The French agency helping Saudi Arabia realize AlUla’s potential

AlUla will become the world’s ‘largest living museum’ under Saudi Arabia’s Vision 2030 plans.
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Updated 21 February 2020
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The French agency helping Saudi Arabia realize AlUla’s potential

  • Afalula is contributing to the development of site that forms a vital part of Vision 2030 plan
  • Kingdom seeks to turn AlUla into the world’s largest living museum and a major heritage tourism destination

PARIS: Gerard Mestrallet is executive chairman of the French Agency for the Development of AlUla (Afalula), the Saudi heritage site that is fast becoming an international cultural and tourist attraction.

AlUla, in the Kingdom’s northwest, is known for its natural beauty and archaeological diversity.

It has hosted major cultural events, including a site-responsive outdoor art installation featuring the work of Saudi and international artists, and a music festival with world-famous stars.

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French gastronomy has been an important part of the Winter at Tantora Festival, which will continue in AlUla until March 7.

Earlier in February, it announced that the Kingdom is planning to develop AlUla into the world’s largest living museum and a major cultural, arts, adventure tourism and heritage destination.

Mestrallet spoke to Arab News from Afalula’s Paris office, where pictures and videos of AlUla welcome visitors, and perfumes produced in AlUla with the expertise of Grasse, the southern French city renowned for fragrance, tickle the senses.

He talked about how the agency and France will contribute to the development of a site that forms a vital part of Crown Prince Mohammed bin Salman’s Vision 2030 reform plan.

“French President Emmanuel Macron appointed me to head the agency for the development of AlUla because I’d previously managed Engie and Suez, which contributed to important world projects and had invested massively in water treatment, desalination of seawater, and electricity production in Gulf countries,” Mestrallet told Arab News.




Afalula’s Paris office, right.  (AN photo by Huda Bashatah)

“When Macron met the crown prince, the prince asked him for French support for the development of AlUla, and the president entrusted me to negotiate the development and to create a French agency for AlUla on the model of the French agency for the (Louvre) museum that was created in Abu Dhabi,” he said.

“We negotiated with the Royal Commission for AlUla (RCU) before the Crown Prince’s visit to Paris in April 2018, and we were prepared. The agreement was signed at the Elysée Palace during the crown prince’s state visit.”

The agency’s creation was defined in a treaty between France and Saudi Arabia, Mestrallet said.

“We have a dual role — on the one hand, to plan the project jointly with the RCU, and on the other hand, to mobilize the vast range of French expertise in all areas of the project: Engineers, architects, urban planning, infrastructure for roads, energy, transport, water and gastronomic training,” he said.

“We have access to renowned French chefs in AlUla, but young Saudis are also given gastronomic training in France. We also have contributions from major French cultural institutions such as the Louvre, Chambord, Versailles, and we have access to French knowledge relating to tourism, hotels and security.”

He said the team comprises 30 highly qualified people. The architecture and urban planning sector are headed by Etienne Tricaud, former president and founder of AREP, the biggest architectural firm in France.

Tricaud was so efficient, according to the Saudis, that he was given the responsibility to integrate both teams — the French one and the RCU’s — into a single entity.




Gerard Mestrallet, head of the agency for the development of the site

Nicolas Lefebvre, head of Afalula’s department of tourism and hospitality, along with the CEO of the Eiffel Tower Co., have been charged with making the site a leader in sustainable tourism.

Mestrallet said: “For security, the head is Bernard Petit, the former chief of the Paris Police Judiciaire. For botanical products and concepts, we have Elizabeth Dodinet, with over 20 years’ experience in archeology, ethnobotany and aromatic plant research.

“Then we have Regis Dantaux, in charge of human resources; Charles Chaumin, in charge of water and the environment; Stephane Forman, in charge of agriculture; and Jean-François Charnier, scientific director.

“Clearly, we have an exceptionally high level of expertise that France is making use of in order to make this Saudi project a success in every sense.”

Mestrallet said the masterplan represents what the project will be in 10-20 years, with resorts, hotels and museums, and there are plans for eight museums to be built.

One project is from the French “star-chitect” Jean Nouvel, who built the Louvre in Abu Dhabi. Nouvel is designing a hotel complex in Sharan Nature Reserve. The project was the crown prince’s idea before the RCU was officially created, Mestrallet said.

An architecture competition was organized for a hotel complex, and Nouvel won. “I was part of the international jury that selected him, and his project is really amazing,” Mestrallet said.

“It will be built entirely in the rock, and will thus have a minimal impact on the nature reserve.”


