DOHA: One of revered Mexican artist Diego Rivera’s best-known paintings is now on display at the National Museum of Qatar. Titled “Baile en Tehuantepec” (“Dance in Tehuantepec”) and completed in 1920, it depicts a group of female Oaxacan dancers dressed in bright costumes poised to begin the Zandunga dance. The painting, like others by Riviera at the time, aimed to depict the social life of Mexico. With time, the work, exhibited a few years later at the Museum of Modern Art in New York, became one of the most expensive paintings in Latin American art.

Nearly a century after Riviera painted the work, it is on show in Doha in “LATINOAMERICANO,” a comprehensive exhibition running until July 19. Showcasing over 170 artworks, including paintings, sculptures, installation, video, photographs, films and archival documentation by over 100 artists from Argentina, Brazil, Chile, Colombia, Cuba, Paraguay, Mexico, Venezuela and Uruguay, the exhibition offers an in-depth look at Latin American art from 1900 to the present in what marks the first-ever show of its kind in West Asia and North Africa for the genre.

The exhibition, organized in partnership with Qatar Museums, is a pivotal aspect of the Qatar, Argentina and Chile 2025 Year of Culture. It presents modern and contemporary artworks from the collections of Museo de Arte Latinoamericano de Buenos Aires, Eduardo F. Costantini and Qatar Museums institutions like Mathaf: Arab Museum of Modern Art and the Future Art Mill Museum, among others.

Curated by Issa Al-Shirawi, a Qatari curator, researcher and head of international exhibitions at Qatar Museums, and Maria Amalia Garcia, curator in chief at Malba, the show ambitiously strives to capture the diverse art and culture of an entire continent.

“The exhibition promotes an exchange of knowledge through art, continuing Qatar Museums’ emphasis on showing art histories from underrated and underappreciated art histories,” Al-Shirawi told Arab News, underlining how Latin American artists have consistently challenged narratives, readapted local traditions and influenced artistic movements across the world.

There are several pieces Al-Shirawi notes that highlight the artistic exchange between the Middle East and Latin America.

One is by Uruguayan-born artist Gonzalo Fonseca who traveled to the Middle East during the 1950s where he visited archaeological sites that made a lasting impact on his sculptural work, highly conceptual with great references to architectural forms.

Another is a vibrant painting by Lebanese-born artist Bibi Zogbe, who emigrated to Buenos Aires, Argentina and became known throughout South America as “la pintura de flores” (“the flower painter”).

These works are displayed alongside those of both globally renowned artists from the continent, like Colombian artist Fernando Botero, Cuban painter Wilfredo Lam, Belkis Ayon, also from Cuba, known for her work on African influences in the Caribbean island, and Mexican artist Frida Kahlo, among many others.

The exhibition’s in-depth thematic sections provide a first taste for those new to Latin American art.

“At first, we thought we would organize the show chronologically, but then we realized that it was crucial to show the connections between traditional art and various modern and contemporary movements and what influenced these,” Al-Shirawi aid. “How does the traditional translate back into the contemporary? And how does the contemporary go back to the traditional?

A poignant multisensory installation that demonstrates this and that, in Al-Shirawi’s opinion, serves as one of the “anchor” works for the exhibition is by Chilean artist Cecilia Vicuna. Titled “Quipu desparecido” (“Disappeared Quipu,” 2018), it refers to the Andean civilization’s quipus — knotted strings made of colored and spun or plied wood or llama hair — used to record information. The practice was crucial to societal organization across the ancient Incan Empire but was decimated by the Spanish colonization. Vicuna’s artwork pays homage to these important threads to reactivate the memory of the quipus, which she refers to as a “poem in space, a way to remember, involving the body and the cosmos at once.”

