Cristiano Ronaldo takes to social media to promote Spanish restaurant in Riyadh 

Portuguese football star Cristiano Ronaldo was all smiles as he promoted Spanish restaurant Tatel, backed by himself and tennis star Rafael Nadal, which opened its doors in Riyadh earlier this year. (Instagram)
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Updated 07 May 2023
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Cristiano Ronaldo takes to social media to promote Spanish restaurant in Riyadh 

DUBAI: Portuguese football star Cristiano Ronaldo was all smiles as he promoted Spanish restaurant Tatel, backed by himself and tennis star Rafael Nadal, which opened its doors in Riyadh earlier this year.  

“Indulging in history and gastronomy at @tatel.riyadh in @bujairiterrace with a stunning view of #at_turaif @visitdiriyah,” he captioned the post on Instagram. 

Also spotted among the pictures were Portuguese footballer Jose Semedo and sports agent Ricardo Regufe, the man credited with orchestrating Ronaldo’s move to Saudi Arabian football team Al Nassr FC. 

Bujairi Terrace, where Tatel is located, is a premium dining hotspot that offers exceptional views of the Kingdom’s most important historical and cultural icon, At-Turaif. 

Tatel serves up a delectable selection of Spanish haute cuisine together with inventive mocktails.


Bayou’s search for identity resonates with global audience

Updated 59 min 30 sec ago
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Bayou’s search for identity resonates with global audience

  • The Saudi-born Egyptian singer-songwriter discusses his roots, influences, and upcoming EP ‘Never at Home’ 
  • His performance at the Coachella music festival as a guest of Palestinian rapper Saint Levant this summer was well-received

JEDDAH: Adham Bayoumi, who goes by the artist name Bayou, is carving out a distinctive space in the music scene. Bayoumi is Egyptian, but was born in Jeddah. While he was still young his family relocated to the UAE, and although he still has family ties in Saudi Arabia — his father currently works in Riyadh — he has few memories of the Kingdom. 

“I don’t have much recollection of my time there,” he tells Arab News. “My connection to Saudi has been purely through music.” He is currently signed to a Saudi label, MDLBEAST Records, and plans to perform in the Kingdom this year. He’s excited to explore his Saudi connections further. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Bayou (@bayousworld)

His association with MDLBEAST began a little over a year ago. “They reached out to me, and it felt like a perfect match,” he says, adding that the partnership has influenced his sound. Bayoumi’s music journey has been an eclectic one, ranging from the UAE to the US, where he attended university, and involving numerous collaborations. “My main producer, Motif Alumni, was in New York but has recently moved to Massachusetts, which impacted our creative workflow,” he says. As his music has evolved, Bayoumi has incorporated more Egyptian and Arabic influences. 

Bayoumi grew up in Dubai, where he absorbed a wide variety of musical influences. “I listened to everything — especially pop hits on Virgin Radio,” he recalls. His mother’s taste in music included artists like Muhammad Munir and Andrea Bocelli. This diversity shaped his own artistic sensibility. Creativity runs in Bayoumi’s family; his mother is an interior designer and his sister a visual artist, but his own artistic path was self-initiated, sparked in elementary school by a teacher’s guitar playing. “I wanted to do that too,” he says, recalling one of his first songs, about the changing of the seasons, written while he was still at school. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Bayou (@bayousworld)

His first major release as Bayou — 2019’s “Moonlight” — quickly gained traction, garnering more than 100,000 streams and solidifying his confidence as an artist. “I realized, ‘Hey! People actually like my music!” he says. That seems a fair assessment; “Moonlight” now has more than 3 million listens on Spotify, and his performance at the influential Coachella music festival as a guest of Palestinian rapper Saint Levant this summer was well-received by both audience and critics. 

He describes his music as “a unique blend of influences,” an international R&B sound that resonates personally.  

“Even when the songs aren’t directly about my life, they often feel like the soundtrack to my experiences,” he says. His upcoming EP, “Never at Home,” is a deep exploration of his Egyptian identity that should resonate with anyone trying to find their place in the world — a concise snapshot of Bayoumi’s quest for identity and belonging through music (which leads him to conclude “Home is where my mom is”). 

