British Museum exhibition to highlight major Mesopotamian discoveries by Iraqi archaeologists
Curator said the discoveries were “absolutely ten-out-of-ten and beyond
Updated 31 January 2020
Arab News
LONDON: Discoveries made by a team of Iraqi archaeologists are to be the focus of a British Museum exhibition this year, along with dozens of other artefacts removed from the country in the late 19th and early 20th centuries.
The British Museum’s collection of items from Iraq has for decades been understood without context, having been taken from the country in the late 19th and early 20th centuries, but has been given new life following the work of the Iraqi archaeologists.
One of the objects, a small dolerite statue dating to around 2130 BC, was purchased by the museum in the 1930s and depicts a king called Gudea, ruler of the ancient city of Girsu, which is now inhabited by the city of Tello in the south of the country.
The statue shows Gudea in a position of prayer, the museum’s ancient Mesopotamia curator Sebastien Rey told the UK’s Guardian newspaper. He explained that while experts had deduced from sources that Gudea constructed a temple in the city, it had never been found.
Thanks to the work of the local Iraqi trainee archaeological team, led by Rey, who revisited the site decades after it was originally dug, it has now been found.
The team, working on the Iraq emergency heritage scheme started by the museum in 2015, found the location of the 4,000-year-old building as well as a bakery connected to it where bread would have been baked in large quantities as offerings to the gods.
Rey said the discoveries were “absolutely ten-out-of-ten and beyond,” especially given they came at a time when many of Iraq’s important historical and cultural sites had been under severe threat of destruction by Daesh militants.
The law in Iraq forbids archaeological discoveries to be removed from the country, but visitors will be able to see the items and finds in an exhibition called “Ancient Iraq: New Discoveries” through photographs, videos and reconstructions alongside the museum’s current collection.
It will run at the Great North Museum in Newcastle and University of Nottingham Museum from March to December.
Review: Toronto Arab Film Festival screens searing ‘Arze’
Updated 24 June 2025
Celine Hijazi
DUBAI: The Toronto Arab Film Festival, running from June 20- 29, screened the scathing yet poignant Lebanese film “Arze,” directed by Mira Shabib.
The ambitious “Arze” — which means "cedar" in Arabic — follows the story of Arze, a single mother supporting her teenage son and love-struck sister through a homemade pie delivery business. In an effort to improve their lives, she steals and sells her sister’s jewelry to buy a scooter for her son to use for deliveries. But when the scooter is stolen, mother and son embark on a frantic journey across Beirut to recover it.
On the surface, “Arze” tells a story that resonates deeply with many Lebanese families caught in financial limbo. It explores the emotional toll of such hardship, with questions arising as to whether one should leave the country or give up remnants of a once-comfortable life to survive Lebanon’s shifting socio-economic landscape.
Beneath the family drama lies sharp satire. Even the film’s title that references the cedar tree, a national symbol of Lebanese identity, carries layered meaning. Like the character herself, that identity appears fragmented, constantly lost amid the country’s sectarian divides. This is where the film truly shines: Arze, portrayed with emotional depth by Diamand Abou Abboud, dons various religious symbols and disguises to navigate Beirut’s fractured neighborhoods.
Shabib excels in exposing the farce of sectarianism, insinuating that Lebanon’s religious divisions are not deeply rooted but socially constructed and performative. Arze’s ability to blend into different communities simply by changing her appearance highlights how fragile and superficial these boundaries truly are.
In this sense, the film excels in its portrayal of a fourth main character: Beirut itself. Through Shabib’s lens, we are taken on a tour of a city so diverse it borders on overwhelming. Yet this diversity, rather than being a source of division, becomes a stage for a pointed critique, one that targets society’s fixation on appearances and its preference for the performative over lived reality.
RIYADH: The Michelin Guide is set to launch in Saudi Arabia, marking a major milestone in the Kingdom’s evolving culinary landscape.
