Iraqi artists pay tribute to dead protesters with sculptures

A sculpture of a protester is on show at Tahrir Square, Baghdad. (AP)
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Updated 30 December 2019
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Iraqi artists pay tribute to dead protesters with sculptures

  • Tahrir Square has emerged as a focal point of the protests, with protesters camped out in tents

BAGHDAD: The sculptures carved by seven art trainees were lined up outside a makeshift workshop in Baghdad’s Tahrir Square. With them were posters depicting protesters who have been killed in anti-government demonstrations in the past three months.
One sculpture showed a protester with a tear gas canister in his eye. Another showed a volunteer tuk tuk driver next to his three-wheeled vehicle who was killed while evacuating wounded protesters during clashes. A third illustrated a protester’s hand flashing the victory sign and colored by the Iraqi flag.
For Iraqi artist Mahdi Qarnous, 53, the exhibition that was recently inaugurated in Baghdad’s central Tahrir Square — the epicenter of Iraq’s anti-government protest movement — is a personal contribution to the movement. It is aimed at immortalizing fellow protesters killed and kidnapped during the demonstrations that have engulfed Iraq since Oct. 1. It is also a way, he says, to allow young, talented Iraqis to channel their talents away from violence.
Iraq has been roiled by protests that have left at least 490 people dead, the vast majority of them demonstrators killed by security forces firing tear gas and live ammunition. The mass uprisings prompted the resignation of former Prime Minister Adel Abdul Mahdi late
last month.
Qarnous said he recruited seven uneducated and unemployed young protesters from Tahrir Square, put them through an intensive six-week course that he personally funded and after three weeks they were able to start their own art projects.

We see this activity as part of the ongoing protests and a memorial monument for our martyrs and our abducted fellow protesters.

Mahdi Qarnous, Iraqi artist

“We see this activity as part of the ongoing protests and a memorial monument for our martyrs and our abducted fellow protesters,” he said.
Tahrir Square has emerged as a focal point of the protests, with protesters camped out in tents. Dozens of people took part in the simple opening of the sculpture exhibition on a recent day. None of the art trainees who were presenting their work attended the event, however, and their names were withheld due to security concerns.
“The current regime produced a generation that is poor in producing and cherishing arts. ... You see here in this exhibition that our people have potential but lack the path,” said Qarnous.
Murtada Muthanna, 23, an artist and activist, said the exhibition is a message to the world.
“It says we are a people with inspirations for life not death. Our revolution is peaceful and we are seeking reform not destruction,” he said.


Saudi artist Lulua Alyahya discusses the works from her current solo show ‘Nafs’ 

Updated 14 March 2025
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Saudi artist Lulua Alyahya discusses the works from her current solo show ‘Nafs’ 

  • ‘I hope people see themselves in my work,’ says Lulua Alyahya 

JEDDAH: Saudi artist Lulua Alyahya’s “Nafs,” running at Jeddah’s Athr Gallery until March 25, is her first solo show in her homeland.  

“The title means ‘self,’” Alyahya tells Arab News. “I thought that would be suitable for my first Saudi solo. I’ve exhibited loads in the UK, but the work takes on a completely different meaning when it’s home. The work is very much about the Gulf in general, but specifically Saudi in a lot of ways.” 

The 26-year-old is a graduate of the Slade School of Fine Art and Goldsmiths, University of London. Her work blends personal and collective narratives to explore identity through introspective, minimalist paintings.   

Alyahya’s process is intuitive. Her latest works, primed with black gesso, embrace darker tones and undefined backgrounds. Here, she talks us through five pieces from her current show — something she says she doesn’t find that easy.  

“It’s kind of hard to speak about my work because what I hope is that people see it and see themselves in it. That’s kind of the story behind the title too. I wanted a word that people could literally see themselves in and for that to be the underscore behind all the images.” 

