Solar boats and electric buses: Take a ride on the UAE’s eco-friendly transportation

Ancient meets modern as abras, or traditional boats, ferry passengers across Dubai Creek. Some journeys are now being made in solar-powered vessels, part of a series of eco-friendly public transport initiatives in the UAE. (Getty Images)
Updated 17 January 2019
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Solar boats and electric buses: Take a ride on the UAE’s eco-friendly transportation

  • The UAE is starting to power its public transport with renewable energy, setting a sustainable example for the wider Gulf
  • Dubai is home to the first utility-scale solar project in the Middle East

DUBAI: Want to take a trip to the future using eco-friendly transportation? In the UAE, you can enjoy a ride on a solar-powered abra on Dubai Creek, or hop on an electric bus in the capital. 

While Abu Dhabi Sustainability Week is shining a light on big renewable energy projects, some more practical uses are already underway in the UAE, serving as a taster of the ground-breaking initiatives the Gulf is expected to witness as it moves toward a sustainable future.

Dubai’s Roads and Transport Authority has just launched an electric 20-seater water taxi, powered by a 20-kilowatt (kW) motor with solar panels on top. 

It has 87 percent lower emissions than regular abras, with expected operations on Dubai Creek, Jumeirah Beach, the new islands and the Dubai Water Canal. A total of 61 boats are planned by 2020.

Back on the road, work is underway in Dubai on two solar-powered bus shelters as part of a trial for shelters in locations off the electric power grid. 

The solar power generated will be used to operate lights, air-conditioners and billboards.

In Abu Dhabi, Masdar has launched the first electric passenger bus in the region. The Eco-Bus will serve a six-stop route between Marina Mall, Abu Dhabi Central Bus Station and Masdar City, with a free service until the end of March. 

Seating 30 passengers, it has a range of 150 km per battery charge, with solar panels used to power its auxiliary systems.




An abra awaits passengers on Dubai Creek. (Getty Images)

With experts predicting that global solar installations will grow steadily in the coming years — by 5.2 percent annually between 2017 and 2022 — the combination of batteries, solar and other renewables is expected to cause a dramatic transformation in the world’s energy markets. Some of this is already trickling down to street level.

“Buses, taxis and other fleet vehicles are driven continuously, contributing more to urban pollution than vehicles of similar engine sizes,” said Stephen King, lecturer in media at Middlesex University Dubai and a UAE-based member of the Climate Reality Project, a non-profit organization involved in education and advocacy related to climate change. 

“Providing electric options for these vehicles is a positive step in improving air quality, which is a key issue (in the Gulf).”

According to the Climate Reality Project, several studies show that electric vehicles are likely to cost the same as, or even less than, regular internal combustion vehicles within the next decade, even without incentives. 

A February 2017 report from Bloomberg New Energy Finance (BNEF) found that the unsubsidized total cost of ownership of battery electric vehicles will fall below that of internal combustion engine vehicles by 2022. 

From there, the report projected a steadily increasing rate of adoption, reaching global sales of 41 million — 25 percent of the total market share — by 2040. 

“Solar is quite suitable for meeting small local loads without a grid connection, and electric buses are increasingly popular around the world because their running costs are low compared with internal combustion engines,” said Jenny Chase, head of solar at BNEF. 

“Solar power can take on a role in mostly bulk energy generation in the daytime. Solar photovoltaics (PV) is now one of the lowest-cost generation options in sunny regions, with prices below $25 per megawatt (MW) in sunny areas, where political stability makes the cost of capital low.”

Chase said it is now possible to generate energy without significant carbon dioxide emissions, for close to — or even less than — the cost of generating from fossil fuels. 

“This will be incredibly attractive to utilities and governments. The Middle East (is likely to) build solar power plants for a large chunk of its electricity demand increase in the future, at least until the daytime need is well met,” she said.

“Electric vehicles for public transport are also likely to be used increasingly, possibly lagging adoption in oil-rich countries where the fuel costs are less.” 