Organized in partnership with the Culinary Arts Commission, a subsidiary of Saudi Arabia’s Ministry of Culture, the “new selection will focus on the bustling cities of Riyadh and Jeddah, while also beginning to explore the diverse regions of the Kingdom, including Khobar, AlUla, and many more,” according to the Michelin Guide.
Gwendal Poullennec is the international director of the Michelin Guide. (AN/ Huda Bashatah)
Gwendal Poullennec, international director of the Michelin Guide, spoke to Arab News in Riyadh on Tuesday and explained that the ultimate aim is to “(explore), gradually, the regions to unearth all the culinary gems and to make sure that we are letting no stone go unturned.
“I think you have the heritage, you have the dynamism, you have young talents,” he added of the Kingdom.
According to the organization, Michelin inspectors “are already in the field.” The selection will be made according to the Michelin Guide’s criteria: “The quality of the ingredients, the mastery of cooking techniques, the harmony of flavors, the personality of the cuisine and the consistency both over time and through the menu as a whole,” according to a released statement.
Poullennec spoke to Arab News in Riyadh on Tuesday and explained that the ultimate aim is to “(explore), gradually, the regions to unearth all the culinary gems and to make sure that we are letting no stone go unturned. (AN/ Huda Bashatah)
One Michelin star is awarded to restaurants for “high-quality cooking that is worth a stop,” two stars for “excellent cooking that is worth a detour,” and three stars for “exceptional cuisine that is worth a special journey.”
Alongside the coveted star ratings, the selection also includes the popular Bib Gourmand category, a distinction awarded to restaurants that provide good quality food at a moderate price.
Aside from impacting the country’s F&B scene, Poullennec also touched on the Michelin Guide’s effect on the local economy.
Mayada Badr is the CEO of the Saudi Culinary Arts Commission. (AN/ Huda Bashatah)
“I have to say that, beyond the selection, beyond the stars, there are also a lot of ripple effects throughout the food chain. For example, impacting the products and the farmers (who) will find a demand for local high-quality products in a region,” he said.
The restaurant selection for the inaugural edition will be unveiled toward the end of 2025.
The guide currently operates in Dubai, Abu Dhabi and Qatar.
The guide is organized in partnership with the Culinary Arts Commission, a subsidiary of Saudi Arabia’s Ministry of Culture. (AN/ Huda Bashatah)
The prestigious French guide began as a handy guidebook for Michelin tire customers in France in 1900. It was the brainchild of the Michelin brothers, who sought to “provide motorists traveling through France with all the useful information to supply their automobile, to fix it, where to sleep and eat, and which means exist to communicate, by mail, telegraph or telephone,” according to Christie’s auction house, which put a set of guides under the hammer in 2016.
The first edition saw almost 35,000 copies printed and contained useful information for motorists, including a list of hotels, groceries, bakeries, hardware stores and instructions on how to fix and change tires.
In 1931, ratings featured the current system of three stars for the first time, with the definitions becoming clear and definitive in 1933.
Although production of the guide was suspended during both world wars, the 1939 edition of the guide was reprinted by the US military in 1943, just before the June 6 invasion of Normandy the following year, as it was deemed the most up-to-date map available to the armed forces.
The push eastward is relatively recent, as until 2006, Michelin’s country guides only covered Europe.
Co-founder of digital platform The Open Crate shares Art Basel top picks
Updated 21 June 2025
Arab News
BASEL: Tunisian art expert Amina Debbiche, who co-founded digital art platform The Open Crate alongside Nora Mansour, shares her top artworks from Switzerland’s Art Basel contemporary art fair, which wraps up on Sunday.
Amina Debbiche. (Supplied)
The Open Crate allows clients to digitalize their entire collection, whether it be artwork, design objects or luxury items.
