appeared alongside the British royals in the lead royal carriage that opened the official procession at the racecourse, just south of Windsor in the UK.
Lady Sarah Keswick also joined the lead carriage alongside Prince Faisal, King Charles III and Queen Camilla. A close friend of the queen, she is a key member of the Queen’s Companions.
Following the royal procession, Prince Faisal, a grandson of King Abdulaziz and son of King Salman, joined members of the British royal family, including Princess Beatrice and Zara Tindall, in the royal enclosure to watch the first day of races.
Royal Ascot remains a major fixture on the British social calendar, drawing global political and royal elites.
Arab royalty has played an increasingly visible role at the event in recent years. In 2024, Prince Salman bin Hamad Al-Khalifa of Bahrain — the crown prince and prime minister — attended the event as a guest of honor, representing Bahrain’s royal family.
Meanwhile, Sheikh Tamim bin Hamad Al-Thani, Emir of Qatar, has become a prominent figure in the racing world through his Wathnan Racing team.
The organization has achieved notable success at Royal Ascot, including a win in the 2023 Gold Cup.
Prince Saud bin Khalid — son of the late Prince Khalid bin Abdullah Al-Saud, the legendary Saudi breeder behind Juddmonte Farms — was also seen attending the second day of the Royal Ascot in 2023, alongside King Charles III.