ALSO READ: French engineer returns ancient coins to AlUla


The AlUla project is on a site the size of a small city, and Afalula will take part in its future development.

“There will be billions in investments, but it will be essential for us to respect the site, its natural features, the heritage, principles and rules for sustainable development, and its impact on the local populations. It is thus a complex challenge,” Mestrallet said.

“These principles are part of the Crown Prince’s Vision 2030, and are included as part of the treaty between France and Saudi Arabia. French companies will take part just like others in tenders, and we’re here to assist and mobilize them.”

Saudi Arabia aims to host 2 million visitors per year in AlUla by 2035. The RCU, which is responsible for protecting and promoting the area, estimates that the project will create more than 67,000 jobs, almost half of them in the tourism sector.

Around 80 percent of AlUla county will be protected, including cultural and natural heritage sites.

Mestrallet said the first masterplan will be finished in six months. “We’re very happy to be associated with this project, which touches upon the soul of Saudi Arabia and will have a huge impact,” he said.

“The project is linked to 7,000 years of history in the Kingdom, and by developing it, King Salman and Crown Prince Mohammed bin Salman want to reveal this history to their people. Our role is to use French expertise in order to serve this purpose.”

There will be a large research center on Arab civilization, and eight museums in AlUla.

One museum will be dedicated to modern art, and Afalula is relying on revered French cultural institutions such as the Pompidou Museum to participate.

Another museum is devoted to the Nabatean period, and other museums will focus on horses, astronomy, minerals, perfumes and oases.

French gastronomy was an important part of the second year in the Winter at Tantora festival, which takes place every weekend for 10 weeks from the beginning of December, Mestrallet said.

“A concert hall has been built in the desert, as well as housing for the festival. There’s a magical spot, surrounded by Nabatean tombs, which features an open-air restaurant where many-starred Michelin French chefs visit and cook. Some of these are Anne Sophie Pic, who has two three-star restaurants and another with two stars.

The first female French chef who came was Hélène Darroze. Other outstanding chefs included Yannick Alleno of Le Doyen restaurant in Paris; Guy Martin, chef of the Grand Vefour restaurant in Paris; and Arnaud Donckele, the three-star chef of the Cheval Blanc hotel in St. Tropez, who will open a Cheval Blanc restaurant at the Samaritaine department store in Paris.”

The AlUla project aims to open the Kingdom to the world, Mestrallet said, adding: “It’s an immense privilege for us to follow up on the French president’s decision to participate in the creation of this project.

“We want to be sure that the project is respectful of sustainable development, the wellbeing of the environment, and its effect on all the local populations.”


Image Nation Abu Dhabi, Timur Bekmambetov pick eight UAE stories to lead screenlife rollout

Updated 29 April 2025
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Image Nation Abu Dhabi, Timur Bekmambetov pick eight UAE stories to lead screenlife rollout

ABU DHABI: Ben Ross, CEO of Image Nation Abu Dhabi, joined Kazakh-Russian film director and producer Timur Bekmambetov on Tuesday at the Culture Summit Abu Dhabi to discuss screenlife, a pioneering format developed by Bekmambetov that is coming to the region for the first time.

Screenlife is a style of filmmaking where the entire story takes place on a digital screen — through text messages, video calls, social media and other everyday apps — reflecting how people communicate in today’s tech-driven world. Notable examples include the horror film “Unfriended” (2014) and the mystery thriller “Searching” (2018).

Ben Ross (L) and Timur Bekmambetov (R) at the Culture Summit Abu Dhabi. (AN Photo by Mohamed Fawzy)

In the session, Ross and Bekmambetov announced that they have selected eight stories from UAE filmmakers to bring to life after the launch of the Screenlife Program in June 2024, which aims to help UAE citizens and residents master this new format and create authentic narratives with global resonance.

“We were drawn to it because it is so innovative and so forward-thinking,” Ross told Arab News. “We enjoyed the screenlife movies, and it just felt like a natural step to evolve it into this region.”

Bekmambetov emphasized the universality of digital communication. “The digital world is the same universally. There is a different cultural element … but every family has a WhatsApp chat with hundreds of people on it. My family in Kazakhstan have one, and the internet in Abu Dhabi is the same,” he told Arab News.

He said that the format is “socially very impactful” and can give voice to those often left out of traditional cinema. “Because it costs nothing, you can tell stories about your individual life with no money. It will help us to engage very different storytellers.”

Ross noted that the selected projects reflect a wide range of stories. “Every story that we have chosen ... stood out in its own way. There’s a huge variety being told — it’s not formulaic.”

