Exhibition ‘Sadu Art of the Bedouin’ opens in Riyadh
Showcasing the works of Salamah Al-Rashidi, 35 paintings are on display, 20 of them inspired by the art of Sadu
Sadu is an ancient handicraft made famous by Saudi women in the north of the Kingdom
Updated 24 August 2023
Arab News
RIYADH: The Saudi Center for Fine Art on Wednesday opened an exhibition titled the “Sadu Art of the Bedouin” at its gallery in Riyadh.
Showcasing the works of Salamah Al-Rashidi, 35 paintings are on display, 20 of them inspired by the art of Sadu.
Sadu is an ancient handicraft made famous by Saudi women in the north of the Kingdom. It is characterized by its bright colors and intricate weavings and is registered on UNESCO’s list of intangible cultural heritage.
Al-Rashidi said his oil paintings aimed to highlight the cultural and archaeological heritage of his country through local and international exhibitions.
In Arabic, Sadu refers to the method of weaving horizontally. The technique uses a ground loom to create a tightly woven and long-lasting textile through a warp-faced plain weave. Skilled weavers use natural fibers readily available in their surroundings.
The designs seen in Bedouin weaving draw inspiration from the simplicity and purity of the desert, showcasing geometric patterns that blend seamlessly, rhythmically, and symmetrically.
Manal Al-Ruwaished, chairperson of the SCFA’s board of directors, said the exhibition was being held as part of the center’s ongoing efforts to promote the Saudi art scene and the Kingdom’s emerging talents on a global stage.
She added that the center also aimed, through its exhibitions, to increase society’s awareness of the importance of art.
Saudi Arabia’s cultural renaissance under spotlight at Riyadh forum
Muntada gathering brings together 24 creatives to explore facets of Kingdom’s arts and culture developments
Updated 16 September 2024
Jasmine Bager
RIYADH: A five-day cultural forum organized by Fenaa Alawwal in Riyadh’s Diplomatic Quarter, and co-curated by Afikra, is exploring the theme “Introspection: the role of contemporary art practices in a time of change.”
The inaugural Muntada Forum of Contemporary Art Practices opened on Sunday night and will have five panel discussions during its run until Sept. 19.
There are 24 creatives exploring a diverse range of topics, which includes the role of Saudi Arabia’s artists in shaping the Kingdom’s global image.
There will be discussions on Saudi Arabia’s youth culture involving music, street art and fashion; the role of art professionals: navigating creativity in a structural setup; cultural hubs: the emergence of urban art districts; and the intersection of food and art.
The bumper-to-bumper traffic in Riyadh was not a deterrent for art enthusiasts, curators and interested locals from attending the opening at the building built in 1988.
The venue was designed by Omrania architecture company, as a part of Alawwal Bank’s Riyadh branch in the landmark Diplomatic Quarter.
The forum includes discussions on Saudi Arabia’s youth culture involving music, street art and fashion. (AN photos by Abdulrhman Bin Shalhoub)
Every seat was occupied during the first panel which was titled “Soft power: Saudi artists’ role in shaping the Kingdom’s global image.”
It was moderated by curator Sara Al-Mutlaq with speakers, Ahmed Mater, a doctor-turned-artist, and Alia Al-Senussi, a cultural strategist, art patron and academic.
Al-Senussi told Arab News after the talk: “What we have really been able to embrace is the idea, (as) Ahmed Mater said, that it’s up to the artist to remove the power from the conversation.
HIGHLIGHTS
• The inaugural Muntada Forum of Contemporary Art Practices opened on Sunday night and will have five panel discussions during its run until Sept. 19.
• Muntada will conclude with a performance by culinary storyteller and social media sensation Nadir Nahdi.
• The first panel was titled ‘Soft power: Saudi artists’ role in shaping the Kingdom’s global image.’
“And soft power, in its kind of whole and holistic way, is really about translating who people are to the rest of the world.”
Mater, who is working on a new book slated for publication later this year, discussed how events over the past 45 years, starting with 1979 — his birth year — changed the course of the world, a topic which he will explore in his latest work.
He explained that each decade since 1979 has had events with major ramifications on the local and international fronts, which included the revolution in Iran and the seizure of Makkah.
The venue is a part of Alawwal Bank's Riyadh branch in the landmark Diplomatic Quarter, designed by Omrania architecture. (AN photos by Abdulrhman Bin Shalhoub)
He also referred to events from the 1980s up to the present day, which include the Gulf War, 9/11, the Arab Spring and the rise of social media, as well as the COVID-19 pandemic.
