THE BREAKDOWN: Azza Al-Qubaisi discusses installation ‘Treasures’ at the pyramids of Giza
Updated 10 November 2023
Rawaa Talass
DUBAI: The Emirati designer discusses her large-scale installation from the ‘Forever Is Now’ exhibition, which runs until Nov. 18 at the pyramids of Giza.
My journey started 20 years back, when I graduated with a degree in jewelry and silversmithing. I enjoy jumping from one material to another and working on different scales. A lot of my work is about how humans engage with a space and what they can get out of it as an experience for them.
When I was shortlisted for “Forever Is Now,” we started the journey of developing the artwork and adjusting it to fit the space near the pyramids. It was overwhelming; the minute you are in such a historical site with that backdrop and seeing the sun move from one side to the other, it’s a dream experience for any artist, regardless of their background. It’s like you’re in another matrix.
I enjoyed every single bit of it. I had such a wonderful team that helped install my work. We created it in a way that looked like IKEA furniture: It’s pre-packed, then you open it and install it with nuts and bolts. We had to make it as simple as possible. If that wasn’t the case, it would have taken three or four days to install. I think I was one of the fastest on site, installing my work in one day, so I enjoyed the rest of my days in Egypt.
I’ve worked with many different shapes, but the pyramid form, to me, has a strength. In this artwork, I wanted to create a pyramid — made of mild steel — but in a size and form that gives an experience, mainly revolving around feeling secure in a safe space.
At the same time, the ‘treasure’ that I wanted people to reflect on is not the golden part on top of the piece, but the gold within them. So, we are the true treasures of the experience, walking through, sitting, and meditating in the artwork.
Surrounding the pyramid is a representation of sand dunes. I’m inspired by the desert. People perceive the desert as a dead space, but I perceive it as a living space where there are farms, trees, and other living things. That is very important to our society in the region.
Out of the blue: How a wild fox changed Noura Ali-Ramahi’s life and art
‘There’s something that completely changed in me since I met her’ Lebanese-Emirati artist’s muse is fox, Blue, inspiration for new work
The creative, who was trained at Sotheby’s Institute of Art, has had her work exhibited at New York’s Art Club and at galleries in the UAE
Updated 12 June 2025
Celine Hijazi
ABU DHABI: On the morning of her birthday, a wild fox walked up to Noura Ali-Ramahi and sniffed her feet. Her life has not been the same since.
What began as a chance encounter in Abu Dhabi has become a daily ritual — and a profound source of inspiration.
For months now, the Lebanese Emirati artist has walked the edges of a golf course near her home not for peace of mind, but in search of Blue, the fox she has named, and who has become her muse.
“There’s something that completely changed in me since I met her,” Ali-Ramahi said. “I would almost consider the walk incomplete if I didn’t see her.”
Since that December morning, the accomplished artist has embraced a new ritual: meeting foxes at dawn, then creating art inspired by those encounters.
The creative, who was trained at Sotheby’s Institute of Art, has had her work exhibited at New York’s Art Club and at galleries in the UAE, including Abu Dhabi’s Twofour54 and N2N Gallery.
Born in Beirut in 1976, the artist moved to Scotland at the age of 11 before settling in the UAE in 1989. In 1993, Ramahi returned to Beirut, graduating with a business degree from the American University of Beirut in 1997.
But it is the last few months that have impacted her the most.
As she recounts her experiences, Ali-Ramahi springs out of her seat as if reliving a small miracle. She gestures animatedly, replaying each encounter with the foxes in vivid detail — not as distant wildlife, but as if they were old friends she shares breakfast with each morning.
“She looked at me,” Ali-Ramahi said, suddenly alert, motioning toward the ground as if the fox were right there. “And it’s as if she was saying, ‘thank you.’”
Her artwork, much like herself, bursts with energy and emotional charge. But she is not simply documenting wildlife; Blue has become a recurring motif and a vessel for expressing longing, grief, and resistance.
In her vibrant studio — a riot of color and creative force — Blue often appears superimposed over scenes of Gaza or alongside another of Ali-Ramahi’s defining symbols: a chair.
“For me, it’s (the chair) my own confinement … it’s like nothing, it’s doing nothing. It’s like emptiness, it’s no response, it’s nothing,” she said.
“Blue is the opposite of the chair.”
The chair — in a time of political paralysis surrounding Gaza and Lebanon — reflects both Ali-Ramahi’s personal sense of confinement and a broader societal powerlessness.