Spending four months in Egypt in 2024 allowed him to immerse himself in the culture and complete his EP. “I wanted to really dive into what it means to be Egyptian, especially as someone who didn’t grow up there,” he says. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Bayou (@bayousworld)

His latest singles, “Neshar Belel” and “Mesh Haseebek” have both proven popular with young Arab audiences, blending the rich tapestry of Egyptian musical heritage with contemporary sounds. By infusing traditional rhythms and melodies into modern R&B, Bayoumi honors his cultural identity while creating music with the potential to appeal to a global audience. 

Language has played a crucial role in his artistic journey. Initially, he wrote primarily in English, but his experiences in Egypt prompted a shift.  

“I realized I was very far from my culture and wanted to reconnect with it,” he explains. Writing in Arabic became essential, allowing him to navigate his identity as an Arab more authentically. “I felt like I needed to speak to my culture in the language it deserves,” he says. “It’s about understanding my own character and expressing it through my songs.” The exploration of love in Arabic has been particularly rewarding, he says, allowing him to connect with his heritage on a deeper level. But he also stresses that this doesn’t mean he’s stopped writing English-language songs.  

And Bayoumi’s interests extend beyond music. He has a keen eye for fashion, often choosing outfits that help him express his identity. He’s also passionate about reading, especially philosophy and self-help literature. “I want to understand how to be a good person and navigate life effectively,” he says. Football also remains a significant passion, along with biking. Oh, and watching cartoons. “That brings me back to that state of freedom, my childhood, which is crucial for any artist,” he explains. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Bayou (@bayousworld)

Bayoumi’s goals are ambitious. “It’s incredible to see how people from all backgrounds are drawn to my Arabic music,” he says. “I want to be a pop star worldwide, singing in both English and Arabic. I want to be the bridge between the East and the West.”  


Morocco’s Loft Art Gallery to make its debut at Art Basel Paris

Updated 10 October 2024
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Morocco’s Loft Art Gallery to make its debut at Art Basel Paris

DUBAI: Morocco’s Loft Art Gallery will make its debut at Art Basel Paris from Oct. 18-20, becoming the first Moroccan gallery to take part in the prominent fair.

Yasmine Berrada, co-founder of the gallery, spoke to Arab News ahead of the fair, calling the opportunity a “real milestone.”

Yasmine Berrada is co-founder of the gallery. (Supplied)

She said: “We have been working towards this for years. Since we started, we wanted to exhibit internationally.

“We want to travel with our artists, to collaborate with museums, with institutions, and so on.

Mohamed Melehi, Burri B, 1958, Mixed media on burlap, 80 x 64 cm. (Courtesy of Loft Art Gallery)

“For us, it means reaching a new category of collectors. It also means that the gallery now has a certain standing and level to be considered one of the biggest worldwide,” she added.

The gallery will showcase seven works by renowned Moroccan modernist and Casablanca Art School founder Mohamed Melehi (1936–2020), including three pieces that have never been exhibited before.

Mohamed Melehi, Untitled, 1996, Cellulosique sur bois, 110 x 95 cm. (Courtesy of Loft Art Gallery)

“We are participating with works from the famous artist Melehi, with whom we worked for 12 or 13 years until he passed. For us, it is a celebration of this great collaboration, all the success we achieved with him, and everything we accomplished together as an artist and gallery,” the gallerist said.

Melehi’s radical geometric experiments and his iconic wave motif were pivotal in shaping the aesthetic of post-independence Morocco.

Mohamed Melehi, Untitled, 2012, Mixed media on canvas, 120 x 115 cm. (Courtesy of Loft Art Gallery)

The artist, who was born in the port town of Asilah before he studied at the Ecole des Beaux-Arts in Tetouan, spread his wings in New York before returning to Morocco in the 1960s.

The gallery’s presentation of Melehi’s works taps into a growing global fascination with Moroccan art, with notable figures like pop artist Hassan Hajjaj being commissioned by the likes of Vogue US and The Royal Commission for AlUla in Saudi Arabia.

Mohamed Melehi, Untitled, 1960, Mixed media on canvas, 90 x 180 cm. (Courtesy of Loft Art Gallery)

Berrada also highlighted the increasing interest in Moroccan art, saying: “I can see it when we exhibit outside Morocco, like in France or London. People also often say, ‘Oh, we’re coming to Marrakesh next year or next month, and we want to visit your gallery’.”