“There was a big change happening in Saudi Arabia during these decades. I spoke about art as a mirror for sociopolitical events and the culture of changing and that’s what shapes our narrative, our story, our strength — by telling our story that shapes our life and our memory,” Mater told Arab News.
On opening night, curator Maya El-Khalil and Saudi Arabia artist Moath Alofi offered their insights in their keynote speeches.
Other speakers to come include Hala Al-Hedeithy from the Music Commission, Gigi Arabia, the founding director of Heavy Arabia; Nada Al-Helabi from MDLBEAST; and Mikey Muhanna, the founder and executive director of Afikra.
Other participants include Lulwah Al-Homoud, curator and artist; Oliver Farrell from Misk Art; Mayada Badr, CEO of the Culinary Arts Commission; and Sybel Vazquez from the Diriyah Biennale Foundation.
There will also be a kitchen lab dedicated to speaking about and celebrating all things food, hosted by celebrity chef Joe Barza.
Muntada will conclude with a performance by culinary storyteller and social media sensation Nadir Nahdi.
Tributes paid to Safeya Binzagr, the ‘mother of Saudi art’
Safeya Binzagr helped bridge the cultural link between Japan and Saudi Arabia
Updated 15 September 2024
Arab News Japan
TOKYO: Katakura Kunio, the former Japanese ambassador to Egypt, Iraq, and the UAE, has paid tribute to Safeya Binzagr, who passed away last week, emphasizing the profound impact of her contributions to enhancing Japan’s cultural ties with Saudi Arabia.
Binzagr, known as the “mother” of Saudi Arabia’s fine art movement and a symbol of Vision 2030, helped bridge the cultural link between Japan and Saudi Arabia and was the aunt of current Saudi Ambassador to Japan Dr. Ghazi Faisal Binzagr.
Katakura, chairman of Japan’s Foundation for Desert Culture, fondly recalled Safeya’s “warm and encouraging nature” toward him and his late wife, Motoko.
“Her support was instrumental in Motoko’s cultural anthropological fieldwork in Wadi Fatima,” he said. “She always welcomed the foundation’s follow-up missions with open arms, fostering a deep and personal connection with us.”
Katakura said Binzagr was not only a gifted artist whose work inspired many but also a cherished friend and mentor. Her passion for creativity and dedication to her paintings left an indelible mark, and her artistic legacy will continue to inspire future generations.
Ambassador Binzagr commented: “Building a cultural bridge is the core for creating a distinguished future between two countries and I strive, as an ambassador, to support this because it creates an opportunity for common interests to rise to a common outlook and mutually supportive values.
“The mission carried out by my late aunt will continue (in) the making of a new era. She was one of the pillars that paved the way for this through her dedication to building and promoting the culture of the arts for future generations. The Kingdom considers her the mother of the cultural heritage of creative fine arts.”
The ambassador said there are ongoing efforts to further collaboration between Japan’s Foundation for Desert Culture and prominent foundations in the Kingdom to build upon the cultural ties between the two countries.
Saudi artist adds local twist to French art movements
Vibrant artworks are a ‘rebellion against dull landscapes of the past,’ says Mohammed Al-Aameri
Updated 14 September 2024
Rahaf Jambi
RIYADH: In his latest exhibition, Saudi artist Mohammed Al-Aameri is presenting his own take on cubism and fauvism — with a Saudi twist.
“Red Line” at Kenz Gallery in the Al-Mousa Center, Riyadh, is on show until Sept. 20. The works on display draw particular inspiration from fauvism, an early 20th-century art movement known for its bold colors and expressive brushwork, favoring emotional expression through color over strict adherence to realism.
“Red Line” marks a pivotal moment in Al-Aameri’s artistic journey. (Photo/Rahaf Jambi)
Al-Aameri told Arab News, “My exhibition focuses on expressing feelings and emotions as an alternative to realistic photography, while mixing my own style with techniques inspired by fauvism and cubism. Although fauvism was short-lived, it laid the groundwork for many modern-art movements.”
“Red Line” is the result of an artistic journey that spans decades. Al-Aameri’s paintings encapsulate stories, emotions, and cultural heritage.
Through my research, travel, and interaction with many (international) artists, I aim to revive the innovative spirit of these schools in my own style, presenting it in a new and distinctive way in Saudi Arabia.