Yto Barrada at Sfeir-Semler Gallery
“I first discovered Yto Barrada’s work at the Arsenale during the 2011 Venice Biennale and was instantly captivated by her poetic and political approach. Since then, I’ve followed her brilliant trajectory across film, photography, textiles, and installation. Born in Paris and raised in Tangier, her practice explores themes of memory, displacement, and resistance. We’ve now come full circle - she will represent France at the upcoming Venice Biennale, curated by Myriam Ben Salah.”
Yto Barrada’s work at Art Basel. (Supplied)
Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited
Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited. (Supplied)
“Alia Farid’s ‘Elsewhere’ deeply moved me with its layered storytelling and political tenderness. The work maps Arab and South Asian migration to Latin America and the Caribbean through handwoven rugs made with Iraqi weavers. It documents hybrid identities, memory, and solidarity across geographies. I’ve long admired how Alia reclaims overlooked narratives with such poetic clarity. Her voice feels both urgent and timeless.”
Eunnam Hong’s ‘Safeway’ at Mendes Wood DM booth
“Eunnam Hong’s painting … stopped me in my tracks — cinematic, hyper-stylized, and effortlessly cool. With nods to Cindy Sherman and K-drama aesthetics, the Korean artist explores identity and performance through staged, uncanny tableaus. Her figures- drenched in soft light, wrapped in curlers and headscarves, clutching vitamin D and Safeway bags - feel both retro and unmistakably now. It’s suburban surrealism meets generational moodboard, complete with Converse and quiet rebellion. Hong is one of the most compelling contemporary voices out there - sharp, relatable, and iconic in the making.
Eunnam Hong’s ‘Safeway’ at Mendes Wood DM booth. (Supplied)
Simone Fattal’s ‘Music On My Mind’ (2024)
“Simone Fattal is a Syrian Lebanese artist whose sculptural practice draws from archaeology, poetry, and mythology to explore themes of memory, exile, and resilience. Born in Damascus and raised in Beirut, she has created only a few large-scale sculptures, making each one rare and significant. Her works are held in major collections including MoMA, Centre Pompidou, and the Sharjah Art Foundation … I was drawn to “Music On My Mind” for its quiet power — the naive, totemic form and subtle reference to sound felt deeply poetic.”
Simone Fattal’s ‘Music On My Mind’ (2024). (Supplied)
M'barek Bouhchichi’s ‘Terr
M'barek Bouhchichi’s ‘Terra’ series (2024)
Noah Davis’s ‘The Goat from Grayson’ (2008) at David Zwirner
“I love this work for its quiet intensity and material poetry and Selma Feriani, who presents it, is one of the few truly independent voices from the region to make it to Art Basel with a consistently bold program. M’barek Bouhchichi, born in southeastern Morocco, lives and works in Tahanaout, Morocco. The artist collaborates with women artisans to create henna-dyed wool works that evoke both landscape and memory. His ‘Terra’ series explores cultural links between Morocco and Mali through ancestral weaving techniques. These minimal, earthy compositions blur the line between textile and painting. A major solo show in Tunis is coming this September.”
Noah Davis’s ‘The Goat from Grayson’ (2008) at David Zwirner
“I’ve always been drawn to Noah Davis’s ability to create scenes that feel both dreamlike and grounded in Black lived experience. “The Goat from Grayson” (2008), shown here at David Zwirner, captures his signature blend of poetic realism, rich symbolism and painterly tenderness. The glowing tree, the quiet tension, and the spiritual undertone pull you in. Davis, who passed away tragically young at 32, was not only a brilliant painter but also the founder of The Underground Museum in Los Angeles, a vital space for Black art and community. His work was the subject of a major retrospective at the Hammer Museum in 2020, cementing his legacy as one of the most influential artists of his generation.”