‘Jubbah Petroglyphs’ 

I made this painting in 2023. At the time, I was really fascinated by pre-Islamic petroglyphs in various parts of Saudi Arabia. This one is from Jubbah, near Hail. My family is originally from Hail and when Saudi started to take all these incredible initiatives of uncovering our pre-Islamic history and integrating those stories into our national identity, I just got super interested in looking through, like, Aramco’s archaeology archives and all these different things. I spoke to friends and family about their experiences of these places. I really wanted to make a painting of this specific rock where there are these repeated carvings of camels; I’m interested in camels as a symbol as well, because they’re obviously visually linked to this part of the world. If you go to a tourist shop in the Gulf, you get camel keychains and stuff. I don’t know if ‘kitsch’ is the right word — probably not — but it’s just feels very obvious; it’s very on the nose. And I’m interested in taking symbols that feel on the nose and making them mysterious or playing with the effect of that imagery. I pull from different things all the time; there’s never just one thing that I’m looking at, it’s more that I’m living, reading, speaking and then the paintings come out. There’s a painting I have at Hayy Jameel called “Boardroom” which has these men sitting at a meeting table and looking at a wall which has one of these petroglyph camels on it. Sometimes, there are references to other paintings — little callbacks. There are a lot of inside jokes. Humor is such a big part of the work. 

‘Smoke Break’  

The titles always come after the paintings, and I often leave things untitled — but this one kind of lends itself to the title because the guy’s having a coffee and smoking a cigarette. This is just a painting about rest, but there’s a lot of energy in the way that I’ve painted it; it’s very gestural and there are lots of these marks and splotches of paint.  

‘Magic Chocolate Ball’  

These girls are very funny. Like I said, humor is a big part of my work and this is a piece where I had fun and it was fun to show people. It’s based on a memory of a dessert that I think is so familiar to people living in the Gulf; you order this chocolate ball and the waiter comes over and pours hot melted chocolate on it and the ball melts and reveals something inside of it. I’ve seen it so many times and it just came to mind as I was painting, super-impulsively. What I’m interested in is how people see themselves, or others, in the imagery — or how they don’t. It’s a satirical approach to what’s happening in society. Satire is super-important, but it’s never just one thing or the other — it’s always a combination of various different tones and positions that I’m taking. Like, this is funny to me and I’m choosing to show it, but obviously there’s an emotional connection happening as I’m painting it. 

‘Untitled (2024)’  

It’s this guy on his phone sitting near a pool. He’s a solitary figure. Then there’s two horses and two palm trees. This took me quite a few months to paint. Sometimes I’ll have an idea and paint it and it doesn’t work out at all. That happens a lot more than you’d think. So, I’ll cover something over, then add something new and then cover that thing and then add something new, just waiting for this moment where the elements carry some kind of poetic logic that I trust will translate to the viewer. It’s always hard to articulate — but very easy to know — when it hits that point. 

‘Guard Dog’ 

I love dogs. I paint them a lot. This one is a German Shepherd, which is a guard dog. It’s based on a sketch — it’s very similar to a lot of other works I made. Sometimes, I get stuck on something and it repeats itself across multiple works and other times it’s a one-off thing. I prefer not to try and control it and just let things direct me. 


Artist Aseel Al-Yaagoub: ‘My goal is to preserve Saudi culture’ 

Updated 13 March 2025
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Artist Aseel Al-Yaagoub: ‘My goal is to preserve Saudi culture’ 

  • The Saudi artist on spreading joy with her distinctive painting style 

JEDDAH: “My work reflects moments from daily life, Saudi and Gulf heritage, and cultural elements in a distinctive and creative way, where I recreate and reimagine traditional symbols and motifs with a contemporary vision, creating a fusion of past and present in an innovative manner,” Saudi artist Aseel Al-Yaagoub tells Arab News. “I see my environment as a rich visual narrative, and I love translating these stories into artworks.” 

Drawing and painting have been an important part of Al-Yaagoub’s life for as long as she can remember. Over time, she has shifted from focusing on realism to taking a more abstract, expressionistic approach.  

She admires Saudi artists including Taghreed Al-Baghshi, Zainab Al-Mahouzi, Marwa Al-Najjar, and Bayan Yassin, who depict heritage in their work. Internationally, she says she has been influenced by Claude Monet’s technique and the way he captures light and movement, as well as Vincent van Gogh’s vibrant colors and bold, expressive strokes. 