The fox, by contrast, is everything the chair is not: cunning, wild, disobedient. It represents movement, instinct, and the refusal to be tamed.
Since leaving her full-time job, Ali-Ramahi has embraced this liberated, intuitive energy in her art, using it as a way to process emotion and resist despair.
“When I superimpose her onto a destroyed landscape, she becomes more than an animal,” she said. “She becomes survival.”
At no point does Ali-Ramahi pretend to understand why the fox chose her, and she does not need to.
“She makes me feel special … I’m not shy to admit it,” she said.
What she does know is this: like a fox hunting its prey, Blue arrived quietly in her life and became essential not just to Ali-Ramahi’s creative ecosystem, but to her emotional survival during moments of hopelessness.
“Maybe she trusts me because she sees me walking every day, sipping my coffee, never trying to hurt her,” she said softly. “I’m just ... there.”
Recipes for success: Chef Massimo Pasquarelli offers advice and a tasty pasta recipe
Updated 12 June 2025
Hams Saleh
DUBAI: Patience, simplicity, and respect — for ingredients, people, and the craft itself — are the principles that guide Massimo Pasquarelli in the kitchen.
Raised in the small Italian village of Pizzoferrato, Pasquarelli learned early on that good cooking is about more than perfect technique. That approach has shaped his three-decade career, taking him from Michelin-starred restaurants in Europe and Asia to his current role as executive chef at Il Gattopardo, an Italian fine-dining restaurant in Dubai.
Il Gattopardo is an Italian fine-dining restaurant in Dubai. (Supplied)
When you started out, what was the most common mistake you made?
I was eager to impress and get things done quickly, but I learned that patience is a key ingredient not only in cooking, but in life in general.
What’s your top tip for amateur chefs?
Do not overcomplicate things: Select good ingredients, season well and taste your cooking. And enjoy the moment; avoid distractions.
What one ingredient can instantly improve any dish?
The secret ingredient is respect for the ingredients themselves. That is the most powerful and precious ingredient in the kitchen.
When you go out to eat, do you find yourself critiquing the food?
More than critiquing, I observe. I’m in love with the world of hospitality, and I treasure every detail. I want to capture anything that can enrich my knowledge and personal growth. But, I do know well myself to say that what truly makes a difference when I walk into a restaurant is a sincere, warm welcome with a pleasant smile. It costs nothing, yet it’s everything in hospitality. That simple gesture sets the tone for the entire experience.
What’s your favorite cuisine?
Honestly, it’s not so much about the cuisine or the dish, what truly matters to me is the company. To fully enjoy food, I need to be surrounded by good people. Whether it’s street food or fine dining, a shared meal becomes special when the atmosphere is warm, happy and positive. That said, I do have a deep appreciation for many cuisines: Malaysian, Thai, Japanese, Indian, Turkish, Singaporean, French, Arabic, Spanish, Italian, Australian and South American. But, what I treasure the most is the cuisine of Abruzzo, my region and my roots. It’s where my story began, and every bite is a memory.
What’s your go-to dish if you have to cook something quickly at home?
Pasta all the way. For example, a simple spaghetti aglio, olio e peperoncino. It’s fast, comforting, and you can elevate it by selecting quality ingredients, such a good olive oil, garlic from Italy, chili and fresh parsley.
What customer request most annoys you?
When you’ve chosen to work in hospitality, as a chef, I believe nothing should truly “annoy” you. Every guest is a privilege, and every request, no matter how unusual, is an opportunity to learn, grow and improve. Even in challenging situations, where a guest’s behavior might be perceived as difficult, my response should always be warm, respectful and human. That is the essence of true hospitality.
What’s your favorite dish to cook and why?
Cooking is a lifestyle for me, not just a profession. The ingredients I work with have been my companions on this journey for over 30 years. It’s difficult to say which dish, or even which ingredient, I prefer to cook. Each one tells a story; each one plays its part. Some weeks, I find myself completely into grilling. Other times, I’m fully immersed in developing vegetable dishes. It all depends on the moment, the mood and the inspiration. That’s the beauty of this craft, it never stops evolving.
What’s the most difficult dish for you to get right?
In truth, who can really say what is “right” in the kitchen or in a dish? Perhaps everything I cook is wrong in someone else’s eyes. Cooking is an art and, in art, there is no universal standard of perfection. Every dish is a personal interpretation — although you must respect the guidelines and concept of the restaurant. At the end of the day, we’re all still learning, no matter how long we have been in the kitchen.