Eric Fischl’s ‘After the Funeral’ (2017)
“Eric Fischl’s paintings often feel like paused movie scenes, loaded with tension, memory, and unspoken drama. I was instantly drawn to these two women, something about the cigarette, the ice cube, the gaze, it felt like I’d stumbled into a Woody Allen film mid-conversation. Fischl captures that strange mix of intimacy and detachment with uncanny precision. A key figure of American figurative painting since the 1980s, his work explores suburban psychology and social dynamics. He is represented by Skarstedt, a gallery known for championing major contemporary artists like David Salle, Cindy Sherman, and George Condo.”
Eric Fischl’s ‘After the Funeral’ (2017)
Sheila Hicks’s ‘Lianes Etoiles’ (2020)
“Sheila Hicks’s ‘Lianes Etoiles’ is pure visual rhythm. Its vibrant threads, soft textures, and sculptural layering instantly drew me in. There is something meditative and sensual about the way the colors pulse across the surface. Hicks, a pioneer of textile art, has redefined fiber as a sculptural and painterly medium for over six decades. This piece feels both contemporary and ancestral, like a coded language of color and craft. It is shown by Alison Jacques, a gallery that consistently champions strong, visionary practices.”
Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii glass amphora (#06)’ (2023) at the booth of Lia Rumma
“Wael Shawky’s amphora sculptures are a masterclass in historical layering and contemporary wit. Representing the Egyptian Pavilion at the last Venice Biennale, his work was among the most celebrated and nearly won the Golden Lion. The video “Drama 1882” retelling of the ’Urabi revolution that was co‑funded through support from Mai Eldib, who organised key patronage, was later acquired by a major institution in the Middle East. These Murano glass forms, draped in ornate textiles, are as subtle as they are rich in reference. Shawky continues to expand the visual language of Arab myth, ritual, and storytelling with quiet force.”
Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii glass amphora (#06)’ (2023) at the booth of Lia Rumma
Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery’s booth
“This striking portrait by Amoako Boafo was exhibited at the Gagosian booth, where the brilliant Rola Wazni, director of Gagosian Paris, walked me through a presentation curated by Francesco Bonami. Boafo, originally from Ghana and based in Vienna, is known for his lush finger-painted figures and bold exploration of Black identity and presence. His textured brushwork and floral detailing here are both tender and defiant. The composition radiates quiet power, dignity, and individuality. Rolla’s sharp eye and grace made the experience even more memorable.”
Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery’s booth
Maurizio Cattelan and Rudofl Stingel at Gagosian Gallery’s booth
“Gagosian’s booth at Art Basel 2025, curated by Francesco Bonami, offered a brilliantly irreverent pairing of Maurizio Cattelan’s ‘No’ (2021) and Rudolf Stingel’s ‘Untitled’ (2012). Cattelan’s kneeling figure in a suit, head covered by a paper bag, delivers a biting satire of modern-day capitalism and mental health collapse — a man caught between denial and trauma, refusing to face symbolic castration or mortality. Stingel’s silvery abstraction provided a haunting, meditative counterpoint, echoing themes of absence and ego. Together, the works reflected on visibility, repression, and the absurd rituals of the art world. The result was a sharp, minimalist statement that lingered long after.”
Saudi Arabia’s Prince Faisal bin Salman joins King Charles at Royal Ascot opening
Updated 18 June 2025
Arab News
DUBAI: Saudi Arabia’s Prince Faisal bin Salman bin Abdulaziz Al-Saud joined the UK’s King Charles III and Queen Camilla at Royal Ascot, one of the most prestigious equestrian racing events in the world.
Video of carriage 1 in the Carriage Procession at Day 1 of 2025 Royal Ascot
King Charles & Queen Camilla
Prince Faisal bin Salman Al Saud
(Horse Race Owner)
Prince Faisal appeared alongside the British royals in the lead royal carriage that opened the official procession at the racecourse, just south of Windsor in the UK.
Lady Sarah Keswick also joined the lead carriage alongside Prince Faisal, King Charles III and Queen Camilla. A close friend of the queen, she is a key member of the Queen’s Companions.