Mohammed Al-Aameri, Saudi artist
“Through my research, travel, and interaction with many (international) artists, I aim to revive the innovative spirit of these schools in my own style, presenting it in a new and distinctive way in Saudi Arabia,” the 55-year-old artist said.
By tapping into modern art movements that push boundaries Mohammed Al-Aameri’s goal is to challenge the status quo and inspire emerging artists to think beyond conventional methods. (Photo/Rahaf Jambi)
“Red Line” consists of 20 works, including paintings that feature figures in traditional Saudi attire rendered in a vibrant palette that contrasts sharply with the muted colors typically associated with historical representations of the region.
“I love colors, and aim to express a spectrum in my paintings,” he said. “It’s a form of rebellion against the past, where we were often limited to dull landscapes of brown and green.”
Mohammed Al-Aameri, Saudi artist
Al-Aameri’s work is also deeply inspired by his childhood memories. These recollections provide a backdrop to his artistic expression, allowing him to weave personal history into his works.
At 19, Al-Aameri became enamored with Picasso’s art after seeing it in a magazine. “His work touched me and encouraged me to explore cubism,” he said. “I had been drawing in a classical style, but Picasso’s art showed me the potential to break boundaries. Cubism requires a deep understanding of geometry, which fascinated me.”
By tapping into modern art movements that push boundaries Mohammed Al-Aameri’s goal is to challenge the status quo and inspire emerging artists to think beyond conventional methods. (Photo/Rahaf Jambi)
This newfound passion led to opportunities for training with international artists in France and Florence, enriching his artistic perspective.
Al-Aameri’s goal is to challenge the status quo and inspire emerging artists to think beyond conventional methods. “I aim to elevate the concept of art in Saudi Arabia, as many artists are still confined to traditional approaches,” he said.
His own artistic journey began at a young age. “I discovered my love for drawing at eight, inspired by my mother … my first portrait was of King Khaled, which amazed everyone and ignited my passion for art,” he said.
At 16, Al-Aameri sold his first painting—a watercolor depicting a Bedouin woman spinning wool. “The piece was filled with warm colors representing the Saudi environment,” he recalls. This artwork caught the attention of a British collector and was sold for SR3,500 ($933).
“Red Line” marks a pivotal moment in Al-Aameri’s artistic journey, showcasing not only his skill but also his vision for the future of art in Saudi Arabia.
“The exhibition is a celebration of art’s power to transcend limitations and connect with deeper truths,” he said.
REVIEW: Colin Farrell is resplendent as Batman villain in ‘The Penguin,’ HBO’s new slow-burn crime epic
The spin-off of Matt Reeves’ ‘Batman’ — a lush and fully realized mob drama — drops weekly on OSN from Sept. 20
Updated 14 September 2024
Shyama Krishna Kumar
DUBAI: Audiences will be forgiven for rolling their eyes at yet-another supervillain origin story. But thanks to Colin Farrell’s “The Penguin,” for the first time in a very long time, you won’t walk away from your TV feeling mildly dissatisfied or pining for the long-gone golden age of superhero storytelling.
HBO’s eight-episode limited series — written and created by Lauren LeFranc (“Agents of S.H.I.E.L.D.” and “Chuck”) — tells the story of the rise of Oswald “the Penguin” Cobb, or just “Oz,” from underworld criminal to mob kingpin; and does so in a richly realized manner that will earn comparisons to TV epics such as “The Sopranos.”
The show begins a week after the events of Matt Reeves’ “The Batman” (2022), where the citizens of Gotham are recovering from the deadly floods released by the Riddler, destroying entire neighborhoods and killing thousands. Oz (Farrell, who again disappears into the role thanks to game-changing prosthetics and acting instincts honed over decades) plans to exploit the chaos of the floods and the power vacuum left behind by the recent death of mob boss Carmine Falcone (Mark Strong).
Helping him in his endeavour is young Victor (Rhenzy Feliz), a wannabe criminal who lost everything to the flood. Oz and Victor’s pseudo father-son dynamic forms the beating heart of a tragic story of corruption, greed and violence; and accurately depicts how monsters are not born but created by a society that is sick at its core.
Additionally stirring the pot is Cristin Milioti’s Sofia Falcone, Carmine Falcone’s daughter who is released from Arkham Asylum after a 10-year stint and is looking to take control of her father’s empire.
“The Penguin” sings when Farrell is on screen. The Irish actor gives the role his all, and watching him go from impulsive and rage-filled violence to quiet vulnerability to easy charm and then wounded puppy is a treat to behold.