As a head chef, what are you like? Are you a disciplinarian? Or are you more laidback?
No shouting. It has never been my forte. I believe in discipline with the most powerful word, respect. A kitchen must be structured and efficient, but that doesn’t mean it should run on fear. I lead by guiding, mentoring, communicating and pushing for excellence, but always by listening. I listen to every single one of my colleagues, my suppliers, my superiors and, whenever I can, to our guests. For me, passion drives performance more than pressure.
Chef Massimo’s stracciatella agnolotti recipe
Chef Massimo’s stracciatella agnolotti. (Supplied)
Stracciatella filling
Ingredients:
500 g stracciatella cheese
125 g fresh ricotta cheese (well-drained)
25 g parmesan cheese, finely grated
40 g egg yolk (approx. 2 large yolks)
Method:
Drain the stracciatella: Place the stracciatella in a fine sieve or colander lined with cheesecloth over a bowl. Cover and refrigerate overnight (at least 8 hours), stirring occasionally to release excess moisture.
Prepare the mixture: In a large bowl, combine the drained stracciatella, ricotta, grated parmesan and egg yolk. Mix well using a spatula or whisk until the filling is smooth and fully combined. Taste for seasoning.
Pipe and store: Transfer the mixture into a piping bag. Seal or cover and store in the fridge until ready to use.
Shelf life: Up to 24 hours refrigerated.
Pasta dough
Ingredients:
100 g plain flour 00
300 g semolina
330 g egg yolk (approx. 12 eggs)
Method:
Mix the dough: Combine the plain flour, semolina, and egg yolk in a large mixing bowl or on a clean work surface. Knead the dough by hand (or in a mixer with a dough hook) until smooth and elastic, about 10–12 minutes.
Rest the dough: Wrap the dough tightly in cling film and let it rest at room temperature for at least two hours. Note: dough can also be refrigerated for up to 24 hours, then brought back to room temp before rolling.
Roll the dough: Cut into manageable portions. Using a pasta machine, roll each piece to a thickness of 1.5 mm, passing through the rollers at least twice for even consistency.
Form agnolotti or ravioli: Pipe the stracciatella filling onto the pasta sheets, fold, seal with gentle pressure, and cut to shape. Keep covered with semolina until cooking.
Tomato sauce
Ingredients:
500 g canned peeled tomatoes (San Marzano preferred)
60 g garlic oil (see recipe below)
700 ml water
5 g salt
Method:
In a large saucepan, combine tomatoes, garlic oil, water, and salt.
Bring to a gentle boil over medium-high heat, stirring occasionally.
Once boiling, reduce heat and simmer for 10 minutes.
Blend slightly (optional for smoothness), then taste and adjust seasoning if needed.
Keep warm or cool and store. Shelf life: 2–3 days in fridge or freeze.
Garlic oil
Ingredients:
50 g garlic cloves (peeled)
500 g pomace oil (or light olive oil)
Method:
In a blender (vitamix or similar), blitz the garlic and oil until completely smooth and emulsified.
Strain through a fine chinois or muslin cloth to remove any solids.
Transfer to a vacuum bag and vacuum seal.
Store in the fridge until needed. Transfer to a squeeze bottle
Shelf life: 5–7 days refrigerated.
Assembly: Agnolotti with tomato sauce
Ingredients:
6 agnolotti filled with Stracciatella
50 ml butter emulsion (warm)
Grated parmesan (as needed)
2–3 tbsp tomato sauce (warmed)
Method:
Boil the pasta: Bring a large pot of salted water to a boil. Cook the agnolotti for 2-3 minutes (until they float and are tender).
Warm the sauce base: In a sauté pan, gently warm the butter emulsion over medium-low heat.
Combine and finish: Drain the agnolotti and transfer directly into the butter emulsion. Toss gently to coat. Add a small handful of grated Parmesan and toss again.
Prepare tomato sauce: In a separate small pot, gently warm the tomato sauce. Stir and check seasoning.
Plate the dish: Spoon a few tablespoons of tomato sauce on the pasta bowl.Place the agnolotti on top of the tomato sauce, garnish on top with freshly grated parmesan, basil oil, basil washed and dried.
Saudi Arabia makes a splash at London Design Biennale
‘Good Water’ focuses on the sabeel as a symbol of hospitality and generosity
Updated 12 June 2025
Jasmine Bager
DHAHRAN: Saudi Arabia is presenting “Good Water” at the London Design Biennale, which runs until June 29 at the UK capital’s Somerset House.