Athr Gallery takes Saudi artworks to Frieze London fair

'I Loved You Once - Sound Scape No 2' by Sara Abdu. (Supplied)
Updated 10 October 2024
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Athr Gallery takes Saudi artworks to Frieze London fair

RIYADH: Saudi Arabia’s Athr Gallery — which has branches in Jeddah, AlUla and Riyadh — is once again displaying the works of several Saudi artists at London’s prestigious Frieze art fair, which began Oct. 9 and runs until Oct. 13. 

This year’s Athr lineup includes works by Nasser Al-Salem, Dana Awartani, Sara Abdu and Ayman Daydban. The exhibition is called “Nafs,” meaning “self” or “psyche” and, according to the gallery, it “challenges existing conventions and fosters dialogue on Islamic artistic identity” and “redefines traditional Islamic art forms to offer a deeper understanding of the self, society and the human ego.” 

Nasser Al-Salem 

The 39-year-old is an architect, calligrapher and artist. For his two works for Frieze — “Math + Metal” (pictured) and “Metal Civilization” — Al-Salem combined all three to create minimalist sculptures that, according to Athr, “redefine Islamic calligraphy by infusing modernity with traditional phrases.” The calligraphy isn’t immediately comprehensible, due to Al-Salem’s conceptual approach to Arabic writing. But that shouldn’t lead you to think Al-Salem does not respect traditional calligraphy. As he explained to Arab News in 2019, he began as a classical calligrapher. It wasn’t until he travelled abroad that he decided he wanted to create work that could “coexist within the realm of contemporary art.” 

He continued: “I was asking myself the question that most calligraphers today ask themselves: How can we evolve from such an ancient and traditional art form?” At Frieze, Al-Salem offers a couple of answers to that question. 

'Math and Metal' by Nasser Al-Salem. (Supplied)

Dana Awartani 

The Saudi-born artist, who is of Palestinian descent, contributes sculptures from her “Platonic Solids Duals” series, created between 2016 and 2018, including this piece, “Dodecahedron Within an Icosahedron II.” The series showcases Awartani’s fascination with sacred geometry, which, she explained to Arab News earlier this year, she sees as a way to “understand the world from a different perspective by seeing harmony in nature and the cosmos through the lens of geometry and numbers.”    

“‘Nafs’ is an idea of self and ego,” Athr curator Daria Kirsanova told The New York Times in an interview last week. “Dana’s cube within a cube shows how you approach the multitudes of your own spirituality.” 

'Dodechahedron Within an Icosahedron II' by Dana Awartani. (Supplied)

Ayman Daydban 

Daydban’s “The Line” is a continuation of the project he conceived for this year’s Desert X AlUla when he created a rock garden in the shape of a full-size soccer field. When he was modifying the piece for a gallery show, he turned it into a series of 15 paintings that depict the markings of a soccer pitch. However, instead of laying it out correctly, he allowed a young boy visiting the gallery with his family to arrange them, which the kid did in a random way. “It shows the ideas that borders don’t appear for … a child,” Daydban told the NYT. “It speaks to the idea that seemingly random people can dictate borders.”  

'The Line' by Ayman Daydban. (Supplied)

Sara Abdu 

The Saudi-born Yemeni artist has, for many years, centered her practice around the theme of memory “and its role in forming identities and constructing our interior and exterior reality,” she told Arab News in 2021. At Frieze, she is presenting a series called “I Loved You Once,” which features works that she created by embroidering human hair on fabric, “promoting introspection and transcendence,” according to Athr Gallery. She chose to work with hair, she told the NYT, because it “symbolizes time or resistance to the idea of the fading of memories and the ending of a life cycle.” 