Bekmambetov also noted that Muslim women lead very different lifestyles, saying, “maybe screenlife will bring their stories to life,” to which Ross added that some of the stories currently in development already do.


Focus on AI rise in creative industries at Culture Summit Abu Dhabi

Updated 28 April 2025
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Focus on AI rise in creative industries at Culture Summit Abu Dhabi

ABU DHABI: Industry leaders gathered at the 7th Culture Summit Abu Dhabi on Monday to discuss the rise of artificial intelligence in creative industries — and what it means for the future.

Panelists at the event, held at Abu Dhabi’s Manarat Al-Saadiyat, included Riyad Joucka, founder and principal architect at the Middle East Architecture Network, a practice based in Dubai.

Others included Stephen King, senior lecturer at Middlesex University Dubai; Imad Mesdoua, director of government affairs for the Middle East and Africa at Spotify; and Dr. Patrick Noack, executive director at the Dubai Future Foundation.

The panel examined AI’s impact across multiple creative fields, exploring the opportunities AI presents as well as the challenges that arise when employing machine intelligence.

Joucka was keen to emphasize the importance of using AI as a tool to “extend human creativity,” rather than replace it.

“I see technology as an important tool to extend human creativity and knowledge, and not necessarily as a substitute for the human touch in design,” he said, adding that human-AI collaboration was the ideal creative journey from ideation to finished product.

Mesdoua echoed the importance of the human touch at Spotify, saying “there are two ingredients to the Spotify secret sauce, one is personalization … and the other one is discovery.

“Personalization is to a large extent driven by AI and technologies and algorithmic advances … it makes sure that your app fits you like a glove. The other ingredient to the secret sauce is what we call discoverability.

“And what that means is every now and then on your Spotify app, you will get a suggestion for a song or an artist or genre that you might not have typically listened to, and that’s largely the work, not solely, but largely the work of human editors.”

The panel examined AI’s impact across multiple creative fields, exploring the opportunities AI presents as well as the challenges that arise when employing machine intelligence.
(AN Photo by Mohamed Fawzy)

That is “very important, particularly for diversity,” Mesdoua noted, adding “a big part of the work that the editors are doing to make sure that up-and-coming genres are being spotlighted and playlisted to global audiences in a unique way.

“So AI can reflect the user, but editors can help recommend new things to users.”

While human curators are key to promoting international music to global audiences, Mesdoua did note the importance of AI in the music industry, saying one of the most important positives is lowering the barriers to entry.

“If you think back to 70 years ago or 80 years ago, becoming a really established musician required you overcoming a ton of barriers and hurdles, particularly on the infrastructure side of things.

“You had to have an expensive studio at your disposal … now you can be all by yourself in your room with amazing AI software and amplify whatever creative spark you have in your mind and really go from ideation to production super-fast.”

It is something Noack was more cautious about, though, with the executive director at the Dubai Future Foundation saying “a barrier to entry is not necessarily a bad thing.”

“I think a lot of people come into space that is not necessarily their calling or (they do not have a) high level of skill and suddenly they know how to do something and they’re the expert in this space.”

A litmus test for good AI, he added, is “whether it can be switched off or rolled back.”

Taking into account differences between various creative fields, the panelists took a nuanced approach and discussed whether AI’s influence was similar across sectors.

There was one warning repeated across various creative fields — including architecture, marketing, education and music — panelists warned that practitioners need to “know when to stop and when to bring the human element back into creativity,” as per Joucka.

Running until April 29 and organized by the Abu Dhabi Department of Culture and Tourism, the three-day summit includes policymakers, artists, scholars, and innovators.

The theme is “Culture for Humanity and Beyond,” focusing on the intersection of culture, technology and global governance.


Role of culture in governance highlighted at Culture Summit Abu Dhabi

Updated 27 April 2025
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Role of culture in governance highlighted at Culture Summit Abu Dhabi

ABU DHABI: World leaders discussed how culture can transform global challenges at the seventh edition of the Culture Summit Abu Dhabi.

The summit — which opened on Sunday in the heart of Abu Dhabi’s culture district at the Manarat Al-Saadiyat — is hosting a range of panels and discussions exploring the theme “Culture for Humanity and Beyond.”

One of the panels featured former world leaders discussing the role of culture within global governance.

Former Slovak Prime Minister Iveta Radicova set the tone at the “Bridging the Cultural Gap: The Role of Culture in Shaping Global Governance” panel, saying that “400 years ago, there were 800 million people on the planet. Today, it’s 8 billion, divided into 195 states and 6,000 different community groups with their own languages and cultures.”

