MANAMA: UNESCO on Saturday added eight pre-Islamic Iranian archaeological sites to its World Heritage List, the UN agency announced at a meeting in the Bahraini capital.
The sites collectively appear on the worldwide list as the “Sassanid Archaeological Landscape of Fars region (Islamic Republic of Iran).”
A province in modern-day Iran’s south, Fars was the cradle of the Sassanid dynasty, which appeared at the start of the third century.
After the fall of the Parthian empire, the Sassanids ruled territory that, at its peak, stretched from the west of Afghanistan to Egypt, before falling to the Arab conquest under the Umayyad caliphate in the middle of the seventh century.
“These fortified structures, palaces and city plans date back to the earliest and latest times of the Sassanian Empire,” UNESCO said.
With the latest addition, Iran now has 24 sites on the heritage list of the United Nations Educational, Scientific and Cultural Organization.
UNESCO adds 8 pre-Islamic Iranian sites to heritage list
UNESCO adds 8 pre-Islamic Iranian sites to heritage list
- The sites collectively appear on the worldwide list as the “Sassanid Archaeological Landscape of Fars region
- Fars was the cradle of the Sassanid dynasty, which appeared at the start of the third century
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.
Japanese artist Takayuki Mori’s interpretation of Saudi culture on display at Noor Riyadh
RIYADH: Japanese visual artist Takayuki Mori pays homage to Saudi culture and heritage in his latest work, which can be seen at Noor Riyadh, the Kingdom’s annual festival of light and art.
In “View Tracing #5 ‘LABYRINTH’,” the artist creates a visual manipulation experience featuring prominent cultural elements such as the falcon, mabkhara (incense burner), dallah (coffee pot), and an oud musical instrument mounted on large blocks and steps.
“I designed this with the structures based on Islamic geometrical patterns, so when people see it from the top, you see the patterns. After doing some research, I selected objects inspired by Saudi Arabia and the neighboring regions … These represent the senses — taste, smell, sound,” Mori told Arab News.
All the objects on display are 3D-printed and lined with fluorescent thread which glows in the ultraviolet-lit room, the lines creating geometric shapes that resemble computer-generated graphics.
Viewers cannot physically smell, taste or hear the items, but the artist creates an experience where echoic, olfactory and taste memory come into play.
As they navigate the maze-like pathways they are challenged to test their own memory, creating a unique experience of determining what we presume to be true and what really is in both virtual and physical spaces.
“This physical sculpture and installation was made digital to explore the relationship between two and three-dimensional, the analog and digital Riyadh,” said Mori.
Previous artworks in the series use a grid pattern, but this one features triangular patterns signaling to the motifs commonly found in old houses in Diriyah, the capital of the first Saudi state.
This is Mori’s first time visiting and exhibiting his work in the Kingdom and he expressed his optimism for the region’s art scene: “It’s very powerful and energized. I’m very excited for the future here. I’ve talked with artists from Saudi and other countries and they are very motivated, so I got some inspiration from them and I’d like to continue that in my work.”