'I Loved You Once - Sound Scape No 2' by Sara Abdu. (Supplied)

 


Lahore Biennale aims to reclaim historical city’s place on international arts calendar

Updated 10 October 2024
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Lahore Biennale aims to reclaim historical city’s place on international arts calendar

  • Biennale features over 60 artists representing 30 countries and presenting site-specific exhibits as well as immersive installations
  • Artworks are featured at a dozen venues including Mughal-era Lahore Fort and Masjid Wazir Khan in Walled City, iconic Shalimar Gardens

LAHORE/ISLAMABAD: The Lahore Biennale, a large-scale international contemporary exhibition ongoing in the Pakistani city of Lahore, is aiming to reclaim the historical city’s place on the international arts calendar, its curator and featured artists have said, and be a “collective and participatory” event that involved the whole city and its citizenry. 
Of Mountains and Seas, the third edition of the Biennale, is curated by John Tain, the head of research at Asia Art Archive in Hong Kong, and considers the themes of ecology and sustainable futures, with special reference to recent floods and agricultural disasters in Pakistan as well as the country’s urban pollution and social, economic, political and sexual inequalities. 
This will be the first edition since 2020, which had Emirate curator Hoor Al Qasimi at the helm and was displayed before the COVID-19 pandemic.
The Biennale features over 60 artists representing 30 countries, presenting site-specific exhibits as well as immersive installations that draw attention to issues caused by environmental degradation, along with illuminating the city’s vernacular and indigenous heritage as transformative resources for future sustainability. 
Exhibitions are being featured across a dozen venues across the city, including the UNESCO World Heritage site the Lahore Fort in the ancient Walled City and the famed Mughal-era Shalimar Gardens, a true treasure of Islamic garden design and hydrology that will be showcased for the first time in the Biennale. 
“We wanted to showcase our art in a bustling public space, not art as gate-kept by colonial legacies or their bureaucracies,” Abdullah Qureshi, a Pakistani Artist who curated a show titled: ‘Decolonial Feminist Ecologies: On Body and Land’ put together by the Pakistan Art Forum (PAF) in collaboration with the Lahore Biennale Foundation, told Arab News. 
“We tend to think of art as this controlled, quiet space where people are observers from a distance. [The artists in this show] think about these ideas outside the Western canon.”
A press release by the biennale management said the idea of placing historic sites in dialogue with more contemporary works was aimed at bringing to light the ways Lahore’s celebrated culture, architecture, and gardens, “generally understood to symbolize its palimpsest of connections to Asia and Europe through trade routes and the migration of people and knowledge, also connects with more recent conversations about the significance of historical and indigenous forms of knowledge and practices as necessary alternatives to the extractivism that plague modern societies.”
“Evidence of these local and vernacular forms can be abundantly found everywhere in the architecture, art, cosmology, cuisine, and literature across the city, as well as in the diversity of its inhabitants— people whose relation to local and regional ecosystems have been fine-tuned over millennia of cohabitation and adaptation,” the statement added. 
Tain, who has previously served as curator of modern and contemporary collections at the Getty Research Institute, Los Angeles, sees the Lahore Biennale as being “collective and participatory in nature.”
“One way to think about a biennale is that it’s something which is a space in time that allows for activities and programs to take place and that necessarily involves other people outside the artist,” Tain said at an event before the launch of the exhibitions last week. 
“So I think what is being planned is not artists just making work and putting it on wall or putting it on a floor, but thinking about the work as something that involves other people.”
Qudsia Rahim, a graduate of Lahore’s esteemed National College of Arts and the executive director of the Lahore Biennale Foundation, said the purpose of the biennale was for the “whole city” to take part. 
“To be a part of this biennial, you don’t necessarily have to be an artist,” she said. “The good thing about art is that you don’t need the wall of a drawing room or gallery but what’s important is an idea and for that an audience is important … So, the point of the biennale’s purpose is how can we connect with each other, because we are social animals and in a way we want the whole city to be a part of this biennale.” 
“ART IN A BUSTLING PUBLIC SPACE”
Free and open to the public, the biennale commenced on Saturday, Oct. 5, and will run through Friday, Nov. 8, complemented by a number of collateral exhibitions and programs scattered all over the city. 
One such show that took place during the opening weekend (October 5–7) was the ‘Decolonial Feminist Ecologies: On Body and Land,’ curated by Abdullah Qureshi and featuring Iranian-born artist Sepideh Rahaa and Kenyan-German collaborative artist Syowia Kyambi.
“This is a collateral event for the Lahore Biennale 03, which is taking place in the Brown House inside the Masjid Wazir Khan courthouse,” PAF founder Imtisal Zafar told Arab News, referring to a 17th-century Mughal mosque located in the Walled City.
The mosque was commissioned during the reign of the Mughal Emperor Shah Jahan as a part of an ensemble of buildings that also included the nearby Shahi Hammam baths. Considered to be the most ornately decorated Mughal-era mosque, Masjid Wazir Khan is on the UNESCO World Heritage Tentative List.
“[Art] can’t be constricted to a neat and tidy studio or a clean canvas,” Nairobi-based Kyambi told Arab News. “Art is forever moving, changing and clamoring.”
Her work showed two distinct worlds, the high-rises and apartment complexes and rural countryside and at Thursday’s event, the artist handed out maps and pictures to her audience, shared stories and painted bright colors on a mud wall. She also encouraged her audience to speak out during her performance and voice their opinions on whether they liked it and what they understood of her art. 
“We want to imagine futures of solidarity, community and resistance,” she said. “Not just stay quiet at everything unfolding in front of them.”
Speaking about the experience of working in a place as richly-textured and cosmopolitan as Lahore, with its many iconic and historical buildings, Kyambi said: 
“When I entered for the first time to check the space [at Masjid Wazir Khan], it had a really light energy, and the rooftop is just perfect for my practice in this particular work, because it holds the scale but it’s also outdoors so the work can also keep on changing with the environment ... It’s wonderful to be near the mosque as well and I think it’s a really special part of town.”
PAF founder Zafar said the purpose of the biennale, like the ‘Decolonial Feminist Ecologies’ show arranged by the Pakistan Art Forum, was to promote local and lesser-known artists and bring them in conversation with international, globally acclaimed ones “to show the world how much talent we have here in Pakistan.”
Stephan Chow, a Singaporean artist whose work is featured at the Lahore Biennale, said the people of Lahore and Pakistan were very open to new ideas and art. 
“This is my second trip to Pakistan,” he said, “and I find the people of Pakistan to be very rich in culture, knowledge, and they embrace ideas very well.”