Masdar’s electric passenger bus is a first for the Gulf region. (Getty Images)

China, for example, already has 400,000 e-buses. “Some batteries will probably be used for shifting demand to the daytime, and e-vehicles will be encouraged to charge in the daytime,” Chase said. “There will also be some rooftop solar adoption where government policy supports it.”

Saudi Arabia also sees the potential in solar. The Kingdom’s Renewable Energy Project Development Office plans to tender 11 PV power projects, with a combined capacity of 2,225 MW this year. 

The Kingdom’s solar target for 2023 has been increased from 5.9 gigawatts (GW) to 20 GW, and set at 40 GW for 2030. 

Last year, the Saudi Electricity Co. signed a deal with the Tokyo Electric Power Co., Nissan Motor Co. and Takaoka Toko Co. for the first electric vehicle pilot project in the Kingdom. As part of the agreement, fast-charger stations will charge vehicles in 30 minutes. 

The potential is high. Experts in 2002 tipped that the global solar market would grow 1 GW annually by 2010. The actual growth in 2010 turned out to be 17 times that. 

“The world installed a record 98 GW of solar PV capacity in 2017, far more than the net additions of any other technology — renewable, fossil fuel or nuclear,” King said. 

“Although solar energy technologies have been around for decades, it is only in recent years that installations have really started to take off,” he said. “Falling costs, technological improvements, increased competition and government incentives have been key drivers of this growth.”

Global solar capacity is said to have surpassed 400 GW for the first time in 2017. Although countries such as China, Japan, Germany, the US and India have historically been the largest players, solar growth in coming years is expected to depend increasingly on middle-income countries and emerging markets. 

“Clearly, what was once a niche technology is now firmly in the mainstream,” King said. “Solar has a lot of potential in the region and around the world, and a number of important projects have been initiated in recent years.”

The BNEF report also revealed that the global energy storage market is projected to double six times between 2016 and 2030, rising to 125-305 GW per hour. 

“This is a similar trajectory to the remarkable expansion that the solar industry went through from 2000 to 2015, in which the share of PV as a percentage of total generation doubled seven times,” King said. 

“Energy storage, both utility scale and behind the meter, will be a crucial source of flexibility throughout this period, and will be essential to integrating increasing levels of renewable energy.”

But when it comes to achieving six hours of full electricity production per day, challenges remain. 

Kyle Weber, an associate at Evera, which aims to identify and address key sustainability gaps in the mobility sector, said: “It is a resource that requires a lot of understanding to utilize well.

“In the case of an electric bus, you need to store the energy between when it’s generated and when it’s utilized, which means more cost, complexity, and things that can go wrong.”

On buses, Evera is looking into charging batteries outside a vehicle slowly during the day, before swapping them in and out of the vehicle while it is being used. 

“Solar is also great for things like process heat. Heat can be used to do all sorts of things from cooking to generating steam, and desalinating water to powering a pump or producing clean hydrogen,” Weber said.

* * *

 

The solar projects in the region

The Gulf is wholeheartedly adopting solar power to meet some of its energy needs. Several projects are underway across the region, including the UAE, where there are plans to increase power-generation capacity by around 21 GW, and where solar capacity is expected to contribute
26.1 percent of the total additional generation capacity. 

According to the Climate Reality Project, the world’s largest concentrated solar plant is due to be completed by 2021 near Dubai and is expected to have a 1,000-MW capacity. 

Dubai is home to the first utility-scale solar project in the Middle East. The UAE has 5.45 GW of new solar projects in development as of March 2017, and the Mohammed bin Rashid Al-Maktoum Solar Park is expected to be the largest concentrated solar plant in the world when it is completed in 2030. 

Dubai aims to produce 75 percent of its energy from clean sources by 2050, and its target energy mix for 2030 consists of 25 percent solar.

The Moroccan Solar Energy Plan aims to install 2 GW of solar power by 2020. On completion, the concentrated solar power complex will generate more than 500 MW of renewable electricity for 1.1 million Moroccans by 2018, reducing carbon emissions by 760,00 tons annually.

By 2020, Egypt aims to develop 40 solar parks of around 50 MW to meet its 2-GW renewables target, with clean energy accounting for 20 percent of the country’s energy mix. Its first utility-scale solar plant, credited to the government-sponsored feed-in tariff, will generate power for up to 15,000 homes. 

