KARACHI: It was Friday, July 6, 2012. Ali, a chirographer, was enjoying morning tea on the balcony of his apartment when he spotted a group of men loading a truck with boxes.
This was not an unusual sight since he lived near a warehouse where this was a routine activity. However, Ali realized that something was not right when a worker dropped a box and it broke open: The men were moving ancient artifacts, and the accident had caused a degree of panic among them.
Ali quickly called a friend at Sindh Government’s Culture Department who instructed him to immediately inform the police. The truck had left by the time the police arrived but they managed to chase it down and seize the valuables, which had been illegally transported.
More than five years after the incident, Ali recounted the experience to Arab News. He also recalled how the police had arrested the driver and the owner of the warehouse. However, the area’s current Station House Officer (SHO), Nasir Mahmood, says he does not have any details of the case. An official of the Culture Department told Arab News on condition of anonymity that the warehouse belonged to a former inspector general of police and the consignment was booked by a well-known Lahore-based business figure.
In 2012, the former SHO of the area, Javed Brohi, had told the media that the artifacts were stolen from the historically rich Khyber Pakhtunkhwa (KP) province and were transported to Sialkot. He said that his department had received a tip-off from intelligence agencies, presumably to protect the identity of his real source. But his account had also raised a question: Why were the artifacts brought to Karachi if their real destination was Sialkot, an urban center in the province of Punjab that is relatively closer to KP?
National Museum of Pakistan Director Muhammad Shah Bukhari says that the smugglers might have wanted to transport the relics to Europe via Dubai.
“It is possible that they found it difficult to get clearance at the Karachi port,” he said. “Sialkot has its own dry port, and they might have found someone to help them over there.”
According to an official document obtained by Arab News and authenticated by Dr. Ghani-ur- Rahman, director of Taxila Institute of Asian Civilizations, the number of the relics seized was 319. The museum authorities believed that many of them were excavated from the archaeological sites of Gandhara. Most of these artifacts contained images of Buddhist eschatology. Despite being at the National Museum of Pakistan for more than five years, however, these historical objects are yet to be displayed to the public.
“We are expanding our building,” Bukhari said. “Once it is done, we will dedicate two galleries to KP’s heritage.”
Asked why these relics should not be returned to the province of their origin, he said that the National Museum had the authority to display the heritage of any federating unit.
“Apart from that,” he added, “no one from KP has officially contacted us for them. Once they do that, we will respond with our claim over these artifacts, relics and sculptures.”
When Arab News contacted KP’s Director of Archaeology Dr. Abdul Samad, he claimed that the relics were fake.
“They are not original,” he said. “There is no need for us to fight over fake objects that were made in a Karachi factory. Why should we bring them to KP?”
Samad said that people of Sindh rarely visit the Peshawar Museum. “This will give them a glimpse into our province’s rich heritage,” he said. “Ultimately, our province will get some promotion.”
KP’s former minister for sports, tourism and culture, Aqil Shah, had held a news conference shortly after the relics were seized in Karachi, demanding that Sindh hand back the riches of Pakhtunkhwa to his administration.
“The artifacts belong to KP,” he said while talking to Arab News on telephone, “but the current administration of the province is not willing to do much about it.”
However, Dr. Samad criticized Shah for making such claims. He said that Shah had held the news conference without making verifications.
“Do you think the KP government would have remained silent if these objects were original,” he asked. “Do you think that the museum in Karachi would have kept them out in the open if they were genuine items?”
While the National Museum of Pakistan has displayed some of the seized objects in its lawn, Shah insists that his successor should take up the issue with Sindh’s provincial administration.
Meanwhile, Dr. Ghani-ur-Rehman, an expert in the field, has weighed in with Dr. Samad over the issue.
“Majority of these sculptural pieces seems to be fake,” he said. “The only ones that may be original or copies of originals are the broken ones.”
When Arab News asked the director of Pakistan National Museum why he was interested in displaying counterfeit objects at his facility, he said: “Our experts have confirmed that 161 items are genuine, though a majority of sculptures are not original.”
He added: “The museum wants to display both original and counterfeit objects along with other confiscated artifacts in its galleries. However, we have a system and can never declare a counterfeit object as a genuine relic.”