The Saudi National Pavilion — commissioned by the Architecture and Design Commission supported by the Ministry of Culture, and presented under the leadership of commission CEO Sumayah Al-Solaiman — examines water systems, accessibility, equity and scarcity.
“In a biennale that explores the intersection of inner experiences and external influences, ‘Good Water’ reflects the spirit of inquiry we hope to share with the world,” Al-Solaiman said in a statement. “With this pavilion, we are proud to support the next generation of Saudi practitioners and provide platforms that amplify their voices on the international stage.”
The pavilion's design team - Clockwise from top left - Dur Kattan, Aziz Jamal, Fahad bin Naif, and Alaa Tarabzouni. (Supplied)
Saudi artists Alaa Tarabzouni, Dur Kattan, Fahad bin Naif and Aziz Jamal worked as co-curators, collaborating across various disciplines.
“In this team, we don’t have specific roles,” Jamal told Arab News. “We all collaborated on everything. For example, the video, we all shot together — we all wrote together. We all have different backgrounds in the arts sector but we’ve worked together (in the Saudi art scene) for the past five years; it’s more of a democratic process and there’s no strict guidelines.”
At the heart of “Good Water” is the sabeel, a traditional water fountain usually placed and funded privately in a shaded outdoor communal space. It is meant for use by anyone in the community, free of charge.
The sabeel is an enduring symbol of hospitality and generosity, deeply rooted in the Arabian Peninsula and found in many spots throughout the Middle East.
A sabeel fountain in Saudi Arabia. (Photo by Aziz Jamal - Courtesy of the Architecture and Design Commission)
“Growing up in Dhahran, you would see sabeels everywhere. Our house didn’t have one, but there was a mosque in front of our house that had one,” Jamal said.
The London installation strips the sabeel of nostalgia and recenters it as a contemporary, working object. Visitors are invited to fill their cups as they pause to reflect on the often unseen systems, labor and energy that make the flowing “free” water possible.
Stacks of paper cups will be provided, bearing the message “Good Water: 500 ml = one AI prompt” in vibrant color. There will also be refillable water bottles so spectators can have a “water-cooler moment” to chat, sip and ponder.
The pavilion also features four short videos filmed at an old water factory in Riyadh, showing the painstaking journey of water from droplet to distribution. The screens trace the production process across different sizes of bottles.
Jamal’s relationship with water has shifted since he started working on this project.
A water delivery truck in Saudi Arabia. (Photo by Aziz Jamal - Courtesy of the Architecture and Design Commission)
“I have to say, going to visit the water factory (in Riyadh) and seeing the enormous effort that it takes to fill up one tiny water bottle, you don’t take that effort for granted anymore, because it’s not just a matter of getting the water filled up; it’s testing it, going through inspection, doing all the mineral checks,” he said. “Before, if there was a little bit of water in my water bottle, I’d just leave it, but now I make it a point to drink (it) all … to finish the bottle. It has made me more conscious of every drop.”
Jamal’s aim is for visitors to the pavilion to reach that same realization.
“What I really hope for is for people to interact with the piece,” he said. “We want that act of generosity to come through and we want people to drink the water.” He noted that the sabeel in London will dispense locally sourced water, not imported.
A catalogue written by the curators will also be available, offering further context in the form of essays, research material and images of water infrastructure and sabeels from across the Middle East and North Africa region.
Saudi Arabia is one of the most water-scarce countries in the world and the largest producer of desalinated water globally, supplying over 60 percent of its potable water, according to the Saudi Pavilion team’s research.
“We thought (the sabeel) was a perfect symbol of the attitude and the general principle behind this concept of water as a human right and not as a luxury,” Jamal said. “It’s free drinking water, but it’s from a private source. So we felt it really encompassed this phenomenon of paying it forward and offering water to people who don’t have access to it.”
With “Good Water,” the Saudi National Pavilion puts this scarcity — and the labor behind everyday hydration — center stage.
“Our research was about water and access to water,” Jamal explained. “When we were first conceptualizing the piece for the London Biennale, we were looking at the infrastructure and water and access and what’s the hidden cost of free water in Saudi — and specifically looking at the objective of a sabeel: What does this act of generosity and act of making water into a human right mean? And what is the hidden cost of that?”
Though the widespread distribution of plastic bottles has displaced the sabeel to some extent, Jamal emphasized its enduring relevance, especially in a country with scorching summers and sizeable outdoor workforces.