Decoder

What is an abra?

An abra is a small traditional wooden boat, almost like a raft, in the Gulf. It comes from the Arabic word “abara,” which means “to cross.” In Dubai, the Roads and Transport Authority uses motorized abras to ferry people across Dubai Creek.


Aquazzura’s Edgardo Osorio talks Saudi expansion amid ‘cultural revolution’

Updated 28 November 2024
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Aquazzura’s Edgardo Osorio talks Saudi expansion amid ‘cultural revolution’

DUBAI: Fans of Italy-based luxury shoe brand Aquazzura are in good company, with the likes of Princess of Wales Kate Middleton, Beyonce and Meghan Markle showing off the label’s heels on numerous occasions. With new boutiques in Riyadh and Jeddah, creative director and founder Edgardo Osorio sat down with Arab News to discuss his decision to tap into the Saudi market.

The brand, founded in 2012, is going through a speedy expansion in the region with new boutiques opening in the Kingdom, Bahrain and Kuwait in 2024, with another UAE boutique sscheduled for 2025. This is after the brand’s first regional outlet opened in Dubai in 2018.

The brand's new boutique in Riyadh. (Supplied)

“It’s a very special time to be in Saudi and be a part of cultural revolution,” the Colombian designer said of his foray into Saudi Arabia at Riyadh’s Centria Mall and Jeddah’s Al-Khayyat Center — the brand’s first mono-brand concept stores in the country.

 “We have a very large Saudi clientele already existing, at the shop here (in Dubai) the shop in London, and the shop in Paris, so for us it was a natural step.”

Fashion aficionados the world over will be familiar with Aquazzura’s often-copied designs, including the gem-encrusted Tequila Collection, the sparkling Gatsby Collection and the popular Twist line with its butter soft nappa leather and double padded insoles.

While a distinct focus on attention-grabbing heels is part of the Aquazzura design ethos, Osorio is keen to reiterate that the brand was born out of a desire to provide comfort. (Supplied)

“The best sellers are the best sellers worldwide, but I think that Saudi women tend to dress up more,” Osorio said of Saudi footwear trends.

While a distinct focus on attention-grabbing heels is part of the Aquazzura design ethos, Osorio is keen to reiterate that the brand was born out of a desire to provide comfort.

“The reason (this) exists is because one summer I was invited to 13 weddings. I went to 12 … and I noticed women complaining about their shoes — and this was a time pre-designer sneakers, pre-there being all heel heights … Comfort was a dirty word in fashion at the time,” he said.

“And so I said … there’s an opportunity in the market to make beautiful, comfortable shoes because if you can choose, which one would you choose?”

That savvy insight proved to be the making of a designer who showed his fashion chops from a young age, interning at fashion companies in his native Colombia at the age of 14 before moving to London to study at the London College of Fashion at 16.

The Aquazzura boutique in Riyadh’s Centria Mall. (Supplied)

After dropping out to pursue a career at Italian accessories label Salvatore Ferragamo, Osorio found himself as the head of footwear at Roberto Cavalli at just 23.

His own venture began with the study of the human foot, a far cry of the glitz and glam of the red carpet where Osorio’s designs would end up.

“I worked with a technician who had been studying the human foot and making shoes for over 40 years and the way (our) shoes are constructed, the weight of your body is more evenly distributed … so our shoes are more ergonomic. The weight of your body is more evenly distributed between the front, the arch and the back.

 “I also use extra-soft materials and I put in memory foam,” he said. “Almost nobody works like this. I don't know why except for me … and so obviously women feel the difference.”

The brand also boasts handbags and jewelry. (Supplied)

Women and fashion’s leading awarding bodies, it seems, for Osorio has just been named Footwear News’s 2024 Designer of the Year — a prestigious prize in the international style industry.

Osorio was named Designer of the Year once before, in 2015, and he is part of a cohort of previous winners including Jordanian Romanian celebrity designer Amina Muaddi, London-based Charlotte Olympia Dellal and Italy’s Gianvito Rossi, among others.