"My goal is to preserve and document Saudi culture,” the artist said of her work. (Supplied)

“I constantly seek inspiration by exploring the works of other artists, whether through social media or by visiting art exhibitions,” she says. “I create initial sketches for my ideas and experiment with colors and materials. I don’t like to plan everything in detail, I leave room for spontaneity, allowing unexpected elements to emerge, which gives each artwork a unique, distinctive character. 

“My goal is to preserve and document Saudi culture,” she continues. “I often use mixed-media techniques, layering different materials and colors to create depth and unique textures. Constant experimentation and practice have helped me refine my approach.” 

Her fascination with facial features, particularly noses, plays a significant role in her artistic expression, she says. “The most distinctive feature of my characters is their noses, as that is the first thing that catches my attention in any face I see. I believe noses, in their various shapes, are unique and beautiful, which is why I enjoy highlighting them in my portraits.” 

Al-Yaagoub’s work is deeply personal, often incorporating elements that hold sentimental value. One of her most cherished pieces, “The Family,” portrays her parents and symbolizes warmth and care. “I wanted them to have a personal touch in this piece, my mother stitched part of it, and I incorporated a scrap of fabric from my father’s shemagh. This made the artwork deeply sentimental and emotionally significant.” 

Another of her major projects is “A Night of Joy,” a series of six paintings capturing celebrations in the Eastern Region. “This project is very dear to me as it reflects my childhood memories, which continues to resonate with me to this day,” she says. 

Al-Yaagoub is excited about the transformation happening in Saudi Arabia’s art scene. “There is now more space for experimentation and showcasing new ideas, enhancing artistic diversity and attracting wider audiences to the field,” she says. “Art has become a bridge between the past and the future, ensuring that our cultural identity remains vibrant and ever-evolving.” 

Looking ahead, Al-Yaagoub hopes to expand her reach and participate in international exhibitions. “One of my biggest goals is to host my first solo exhibition soon, where I can showcase my artistic journey and how my style has evolved over time. 

“I want the audience to feel an emotional connection to my work, whether by recalling personal memories or appreciating the beauty of heritage and culture,” she continues. “I aim for my art to have a narrative depth that tells stories about culture and identity. And I strive to spread joy through the vibrant colors I incorporate into all my pieces.” 


Saudi Arabia highlights Arabic initiatives at London Book Fair

Updated 12 March 2025
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Saudi Arabia highlights Arabic initiatives at London Book Fair

  • Academy’s secretary-general, Abdullah Al-Washmi, said that the London Book Fair was a crucial global cultural platform for fostering academic and cultural cooperation
  • Al-Washmi added that the academy’s strategy was to expand the reach of Arabic, provide valuable content for specialists, and solidify the language’s international presence

RIYADH: Initiatives by the King Salman Global Academy for Arabic Language are being highlighted at this year’s London Book Fair, being held from March 11-13, the Saudi Press Agency reported.

Under the umbrella of the Saudi pavilion, overseen by the Literature, Publishing and Translation Commission, the academy aims to strengthen the global presence of the Arabic language.

The academy’s secretary-general, Abdullah Al-Washmi, said the London Book Fair was a crucial global cultural platform for fostering academic and cultural cooperation.

He added the academy’s strategy was to expand the reach of Arabic, provide valuable content for specialists, and solidify the language’s international presence.

The academy's exhibit features recent publications and introduces initiatives in language planning, linguistic computing, education and cultural programs, the SPA reported.

It seeks to build partnerships that support the development of the Arabic language and enhance its presence on global academic and cultural platforms.

The Kingdom’s pavilion seeks to strengthen the international presence of Saudi publishers and empower local publishing houses.

Its participation aims to enhance cultural relations and facilitate knowledge exchange between Saudi Arabia and the UK.


Ramadan recipes: Braised lamb shoulder for a decadent treat

Updated 12 March 2025
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Ramadan recipes: Braised lamb shoulder for a decadent treat

DUBAI: Executive chef Joey Brereton of Dubai’s Dish Catering & Events shares his flavorful braised lamb shoulder recipe.

Slow cooked to perfection, this dish balances rich, tender lamb with vibrant herbs, pomegranate, and pine nuts, making it an ideal centerpiece for a hearty meal. 