Real or fake: National Museum of Pakistan plans to display Pakhtunkhwa’s cultural riches
Real or fake: National Museum of Pakistan plans to display Pakhtunkhwa’s cultural riches
Iconic works on show ahead of Sotheby’s auction in Riyadh
RIYADH: On Feb. 8, Sotheby’s will host “Origins,” which it is billing as “the first international auction in Saudi Arabia’s history.” Key pieces from the auction are on display in the accompanying exhibition at Diriyah’s Bujairi Terrace that is free and open to the public.
Ashkan Baghestani — senior vice president and head of contemporary day sale, contemporary art, New York & Middle East — told Arab News of the importance of offering a diverse array of lots, from sculptures to paintings.
"In terms of fine art, I think it was important for us to show the wide breath of the fields we represent at Sotheby’s,” he said, adding “in the last three years, every time I have been coming I have been seeing more international artists and curators, events, integrated with Arab culture.”
While curating the auction and exhibit, Baghestani sought to bring the "greatest Arab and Saudi artists to an international audience … don’t forget, we don’t only cater toward the local audience and Saudi audience … a lot of our clients are looking at the sale."
Baghestani also broke down the different types of auctions to be held: Online, day and evening sales.
"The evening sale auction is probably the highest caliber in terms of quality, featuring the most expensive, museum-quality, and rarest works. However, in terms of volume, it is usually the smallest."
One of the pieces set to be auctioned is by Saudi artist Mohammed Al-Saleem (1939-1997), a key contributor to the evolution of the Kingdom’s art scene.
His painting, titled “O' God, Honour Them and Do Not Honor an Enemy Over Them” is inspired by the gradating skyline of Riyadh from the desert, with both the skyline and calligraphy blended into mosaic-like designs.
The auction will also include works from icons such as Rene Magritte and Andy Warhol, and regional art pioneers including Etel Adnan.
Dubai Fashion Week’s opening night hosts diverse designs
DUBAI: Set to run until Feb. 6, the opening night of Dubai Fashion Week saw designers show off their Autumn/Winter 2025-26 collections in the city on Saturday.
The opening night’s line-up included an ode to Paris by Manel, founded by Dubai-based designer Manel Aboudaoud; a tribute to batik craftsmanship by Indonesian brand Toton; and a nod to Moscow and the Silk Road by Dubai-based Filipino designer Angelo Estera.
From flowing gowns to structured silhouettes, Iraqi designer Zaki presented a collection marked by subdued, elegant hues. Zaki — who has dressed celebrities including Kris Jenner, Ciara and Tyra Banks — created a number of ombre gowns for her latest line, which also included metallic evening wear amid nude-colored looks. Rouching was seen in many of the figure-hugging gowns, with a creamy beige menswear look turning heads on the runway.
Meanwhile, Toton Januar collaborated with batik artisans from Tuban and Cirebon, Indonesia, for a collection that combined traditional artistry with upcycled fabrics and innovative use of materials such as paper clay.
Aboudaoud made a winning debut at Dubai Fashion Week with the “Paris Day to Night” collection, a tribute to her Parisian upbringing and Arab roots. The collection combined elegant tailoring, luxurious fabrics, and versatile designs that can transition from day to night. The colour palette drew inspiration from Parisian winters, blending earthy tones with opulent hues. Textured velvet, jacquard, Chantilly lace, and satin were employed across the collection to create a refined, yet wearable line.
For his part, Estera fused traditional Russian elements with Eastern influences in a show inspired by the ancient trade routes connecting the East and West. The Autumn/Winter 2025-26 collection featured a rich colour palette of red, black, and gold, representing luck, mystery, and cultural prosperity, according to the show notes.
1-54 Contemporary African Art Fair returns to Marrakech for sixth edition
- 30 exhibitors include galleries from Africa, Europe, India and for the first time, the Gulf
MARRAKECH: The sixth edition of the 1-54 Contemporary African Art Fair has returned to the opulent La Mamounia Hotel bringing together collectors and art aficionados from across Africa, the Middle East and Europe.
The smallest of the 1-54 fairs — which are also held in London and New York — the Marrakech edition, which opened on Jan. 30, presents a more intimate, upscale experience.
There is a great focus on establishing connections between the Marrakech art scene and greater Africa and its diaspora, the Middle East and Europe.
Running until Feb. 2, the event is being held at both the La Mamounia Hotel and multidisciplinary art space DaDa, located within the famous bustling Jemaa El-Fnaa square and marketplace in the city’s Medina quarter.