“It’s obviously a huge honor to be recognised by my peers and by Footwear News … this is a very pivotal moment for the brand,” he said.

“(We are) part of a major expansion for the brand, in the major face of growth in a difficult moment, people are believing in us and people are choosing to buy and wear Aquazzura.

“When I launched Aquazurra, we were in the middle of an economic depression and everyone was telling me ‘you’re crazy to open a brand and to leave Cavalli’ … I read somewhere ‘crisis means opportunity’ … and in the moment of crisis is when you need to get crafty and creative,” he said.

Twelve years on, as his latest gilded boutique in the Middle East joins his growing list of international outlets, it seems the designer took a step in the right direction.


Red Sea International Film Festival 2024: The award contenders — part one

Updated 28 November 2024
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Red Sea International Film Festival 2024: The award contenders — part one

DUBAI: The first half of our rundown of the films in competition at this year’s RSIFF, which begins Dec. 5 

‘Saify’ 

Director: Wael Abumansour 

Starring: Osama Alqess, Aixa Kay, Baraa Alem, Nour Alkhadra 

It’s no surprise that the Kingdom’s sole directorial representative in competition at this year’s Red Sea International Film Festival (several of the other films are Saudi-backed, however) comes from the groundbreaking Telfaz11 studio, of which Abumansour is the head. “Saify” — his second feature, following “Carnival City,” which opened the festival in 2020 — is set in the year 2000, and is a satirical take on Saudi Arabia’s conservative clerics that centers on the forty-something title character, a “washed-up confidence trickster who owes money to everyone, including his ex-wife,” who runs a small cassette shop where he sells banned hard-line religious sermons. “When Saify finds a tape containing a scandalous recording of the influential Sheikh Assad, he thinks he’s finally in the money,” the synopsis states. “Saify” seems set to continue Telfaz11’s practice of pushing cultural boundaries.  

‘Superboys of Malegaon’ 

Director: Reema Kagti 

Starring: Adarsh Gourav, Vineet Kumar Singh, Shashank Arora 

Hindi-language comedy drama inspired by a 2008 documentary about a group of DIY filmmakers in the titular Indian city who make spoofs of Bollywood movies as a form of escapism. This film spans a couple of decades from the late Nineties, and centers on photographer and videographer Nasir Sheikh who runs a failing cinema with his brother Nihal. When Nasir starts to make Bollywood parodies tweaked to fit Malegaon’s local culture, he becomes something of a local celebrity — a situation his ego is ill-equipped to deal with. Variety said it is “a moving ode to filmmaking,” adding that “few films have been as adept at capturing why people still go to the movies.” 

‘Hanami’ 

Director: Denise Fernandes 

Starring: 

Fernandes’ beautifully shot debut feature is set in her ancestral home of Cape Verde and is a coming-of-age tale spanning three periods of the life of the title character Nana. First as a toddler, after her mother Nia leaves the island in search of a better life, then in a magical-realist sequence in which Nana journeys to the foot of a volcano in the hope of curing her sickness, then with Nana as a teenager, reflecting on the community of women who have raised her and a reunion with her birth mother.  

‘To a Land Unknown’ 

Director: Mahdi Fleifel 

Starring: Angeliki Papoulia, Mahmood Bakri, Mohammad Ghassan 

“To a Land Unknown” might be Fleifel’s fiction debut, but its themes will be familiar to anyone who has seen his documentaries. Chatila and Reda are Palestinian refugees living in Athens, trying to save up for fake passports so they can move to Germany. But when Reda blows all their money on heroin, Chatila is drawn into a risky smuggling operation. Variety called it “a confident, angry, fully-realized drama which should see its makers afforded further opportunities to craft similarly vital work.” 

‘Moon’ 

Director: Kurdwin Ayub 

Starring: Florentina Holzinger, Celina Sarhan, Andria Tayeh, Nagham Abu Baker 

The award-winning Iraqi-Austrian filmmakers third feature tells the story of Sarah, a former mixed martial artist from Austria who thinks she’s found her dream job when she is hired to train the three daughters of a wealthy Jordanian family. But despite the luxurious surroundings, Sarah is soon feeling unnerved as she quickly discovers that the sisters are under constant surveillance and have little interest in learning to box. 