Lamb marination 

Ingredients: 

 20g garlic 

75ml lemon juice 

200 g shallot 

Extra virgin olive oil 

20g salt 

10g pepper 

80g coriander powder 

40g turmeric powder 

20g garlic powder 

20g all spice powder 

80g paprika powder 

15g ginger 

Blitz garlic, ginger, and shallot with some olive oil to get a paste.

Add to the rest of the ingredients.

Pulled lamb shoulder

Ingredients:

3000 g lamb shoulder 

900 g marination 

500g carrot 

300g celery 

600g onion 

100g garlic 

20g rosemary 

20g thyme 

5g bay leaves 

5g pepper corn 

500g tomato paste

1200g broth 

3000g water

Method:

 1. Marinate the lamb overnight then place into 1/1 deep food pan tray and add all ingredients.

3. Place parchment paper on top and cover the tray with aluminum foil.

4. Bake the lamb at 160°C for around 5 hours.

5. Once the lamb is cooked, remove it from the stock and strain the stock.

6. Reduce the stock and save.

7. Pull the meat apart.

Verde

Ingredients: 

300g coriander leaves 

100g mint leaves 

200g parsley 

30g lemon juice 

30g olive oil 

30g shallot 

30g tomato 

10g pomegranate molasses 

5g salt 

Method: 

1. Wash and chop the vegetables before mixing all ingredients with a silicone spatula.

Final plating:

1. Place hummus in a serving bowl, using the backside of a spoon to create a well.

2. Reheat the lamb jus, and once hot, add cold butter and emulsify the jus.

3. Place the reheated lamb in the center of the hummus and pour the jus over it.

4. Place the verde on top.

5. Sprinkle pomegranate, pine nuts, shallots, and lemon over the dish.


Iraqi artist Afifa Aleiby unveils new painting of historical women from Islamic civilization

Updated 08 March 2025
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Iraqi artist Afifa Aleiby unveils new painting of historical women from Islamic civilization

SHARJAH: What do Wallada Al-Mustakfi, Rufaida Al-Aslamia, Dayfa Khatun, and Aminatu have in common? They are all distinguished women in Islamic history that you more than likely have never heard of before. That is about to change thanks to a new painting by the acclaimed Iraqi artist Afifa Aleiby, whose colorful “A Wonderful World,” pays tribute to 16 noteworthy Muslim women whose names have faded away over time.

Commissioned by the Barjeel Art Foundation in Sharjah, the painting will be on public display at the House of Wisdom in Sharjah until the end of Ramadan and will later be transferred to the Sharjah Museum of Islamic Civilization.

Aleiby’s work is a companion piece to a 1988 painting titled “Islamic Scientists,” by the late Syrian artist Mahmoud Hammad and currently in the collection of Barjeel Art Foundation.

The Legacy of Muslim Scientists, House of Wisdom, Sharjah. (Supplied)

In his composition, Hammad highlighted 16 influential male scholars and physicians, including Ibn Sina and Ibn Rushd. “Exhibited together for the first time, these artworks stand as a powerful reminder of the transformative impact of these intellectuals, both men and women, on the history of Islamic civilization," reads a wall text. The recent unveiling event opened with a panel talk, where Aleiby and Hammad’s daughter, Lubna Hammad, discussed the displayed artworks.

Aleiby noted some of the difficulties in taking on this open-call commission, including a lack of resources, literary and visual. “Some of these women have only two or three lines written about their history and role,” she said.

In her detailed piece, dotted with symbolic elements (such as the proud peacock and a library of books) and set against a serene landscape, Aleiby depicted notable women of medicine, astronomy, poetry, science, education and military leadership who lived between the 7th and 17th centuries in Africa, Andalusia, India, and the Arab world.

One of these figures is Razia Sultana, who was born in the 13th century and went on to become the first and only female ruler of the Delhi Sultanate in India. From the 11th century, there is also a depiction of Safiyya bint Abdullah Al-Riyy, who was a skilled calligrapher and poet in Andalusia. Another Andalusian woman of poetry is the rebellious and liberal Wallada Al-Mustakfi, who formed a literary salon that was a meeting point for male and female voices.