NEW YORK: Rihanna shut down a rainy Met Gala on Monday in a pinstripe look and a huge hat, her newly announced baby bump on display after announcing her pregnancy with baby No. 3 earlier in the day.
Her Marc Jacobs look included tied sleeves of a men’s suit that served as a bustle behind her as she posed for the cameras, the last to walk the carpet as usual. Her hair hung long in a mermaid twist behind her.
Men’s suiting and tailoring was the evening’s theme. It came complete with a tuxedoed choir and lots of women rocking pinstripes and other men’s detailing. Emma Chamberlain, Zendaya, Teyana Taylor and many other women went with traditional men’s detailing.
Chamberlain and Zuri Hall were among those who wore sleek, sexy gowns that play on men’s suiting in pinstripes as they walked up the grand steps of the Metropolitan Museum of Art. Zendaya, a co-host last year, wore a perfectly tailored white trouser suit with a matching wide-brim hat from Louis Vuitton.
Janelle Monáe epitomized the night’s theme, the Black dandy, in exaggerated pinstripes by Thom Browne. Lauryn Hill honored menswear in a butter yellow suit with exaggerated tailoring that screamed Black power.
The menswear vibe for women was frequent and expected, “women wanting to maintain a traditionally feminine dress silhouette while still respecting the theme,” said William Dingle, director of style for blackmenswear.com, a cultural impact agency that focuses on uplifting Black men.
Alicia Keys and her husband, Swizz Beatz, leaned WAY in on the pinstripes in red. She rocked a head of bejeweled braids. He rocked a do-rag.
Doja Cat, always fearless when it comes to fashion, donned a Marc Jacobs bodysuit look with orange and black wildcat detailing and broad-shouldered pinstripes. Taylor went for a stunning Zoot Suit look with a red, feather-adorned top hat and a huge matching cape dripping with flowers and bling. She collaborated with famed costumer designer Ruth E. Carter.
The Zoot was popularized in Harlem in the 1940s.
Madonna, “no stranger to gender-bending fashion,” Dingle said, showed up in a monochrome taupe tuxedo clutching a cigar. It was Tom Ford by Haider Ackermann, the designer who took over when Ford stepped aside.
Kylie Jenner, in Ferragamo, mimicked men’s tailoring in a gray and black corseted look, while sister Kim Kardashian went embossed black leather dandy, vamping under a tall black hat. Her custom look was by Chrome Hearts. It was low slung and open at the hip with broad straps at the back.
Sister Kendall Jenner was in an elegant skirt and jacket, the most subdued of the three. The designer was the British-Nigerian-Brazilian designer Torishéju Dumi.
And then there were the bombshells ...
Megan Thee Stallion in Michael Kors and Dua Lipa in black Chanel included. Megan’s look had a high side slit and floral lace embellishment. Lipa was giving elevated flapper in feathers and an “S” curl style for her hair. And Miley Cyrus oozed womanhood in a custom cropped black crocodile jacket and long black taffeta skirt by Alaïa.
Diana Ross, meanwhile, swallowed the carpet in a huge white train, escorted by her son, Evan Ross.
Lizzo debuted blonde hair to go with her pink and black Christian Siriano gown with a plunge at the front. It was so tight at the legs she struggled to walk.
Cardi B, who always goes big at the Met Gala, stunned in a low-cut Burberry pantsuit. She showed off a new hairstyle and eye color, appearing to wear green contacts to match her ivy-colored look.
The standouts among the men
As for the men, co-host A$AP Rocky told The Associated Press that Anna Wintour suggested he wear a Black designer.
“So I wore myself,” the musician said of his custom suit designed by his creative agency, AWGE, complete with a black parka and diamond-crested umbrella. “Everything is designed by yours truly.”
Rocky, Rihanna’s partner and dad to their two kids, confirmed to reporters that baby No. 3 in on the way. He spoke about it after Rihanna was photographed walking in the rain with her baby bump out in a blue crop top and skirt.
“It feels amazing, you know,” Rocky said. “It’s time that we show the people what we was cooking up. And I’m glad everybody’s happy for us ‘cause we definitely happy, you know.”
He added: “Honestly, it’s a blessing nonetheless. Because you know how like some people in other situations at times can be envious of other people. But we’ve been seeing love for the most part. And we real receptive to that and appreciate that, you know what I mean? That’s love. Love is love.”
The dress code explained
What, exactly, was the suggested dress code of the night, “Tailored for You,” is inspired by Black dandyism. And what, exactly, is the Met Gala for? To raise money for the Met’s Costume Institute. The gala raised a record $31 million before it began.
Marie Claire, editor in chief of Marie Claire, noted a few trends done well.
“Top trends from the night: Black and white (Zoe Saldaña, Whoopi Goldberg, Gabrielle Union), pinstripes (Alicia Keys and Swizz Beats), suiting (Lupita Nyong’o, Ego Nwodim), hats (Lupita Nyong’o, Whoopi Goldberg and Teyana Taylor).”
More on the men
Colman Domingo, one of the evening’s hosts, wore a pleated, gold adorned cape over a gray and black suit, his jacket a pearled windowpane design with a huge dotted black flower. His look, including his cape and a dotted black scarf at his neck, evoked the late André Leon Talley, the fashion icon who made history as a rare Black editor at Vogue.
Domingo, in Valentino, arrived with Vogue’s Wintour, dressed in a pastel blue coat over a shimmery white gown by Louis Vuitton, a gala sponsor. Fellow co-chair Lewis Hamilton donned a jaunty ivory tuxedo with a cropped jacket, a matching beret and cowrie shell embellishment.
Hamilton’s look carried deep meaning.
“The color of ivory denotes purity and status; cowries pass from hand to hand, the regal sash turns shamanic,” he wrote on Instagram.
Claire Stern, Elle digital director added: “Known for championing Black designers, the F1 star once again used his platform to celebrate heritage and creativity on one of fashion’s biggest stages.”
Domingo has epitomized contemporary dandyism in a variety of looks over the years.
Pharrell Williams, another co-host, was demure in a double-breasted, beaded evening jacket and dark trousers. He kept his dark shades on while posing for the cameras. Williams walked with his wife, Helen Lasichanh, in a black bodysuit and matching jacket.
Williams, the Louis Vuitton menswear creative director, said his 15,000 pearls were arranged in a pinstripe design and the jacket took 400 hours to construct.
Walton Goggins, a guest this year with others from “The White Lotus,” wore a deconstructed suit look with seams out and a pleated skirt he twirled for the cameras.
LeBron James, the NBA superstar, was named honorary chair of the evening but bowed out at the last minute due to a knee injury.
Other Met Gala looks that stood out
Monica L. Miller, whose book inspired the evening, wore a bejeweled cropped cape over a dress adorned with cowrie shells by Grace Wales Bonner. It’s a direct connection to a piece in the gala’s companion Metropolitan Museum of Art spring exhibit that Miller guest curated.
What other women killed the menswear game? Coco Jones in an ivory tuxedo coat with a train over matching trousers, both covered in chunky embellishment.
“Coco Jones absolutely leaned in,” Dingle said. “I love the pearl and gem embellishments here, as well as the long coat, and even the necklace. Because she’s taller, the long coat even further elongates her legs. This is a fantastic look.”
Her look was by Indian designer Manish Malhotra. She said she wanted to honor Black excellence by going all out.
Gigi Hadid, on the other hand, went all woman. She pulled up the spirit of Josephine Baker in a shimmery velvet gold halter gown by Miu Miu that hugged her hips, hip hugging being a big trend of the night for the women.
Bad Bunny, ever a fashion rebel, wore a custom black Prada suit. The best detail: his woven hat, which appeared to be a reference to the pava, a straw hat associated with the Puerto Rican jíbaro.