‘Songs of Adam’ 

Director: Oday Rasheed 

Starring: Azzam Ahmed Ali, Abdul Jabber Hassan, Alaa Najm 

The Baghdad-born Arab American director blends drama and magical realism in this tale of two brothers — Adam and Ali. When they are instructed to witness their grandfather’s corpse being washed before burial, Adam, then aged 12, announces that he has decided not to grow up. And as the years pass, he doesn’t. The villagers, including Ali, believe he has been cursed. Only his two friends Iman and Anki see Adam’s condition as an innocence-preserving gift.  

‘Red Path’ 

Director: Lotfi Achour 

Starring: Ali Hleli, Yassine Samouni, Wided Dabebi 

Tunisian director Achour drew on real-life events for this disturbing drama about a harrowing attack on two young shepherds by a violent jihadist group, leaving one dead and the other — 14-year-old Achraf — to take the head of his dead cousin back home as a warning to their community. Ali Hleli has drawn plaudits for his portrayal of Achraf. His casting was reportedly the result of a year-long audition process for the three main roles. The International Cinephile Society said the film was “a strong portrait of the horrors of regional violence and how children are often the collateral damage of this vicious cycle.” 

‘Snow White’ 

Director: Taghrid Abouelhassan 

Starring: Mariam Sherif, Karim Fahmy, Mohamed Mamdouh 

Iman’s search for true love is complicated by her size — she stands just 119 centimeters tall. Since an arranged marriage is off the table, Iman takes to the internet, where her outsize personality and sense of fun can shine. But offline, her condition is still a problem, even causing her sister’s marriage offer to fall through once the family meet Iman. Egyptian filmmaker Abouelhassan’s film has already picked up awards at the Cairo Film Festival. 


Saudi influencer Yara Alnamlah’s brand heads to Selfridges London 

Updated 28 November 2024
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Saudi influencer Yara Alnamlah’s brand heads to Selfridges London 

  • Moonglaze’s UK launch is ‘just the beginning,’ founder tells Arab News 

DUBAI: Moonglaze, the beauty brand founded by Saudi influencer Yara Alnamlah, is set to make history on Dec. 4 as the first Saudi beauty label to launch at Selfridges London.  

For Alnamlah, this is much more than just a business accomplishment; it’s a cultural moment, she told Arab News.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by @moonglaze

“For Moonglaze to be the first Saudi beauty brand at Selfridges is an exciting and proud moment,” she said. “This isn’t just a win for us as a brand; it’s a moment of recognition for the Saudi and Arab beauty community as a whole. It shows that we’re not only consumers of global beauty trends but also creators who bring something unique to the table.” 

Alnamlah emphasized that this launch will open doors for the brand beyond the Middle East.  

“London is a beauty and fashion capital,” she said. “This exposure will undoubtedly help us expand beyond the Middle East, connect with international beauty lovers, and establish Moonglaze as a brand that brings Middle Eastern beauty innovation to the global market.”  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by @moonglaze

The Selfridges debut will feature Moonglaze’s new blush range, designed to suit a variety of skin tones, Alnamlah said, adding that it represents the next step in Moonglaze’s evolution, complementing the brand’s existing highlighter sticks and multi-use brushes, which have already gained a loyal following.  

The creation of Moonglaze has been a deeply personal one, shaped by Alnamlah’s background as a makeup artist. “Our products are inspired by my belief in healthy, glowing skin as the foundation of any great makeup look,” she said. This belief led her to begin her brand with skincare products before expanding to blushes and highlighters. 

The use of ‘moon’ in the brand name is inspired by the fact that, in Arabic (qamar), it’s used as a description “someone who is perfectly luminous, just like the full moon,” according to Alnamlah.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by @moonglaze

“The idea of using makeup to highlight natural beauty rather than mask it is something that I wanted to reflect in every Moonglaze product,” Alnamlah added. “Growing up in Saudi Arabia, I’ve always been inspired by the cultural appreciation of beauty and the importance of glowing, radiant skin.”  