The latter highlights predominantly art concepts from across Morocco whereas within the lavish halls of La Mamounia, both international and Moroccan galleries present works by local African and international artists.
“In this edition, there is a very good balance between African, international and local Moroccan galleries,” fair director and founder Touria El Glaoui, the daughter of the late celebrated Moroccan modernist painter Hassan El Glaoui, told Arab News.
“This year presents 14 galleries from Africa … in addition to a gallery from Kuwait City, Tokyo, two galleries from Milan, and the Kalhath Foundation from Mumbai, India, presenting Moroccan artist Amina Benbouchta.”
Newcomers this year include Milan-based C+N Gallery CANEPANERI; space Un from Tokyo, Japan; and GALERIE FARAH FAKHRI from Abidjan, Cote d’Ivoire.
Also represented for the first time will be Galerie Medina from Bamako, Mali; Hunna Art from Kuwait City, Kuwait; Le Violon Bleu Gallery from Sidi Bou Said in Tunis, Tunisia; and Rabat-based Abla Ababou Galerie.
On view at Le Violon Bleu from Tunisia are also paintings by Hassan El Glaoui. The display marks the first time the artist’s works are exhibited at the fair.
The Gulf is represented this year through the debuting Hunna Art from Kuwait City.
In addition, a talk, titled “AlUla a New Laboratory for Contemporary Art,” will be delivered by French curator Arnaud Morand who has staged exhibitions and residencies for several years in the ancient Saudi Arabia desert region.
Also from the Gulf will be a special performance titled “Le Miroir (Acte I)” by renowned artist Miles Greenberg, to be staged at the historic El-Badi Palace, commissioned by ICD Brookfield Place Arts Program in Dubai.
Since its launch in Morocco in 2018, 1-54 has grown into a global event bringing collectors, major art institutions and artists from across the world to Morocco.
The fair, as El Glaoui noted, is also building on Marrakech’s rich cultural and art scene which has been expanding over the years. Of note this year is the reopening of the Museum of African Contemporary Art Al-Maaden alongside numerous exhibitions and museum shows and performances.
“Marrakech has a strategic geographic location serving as a meeting point for audiences from the Middle East, Africa and the rest of the world,” said El Glaoui.
“Morocco has a vibrant art scene that has significantly grown over the years. I think between its auction houses, museums, private foundations and the various galleries we have in each city, it has become an important international contender for modern and contemporary art.”
Nadhim Zahawi reflects on his journey from Baghdad to Britain at Dubai literature festival
- Zahawi, who is a chemical engineer by background, recounted to the audience how he fled Iraq for the UK at the age of 11
- Zahawi’s father fled to the UK first, and a few months later, Zahawi, his mother and sister joined him there, seeking refuge
DUBAI: Iraqi-born British former politician Nadhim Zahawi took the stage on Friday for a conversation moderated by Faisal J. Abbas, editor-in-chief of Arab News, during the 17th Emirates Airline Festival of Literature at the InterContinental Dubai Festival City.
The talk, “Nadhim Zahawi: The Boy From Baghdad,” shared its name with his book, in which Zahawi reflected on his journey from Baghdad to Britain, his career in business and politics, and the challenges of identity and belonging.
Zahawi, who is a chemical engineer by background, recounted to the audience how he fled Iraq for the UK at the age of 11, after his family was forced to escape their home under threat from Saddam Hussein’s regime.
He said: “At that age, you remember quite vividly, especially traumatic events … I really remember, one Sunday lunch at my aunt’s home, whose husband broke the news to my father that they’re going to come and get him tomorrow morning. Literally all he had was hours to get out of the country.”
“He packed a small bag, he wrote on the wall in our home: ‘My name is Hareth Al-Zahawi’ and a verse from the Qur’an, and that one day he will come back and see his home,” he recalled.
“We went to the airport with him; myself, my older sister and my mother. I remember vividly, the Baghdad International Airport … had a viewing platform, where in the late ’70s you would see the aircraft. There weren’t these sophisticated arms that come out. You had to walk to the plane and they put the steps up. We watched him go up the steps and we had to sort of pretend to say goodbye as if he was going on holiday because you don’t know who is watching you at the airport.”
Just before the flight took off, Zahawi recalled, an army truck sped up to the plane, and he and his family feared that his father would be taken off the flight and arrested. However, the soldiers escorted someone else instead. Zahawi later learned from his father that the person removed was seated directly in front of him.