Following the royal procession, Prince Faisal joined the royal enclosure to watch the first day of races. (Getty Images)
Following the royal procession, Prince Faisal, a grandson of King Abdulaziz and son of King Salman, joined members of the British royal family, including Princess Beatrice and Zara Tindall, in the royal enclosure to watch the first day of races.
Royal Ascot remains a major fixture on the British social calendar, drawing global political and royal elites.
Arab royalty has played an increasingly visible role at the event in recent years. In 2024, Prince Salman bin Hamad Al-Khalifa of Bahrain — the crown prince and prime minister — attended the event as a guest of honor, representing Bahrain’s royal family.
Meanwhile, Sheikh Tamim bin Hamad Al-Thani, Emir of Qatar, has become a prominent figure in the racing world through his Wathnan Racing team.
The organization has achieved notable success at Royal Ascot, including a win in the 2023 Gold Cup.
Queen Camilla, King Charles III and Prince Saud bin Khalid Abdullah attended day 2 of Royal Ascot 2023 at Ascot Racecourse in Ascot, England. (Getty Images)
Prince Saud bin Khalid — son of the late Prince Khalid bin Abdullah Al-Saud, the legendary Saudi breeder behind Juddmonte Farms — was also seen attending the second day of the Royal Ascot in 2023, alongside King Charles III.
Deaf artist breaks barriers with solo debut in Jeddah
Elham Abu Talib shares vision through her expressive works
Updated 16 June 2025
SALEH FAREED
JEDDAH: “It’s never too late to follow your dream,” says Elham Abu Talib, who has held her first solo exhibition in Jeddah after 38 years.
The Saudi artist is no stranger to the local art scene, having taken part in exhibitions across the Kingdom and overcome the barriers accompanying being severely deaf.
Titled “Inspiration,” the exhibition marked a milestone, presenting her work to the public while highlighting her artistic journey amid years of persistence. (AN photo)
And at the Saudi Arabian Society of Culture and Arts in Jeddah on Sunday, Abu Talib showcased more than 40 paintings to leading artists and lovers of the genre.
Titled “Inspiration,” the exhibition marked a milestone, presenting her work to the public while highlighting her artistic journey amid years of persistence.
HIGHLIGHT
Abu Talib hopes to represent the Kingdom in international competitions. She also hopes the arts society will continue supporting disabled and female artists by providing platforms for their creativity.
Her passion began in childhood, when natural talent blossomed into fine art shaped by a beautiful dream. She lost her hearing as a child and faced speech difficulties, but met her challenges with patience, courage, and ambition.
Determined to express herself, she used a brush and colors as her voice — turning her childhood dreams into vivid reality.
Titled “Inspiration,” the exhibition marked a milestone, presenting her work to the public while highlighting her artistic journey amid years of persistence. (AN photo)
She shared that hearing loss kept her from entering university, but her late father convinced her it did not mean giving up her ambitions.
Inspired by his words, she began participating in exhibitions while raising her children and fulfilling her duties as a mother.
She believes her disability has sharpened her visual perception — a gift she channels into her art.
“I’m so happy that, after 38 years, my dream has come true with this solo exhibition,” she said. “I thank the Saudi Arabian Society of Culture and Arts in Jeddah for giving me this opportunity.”
Abu Talib hopes to represent the Kingdom in international competitions. She also hopes the arts society will continue supporting disabled and female artists by providing platforms for their creativity.
Maha Abdulhalim Radwi, secretary-general of the Radwi Art Prize, said the artist had finally achieved a major milestone, adding: “This event allowed her to showcase her unique perspective and creative talent to a wider audience, proving that art transcends communication barriers.”
Mohammed Al-Subaih, the director general of the SASCA, said Abu Talib had dreamed of a solo exhibition for nearly four decades — and was now finally living that dream.
He added: “She’s participated with us in many workshops and group exhibitions; now it’s time to celebrate her first solo show.