Reflecting on the challenges and lessons of building her brand, Alnamlah shared how staying true to her vision has been key. “I’ve learned that beauty isn’t just about the products, but about how they make people feel,” she said. 

Alnamlah has made a name for herself on the fashion circuit as a blogger, beauty influencer and makeup artist over the last few years. Besides her beauty brand, the architecture student is also an entrepreneur and has a coffee store called So Matcha in Riyadh.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by @moonglaze

In 2021, she was featured in French luxury fashion label Jean Paul Gaultier’s campaign as they celebrated Saudi Arabia’s 91st National Day — its first-ever launch dedicated to a Middle Eastern country. 

The Selfridges launch marks a pivotal moment for Moonglaze, but Alnamlah’s ambitions extend far beyond London.  

“The Selfridges launch is just the beginning,” she said. “We are excited to expand into more countries. As we grow, we’ll continue to innovate with new product launches and collections, like our blush range. 

“The ultimate goal is to create a brand that empowers people to embrace their natural beauty,” she said.  


Art under the stars: Noor Riyadh returns to dazzle Kingdom’s capital

Updated 28 November 2024
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Art under the stars: Noor Riyadh returns to dazzle Kingdom’s capital

  • Fleet of drones illuminates Saudi capital for Noor Riyadh
  • 18 Saudi, 43 international talents present light artworks themed ‘Light Years Apart’

RIYADH: The courtyards of the King Abdulaziz Historical Center in central Riyadh came alive on Tuesday evening with the launch of the Noor Riyadh Festival, attended by creatives from around the world.

London-based artist collective United Visual Artists transformed the night sky into a living canvas with a preview of their drone show “Aether.”

Featuring 1,500 drones, the seven-minute performance explored the silent harmony of the stars and planets.

Noor Riyadh Festival, a key initiative of the Riyadh Art, is being held under the theme “Light Years Apart” and will continue until Dec. 14.

This year, the festival will feature artworks by over 60 artists across three hubs: King Abdulaziz Historical Center, Wadi Hanifa, and Jax district.

Architect Khalid Al-Hazani, director of the Riyadh Art Program, said Noor Riyadh is designed to transform the city into an open-air art exhibition.

Festival director Nouf Al-Moneef told Arab News: “What’s great about these three is the connection between art, heritage, culture, nature — and also contemporary creativity in Jax.

“The most important thing in Noor Riyadh is accessibility for people. Noor Riyadh is under the umbrella of Riyadh Art, whose mission is to transform the city into a gallery without walls. Wherever you go and whatever locations or hubs that you go to, you find these spectacular art pieces.”

The festival aims to enhance the quality of life in the Kingdom’s capital and contribute to fostering creativity and presenting art to the community, he added.

It serves as a platform for artistic and cultural exchange in line with Riyadh Art’s objective to nurture local talent and boost the cultural economy of the capital.

In addition to 18 Saudi artists, 43 international artists are representing countries including Australia, France, Germany, Hungary, Italy, Japan, Montenegro, the Netherlands, Poland, Russia, Slovenia, South Korea, Spain, Turkiye, the UK, the UAE, and the US.

Speaking about the theme, Al-Moneef said that “Light Years Apart” is inspired by the connection between the Earth and the sky, praising the curatorial team who came up with the idea.

The festival invites citizens, residents, and visitors to explore the city and to celebrate the deep connection between heritage and creativity.

Mohammed Al-Bahri, an Omani journalist, said what caught his attention the most during the opening ceremony was the stunning harmony between the lights and music, which created a unique and immersive sensory experience for the viewers.

In recent years, the Kingdom has witnessed cultural and artistic development, which has contributed to enhancing its position on the global art scene, he added.

“I expect that interest in artistic creativity will continue to grow in the future, especially with the increasing government support for arts and culture, as well as the growing awareness of the importance of art in people’s lives,” Al-Bahri said.

“Art will thus become an integral part of the social fabric. Moreover, the younger generation is more open and has a deeper appreciation for the arts, signaling a bright future for artistic creativity in the Kingdom,” he said.