Zahawi’s father fled to the UK first, and a few months later, Zahawi, his mother and sister joined him there, seeking refuge. He shared how these formative experiences shaped his perspective and ambitions.
He then spoke about how refugees are not necessarily a burden on society and why he refuses to call himself a political refugee.
“I sometimes feel uncomfortable when I am introduced as a refugee to the United Kingdom. What I try to say is that we are actually first-generation immigrants to the UK,” he said.
He added that this label makes him feel like an “imposter” because most people’s vision or stereotype of a refugee is someone who may have come from a less privileged background than he did.
Transitioning to his professional journey, Zahawi discussed his ventures in international business. He also provided insights into his political career, shedding light on the policies and individuals that have significantly impacted the UK’s landscape.
Zahawi said that he got into politics by accident, as he had almost no political interest growing up. “I wanted to become a show jumper,” he said, recalling how he once tried to convince his father to invest in a riding school. His father dismissed the idea, telling him, “Well, you go into university, make your own money, and then you can go to a riding school.”
It was not until his first week at University College London that an unexpected encounter shifted his perspective. At the Freshers’ Fair, he was confronted by a Socialist Workers Party member handing out magazines. “I promise you that all I did was politely say, ‘No, thank you’ — not because I didn’t respect socialism, but because I wasn’t interested in politics … He was so aggressive, saying, ‘People of your color, you should be ashamed of yourself.’”
Instead of reacting with anger, Zahawi decided to explore his viewpoint.
“I remember in 1979 or 1980, my mother saying to me: ‘Son, a grocer’s daughter has just become prime minister. You can do anything in this country.’ And she was right,” he added.
Throughout the talk, themes of identity and belonging were prominent, as Zahawi reflected on navigating life between two cultures and the evolution of his adoptive homeland, Britain.
He praised the UK’s political system for offering opportunities regardless of background, contrasting it with the US.
“I can’t name any other country that has got to this level of achievement. In America, politicians will choose particular districts where they have a large ethnic group that may be beneficial to their background,” he said.
Zahawi highlighted his own experience as an example, recalling how he was selected as a Conservative candidate despite coming from an immigrant background. “I was selected in Stratford-on-Avon in a room full of Conservative members, pretty much white. The seat is 97 percent white, affluent middle-class, farming community. This is the birth and resting place of William Shakespeare, yet they selected Nadhim Zahawi, a boy from Baghdad, as their champion, their candidate.”
He emphasized how his political success reflected the country’s openness to diversity. “They voted him in the 2010 election, and then voted him back four times after that with increased majorities. That is a country that, in my view, is truly colorblind,” Zahawi said.
He also discussed identity: “I think in many ways I am a proud Brit of Kurdish background. I am very proud of my Kurdish roots. But, ultimately, the country that has defined my life, that has given me my opportunity in life, is the United Kingdom,” he said.
Saudi-helmed Ashi Studio unveils sculptural silhouettes, intricate embroidery at Paris Haute Couture Week
- Couturier’s designs been worn by Queen Rania of Jordan, Beyonce
- First designer from region to join Federation de la Haute Couture
DUBAI: Paris-based label Ashi Studio, founded by Saudi Arabia designer Mohammed Ashi, presented its Spring/Summer 2025 couture collection on Thursday during Paris Haute Couture Week, featuring sculptural silhouettes, intricate embroidery, and detailed craftsmanship.
The collection has a range of designs that incorporate voluminous structures, textural contrasts and embellishments.
Several looks emphasize architectural shapes, including a voluminous ivory skirt paired with an embroidered cropped jacket in shades of blue, adorned with floral beading and gold detailing.
Other designs include structured corseted gowns with sheer lace panels and sculpted sleeves.
The collection also features darker tones, with black and gold embroidery on form-fitting dresses. Strapless gowns include intricate hand embroidery with landscape motifs.
Metallic fringe elements and shimmering embellishments contribute to the textural variation within the lineup.
Alongside heavily adorned pieces, the collection includes streamlined silhouettes, such as a deep burgundy velvet strapless gown and a turquoise column dress with matching gloves.
Ashi became the first couturier from the region to join the Federation de la Haute Couture in Paris as a guest member in 2023.
The couturier’s designs have been worn by celebrities including Beyonce, Lady Gaga, Jennifer Hudson, Kylie Minogue, Penelope Cruz, Deepika Padukone, Sonam Kapoor, and Queen Rania of Jordan.