Nasiba Hafiz unveils Japan-inspired ‘Koi Collection’ in Jeddah 

Updated 09 October 2024
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Nasiba Hafiz unveils Japan-inspired ‘Koi Collection’ in Jeddah 

JEDDAH: Saudi designer Nasiba Hafiz unveiled her latest Japan-inspired collection at Asian fusion restaurant Crustacean in Jeddah this week and she spoke to Arab News about the aquatic inspiration. 
The designer’s Koi Collection drew inspiration from Hafiz’s transformative 2017 visit to Japan, with the designer telling Arab News: “Koi fish often symbolize perseverance, strength, and transformation. In many cultures, particularly in Japan, koi fish represent the ability to overcome obstacles as they are known for swimming upstream and against currents.”

The designer’s Koi Collection drew inspiration from Hafiz’s transformative 2017 visit to Japan. (Supplied)

Koi is actually the informal name for this species — they are often referred to as Japanese koi or by their Japanese name, Nishikigoi. The fish is known as the “swimming jewel” in Japanese culture, which is apt given Hafiz’s use of vibrant colors in her sartorial creations. 

“Their vibrant colors and graceful movements can also evoke a sense of peace, beauty, and resilience. I felt so drawn to them when I visited Japan in 2017, I felt like they symbolized how I felt, and it all resonated with my own experiences of facing challenges, personal growth, or the desire to transform in life,” the designer explained. 

Nasiba Hafiz unveiled her latest Japan-inspired collection at Asian fusion restaurant Crustacean in Jeddah. (Supplied)

Reflecting on the journey to create her collection, Hafiz added: “I designed the collection before COVID and I wasn't sure how to proceed. Then, I decided to relaunch it with new fabrics and three-piece tailored suits, along with complementary pieces like neckpieces, creating a striking contrast. I am all about redoing, repurposing, and believe in sustainable fashion.” 
Each design in the Koi Collection features vibrant hues and exquisite detail, something the designer has built up a fanbase for. 
Meanwhile, Crustacean complemented the event with a coastal-inspired menu, enhanced by its modern Vietnamese interior, which features a sunken koi pond.