Munirah Abdulrazaq, a Bahraini beautician, said: “The Noor Riyadh Festival is a remarkable celebration of light and art, transforming Riyadh into a luminous canvas that bridges the gap between tradition and modernity.

“The fusion of creativity, technology, and heritage enhances the cultural landscape and positions Saudi Arabia as a burgeoning hub for contemporary and public art. By celebrating local and global artists, the festival fosters a deep appreciation for artistic expression and cultural dialogue, highlighting the Kingdom’s dedication to nurturing creativity and inspiring future generations.”


Diriyah Art Futures opens doors with tech-savvy exhibit

Updated 28 November 2024
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Diriyah Art Futures opens doors with tech-savvy exhibit

  • Exhibition features works by more than 30 international and regional artists exploring the history of computer art from the 1960s to the present day
  • Director of Diriyah Art Futures Haytham Nawar: The art hub is transforming Saudi Arabia into a global center of exchange and discourse in these emergent fields

RIYADH: Diriyah Art Futures, a new media arts hub in the region, has opened its doors with its inaugural exhibition, “Art Must Be Artificial: Perspectives of AI in the Visual Arts,” running until Feb. 15.

Curated by Jerome Neutres, former director at the Reunion des Musees Nationaux-Grand Palais in Paris, the exhibition features works by more than 30 international and regional artists exploring the history of computer art from the 1960s to the present day.

Haytham Nawar, director of Diriyah Art Futures, told Arab News that the art hub is “transforming Saudi Arabia into a global center of exchange and discourse in these emergent fields.”

The exhibit includes pieces by Saudi artists Lulwah Al-Homoud, Muhannad Shono and Nasser Al-Shemimry, showcasing Saudi Arabia’s burgeoning contributions to new media and digital art.

International artists include Frieder Nake (Germany), Vera Molnar (Hungary/France) alongside contemporary innovators like Refik Anadol (Turkiye) and Ryoji Ikeda (Japan).

“By placing works from different geographic regions, eras and mediums alongside one another, we aim to introduce the region to the immense power of new media art, while shining a light on its remarkable depth and potential,” said Nawar.

He added that the exhibition brings “a much-needed regional perspective to the conversation, allowing the works to be experienced, understood and perceived in new ways.”

Speaking about new media art explorations in the Saudi context, the hub director added: “Interestingly, with the word ‘algorithm’ originating from the Islamic world, the exhibition invites viewers to reflect on the relevance of these themes to Saudi Arabia, a country with a very young and technologically literate population, currently experiencing a dramatic transformation.”

Alongside its opening, the hub is also launching the Emerging New Media Artists Programme, developed in collaboration with Le Fresnoy — Studio National des Arts Contemporains in France.

The initiative will last one year, equipping emerging artists with advanced equipment, mentorship and funding to create innovative multidisciplinary works.

Nawar says Diriyah Art Futures selected a group of emerging artists from diverse backgrounds, hailing from across the world and representing a broad range of mediums.

“We wanted to work with artists whose work already stands out, but would benefit from a one-year program, under the mentorship of world-class artists.”

In addition, the hub has announced the Mazra’ah Media Art Residency, which will run from February to April next year. This three-month program invites established artists and scholars to engage with its resources to create works reflecting on the relationship between nature, technology and society.

Mona Khazindar, adviser to the Ministry of Culture, said that the hub is creating “a space for diverse perspectives and creative expressions to meet, converse and flourish — breaking down barriers and demonstrating the power of art to connect humanity.”

“DAF embodies Saudi Arabia’s commitment to facilitating cultural exchange and international collaboration, while creating opportunities for shared learning, innovation and mutual understanding,” Khazinder added. “Through our embrace of these principles, we aim to not only celebrate regional heritage, but also contribute to the global conversation about the role of culture in shaping a more connected and creative future.”

Developed by the Saudi Museums Commission in partnership with Diriyah Co., Diriyah Art Futures contributes to the global new media and digital art landscape by integrating regional voices and pioneering practices in art, technology and innovation.

The launch of Diriyah Art Futures aligns with Saudi Vision 2030’s commitment to advancing innovation, driving global collaboration and positioning the country as a leader in the global creative economy.