The panel featured former world leaders discussing the role of culture within global governance. AN Photo

New Zealand’s former Prime Minister Jenny Shipley emphasized the importance of inclusive leadership, sharing her country’s successful model of integrating Maori cultural heritage into national governance.

She noted that leadership must be “intentional” about diversity. “I always start with the ‘I’,” she explained, “because if you’re not a committed, inclusive leader, you will not get to the destination of equity.”

Former President of Mauritius Cassam Uteem illustrated how cultural diplomacy works in practice, sharing how his small island nation has played a major role in international cultural politics. He highlighted Mauritius’ participation in UNESCO, bringing perspectives of small, developing island states into global discussions.

The panelists unanimously agreed that traditional international institutions are ill-equipped to handle today’s complex cultural landscape. They called for more innovative approaches that place culture at the center of global governance, rather than treating it as a peripheral concern.

“Culture is the mirror of human existence and the producer of new dreams, and without dreams, we lose our human dignity,” said Radicova.

A recurring theme was the need to combat misinformation and protect cultural authenticity in an era of tech moguls ruling the roost and advancements in artificial intelligence.

“If you would like to build social cohesion and solidarity around the world, you have to fight for the truth, and openly, without dancing around, with courage and really verified arguments,” said Radicova.


Hazem Harb explores displacement and memory in new Dubai exhibition

Updated 29 April 2025
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Hazem Harb explores displacement and memory in new Dubai exhibition

DUBAI: In his new exhibition, “Not There, Yet Felt,” at Tabari Artspace in Dubai, the Palestinian artist Hazem Harb is making things personal, both literally and figuratively, exploring the theme of displacement.

“It’s an out-of-body experience. I’m here and I’m not here,” he told Arab News. Harb is feeling torn; while his life and studio are physically based in Dubai, his heart and mind are emotionally attached to his birthplace of Gaza. 

The show, on view until May 27, is lined with a series of aluminium self-portraits, based on silhouettes of the artist’s head and upper chest. Instead of seeing detailed facial features, the silhouettes are black, filled with images of colorful walls of Harb’s family home, which was destroyed as a result of the continuing Israeli assault. Such details of the walls, which were photographed by Harb’s nephew and a photojournalist in Gaza, took him by surprise. “I had no idea we had shades of blue, pink and yellow in the house,” he said. “There are so many layers and memories in that house.” 

Above this series of self-portraits, a central neon artwork reads “Hope Is Power,” yet ‘power’ is flickering, indicating uncertainty and a loss of normalcy in daily life. Another instance of disturbance can be sensed in a large self-portrait, printed on paper and hanging on the wall, where the end parts of the paper are intensely crumpled. Exploring the multi-layered idea of peeling, there is also a group of calming, hand-made collage works, where wall peelings resemble figurative shapes. 

Unlike his solo exhibition last year, in which there was a heady showcase of violently passionate work, entering Harb’s new show has a lighter, romantic feel, thanks to the gentle and romantic hues and language used. “Your Skin Is My Land,” a wall text reads. In the back room of the gallery, Harb is also presenting figurative paintings he made 20 years ago, resembling the flowing forms he experimented with for his new exhibition. 

Despite the uncertainty felt by the artist, there is a glimmer of hope. One piece that shows this is a large work, where a body (made of medical gauze) stands still, carrying emotional wounds yet rising from the ashes. “The show is a statement. I felt a responsibility,” he said. “The whole world, not just Palestine, is in a very critical time, and I was thinking about the role of art in a sensitive, genocidal time. Art is a way to say something and is a part of history, an archive for the future.” 


UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’

Updated 25 April 2025
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UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’

  • Third installment of popular franchise will be released in November

DUBAI: The UAE has landed a starring role in the upcoming Hollywood film “Now You See Me: Now You Don’t,” with scenes filmed in the capital city Abu Dhabi.

The production, which will be released in November, wrapped up a 13-day shoot at several of the capital’s landmark locations, according to the Creative Media Authority on Thursday. 

The film, which is packed with high-stakes heist scenes, was shot at destinations including the Louvre Abu Dhabi, Sheikh Zayed Bridge, the Liwa Desert, Ferrari World Abu Dhabi, CLYMB, Yas Marina Circuit, W Abu Dhabi — Yas Island, and various city streets.

The third installment of the popular franchise, directed by US filmmaker Ruben Fleischer, brings back Jesse Eisenberg, Woody Harrelson, Dave Franco, and Morgan Freeman in their previous roles, joined by an ensemble cast that includes Justice Smith, Dominic Sessa, Ariana Greenblatt, and Rosamund Pike.