And it is not always an easy watch, either. An episode dedicated to Sofia’s backstory that examines her life before, during and immediately after her stint in Arkham Asylum makes for a riveting but incredibly grizzly and difficult sit. Milioti handles Sofia’s justified anger and need for control and power with mesmerizing charm and deliciously dark humor.
With “The Penguin,” LeFranc has created something truly transformative, and no amount of superhero fatigue should keep you from watching it.
DUBAI: Here are the major acts performing at this year’s festival, which runs Sept. 19-21 in AlUla.
James Blake
(Getty Images)
The UK singer-songwriter, multi-instrumentalist, Grammy winner, and in-demand DJ and producer has managed the rare feat of maintaining both critical and commercial success for the majority of his career since first coming to prominence in his homeland with his eponymous 2011 debut album. That’s a feat which is even more impressive when you consider his penchant for stylistic experimentation, inspired by his love of electronic music. But whatever’s going on musically, his soulful soprano and smart, honest lyrics are a constant — his popularity as a collaborator among hip-hop’s A-listers tells you plenty about the latter.
Top tracks: “I Need A Forest Fire,” “Coming Back,” “Say What You Will,” “Where’s The Catch?”
The Blaze
(Getty Images)
Paris-based ambient electronic music duo consisting of cousins Jonathan and Guilluame Alric. They’re not the most prolific of acts — releasing just eight singles and two albums in seven years — but the high-quality of their output, not just in terms of songs, but visually too (their music videos have led to headlines like Fader’s “Somebody Give The Blaze an Oscar Already”), suggests that’s a wise strategy. Their music is a slow-burn delight that combines elements of pop, house, and dub to create something all their own. “Blaze” is French slang for “name,” but, Guillaume told Fader, “the principal meaning is warm and strong things — love, and hope.”
Top tracks: “Territory,” “Heaven,” “She,” “Places”
Ben Bohmer
(Getty Images)
Critically acclaimed German DJ-producer whose live shows generally see him embellish his tracks with live synthesizers and effects. He’s known for his progressive house sound, which also incorporates indie electronica elements. The Azimuth audience may well get to hear some as-yet-unreleased material too, as his new album, “Bloom,” drops Sept. 27.
Top tracks: “Breathing,” “Begin Again,” “Home”
Jamie Jones
(AFP)
The Los Angeles-based Welsh DJ-producer is a busy man. Not content with putting out a regular stream of his own music and being a good enough DJ to top Resident Advisor’s rankings in 2011, he’s also a member of the band Hot Natured, head of a record label, host of a radio show, and founder of online store House of Hot, which sells clothing, records, and artwork. In an interview with Wales Online, Jones credited his mother for giving him the emotional support to pursue his dreams of a career in music. He recalled that she told him she didn’t care what he did as long as he was happy, “and I think to hear that from your parent at an early age allows you the freedom to not care about some of the other pressures that life throws at you.”
Top tracks: “Lose My Mind,” “Fine Fine Baby,” “Summertime,” “La Musa”
Seth Troxler
(Getty Images)
The American DJ-producer famed for his mammoth live sets topped the Resident Advisor Top 100 DJs poll the year after Jamie Jones, in 2012. Like Jones, he’s a keen entrepreneur — founder of several labels and also owner of a barbeque restaurant in London, Smokey Tails. He’s known primarily on house and techno music, with a solid grounding in the Detroit (he’s a Michigan native) and Chicago sounds. But that’s not the sum of his music by any means. As he told Forbes in an interview last year, “The best genre is no genre. I try really not to be definable.”
Top tracks: “(still) WON’T4GETU,” “Hate,” “Dead Room; Trust; Dexter”
Ghostly Kisses
(Getty Images)
French-Canadian singer-songwriter Margaux Sauve heads up this musical project, which is also a collaboration with producer Louis-Etienne Santais, her real-life partner. Sauve’s singular vocals and gift for melodic melancholy have brought Ghostly Kisses international acclaim, although their most-recent album “Darkroom” saw a shift in atmosphere. Sauve told Montreal Rocks shortly before its release, “So far our music has been felt, mainly, for our introvert fans, but we wanted them also to feel it in their body and be able to move with the music. That was kind of a goal. I think this album is a bit more affirmative and maybe a bit more confident.” In that same interview, Sauve also mentioned that Ghostly Kisses’ fans are “mainly from” overseas, citing Saudi Arabia as one of the countries where her music is most popular.
Top tracks: “Empty Note,” “Golden Eyes,” “There’s No More Space”