“People are on the go, so they need something convenient,” he said. “I don’t think water bottles have killed off sabeels completely. A lot of the workforce in Saudi still use it all the time. It’s not just drinking water, it’s cold drinking water, and in Saudi that’s very important.”
‘Fever Dream’ starring Fatima Al-Banawi lands on Netflix
Updated 11 June 2025
Arab News
DUBAI: Saudi filmmaker Faris Godus’ latest feature “Fever Dream” is now available to stream on Netflix, bringing together a star-studded local cast including Fatima Al-Banawi, Sohayb Godus, Najm, Hakeem Jomah and Nour Al-Khadra.
Supported by the Red Sea Fund, the film, which explores themes of media manipulation, digital identity, and the cost of fame in the age of online influence, had its world premiere at the 2023 Red Sea International Film Festival.
It tells the story of Samado, a retired football star who, burdened by media scrutiny and public notoriety, finds a chance to reclaim control. Partnering with his daughter, he sets out to take revenge on a powerful social media portal. But as they plunge deeper into their pursuit of fame and digital redemption, the line between ambition and obsession begins to blur.
Najm plays Ahlam, the daughter of Samado, while Jomah appears as Hakeem, a PR agent hired to help restore Samado’s public image. Al-Banawi takes on the role of Alaa, another key PR agent working alongside Hakeem.
Godus is famous for his work “Shams Alma’arif” (The Book of Sun), which also streamed on Netflix, and “Predicament in Sight.”
He previously said in an interview with Arab News: “(In Saudi Arabia), we have a rich soil to build content on and so many stories to tell. I do believe that nowadays the support coming from our country is just awesome. People have so many chances to create films now.”
Meanwhile, Al-Banawi is recognized for her roles in “Barakah Meets Barakah” and the Saudi thriller “Route 10.”
She made her directorial debut with “Basma,” in which she also plays the title role — a young Saudi woman who returns to her hometown of Jeddah after studying in the US. Back home, she is confronted with her father’s mental illness, strained family ties, and the challenge of reconnecting with a past life that no longer feels familiar.
“I really went into cinema — in 2015 with my first feature as an actress — with one intention: to bridge the gap between the arts and social impact and psychology,” she previously told Arab News. “And I was able to come closer to this union when I positioned myself as a writer-director, more so than as an actor.”
What to expect at the 10th edition of the UK’s SAFAR Film Festival
Updated 11 June 2025
Arab News
DUBAI: The 10th edition of the SAFAR Film Festival launches on Wednesday with a newly restored screening of the 1972 Egyptian classic “Watch Out for Zouzou” by Hassan Al-Imam at Ciné Lumière in London.
The festival will run until June 28, concluding with the UK premiere of “Sudan, Remember Us” (2024) by Hind Meddeb.
This edition of SAFAR will take place across cinemas in London and nine other UK cities, showcasing a broad range of feature films, documentaries and shorts from the South West Asia and North Africa region.
A complementary online programme, curated by the Lebanese nonprofit cultural organization AFLAMUNA, will run throughout the month, exploring works that respond to the Lebanese civil war — 50 years after it began.
Audiences can expect films that explore themes of migration, political empowerment, conflict, creativity and joy.
Among this year’s highlights is “A State of Passion,” documenting the work of British Palestinian reconstructive surgeon Dr. Ghassan Abu Sittah in Gaza. Directed by Carol Mansour and Muna Khalidi, the film delves into the emotional toll of his work.
Veteran Palestinian actor, director and documentarian Mohammad Bakri will be a special guest, delivering a masterclass and appearing for screenings of “Upshot” (2024) by Maha Haj and his landmark 2002 documentary “Jenin, Jenin,” which was banned by the Israeli Film Board. The film features testimonies from survivors of the 2002 Israeli military assault on the Jenin refugee camp.
Among other notable titles is “Seeking Haven for Mr Rambo” (2024) by Khaled Mansour, an emotive thriller that follows Hassan on a mission to protect his best friend and dog. The film previously won the Grand Prize at the Red Sea International Film Festival.
“Red Path” (2024) by Lotfi Achour, based on a true story, recounts the harrowing experience of 13-year-old Achraf, who is forced to carry the severed head of his cousin back to their village after a terrorist attack.
In “Saify” (2024) by Wael Abu Mansour, a middle-aged trickster sells tapes of banned Islamic sermons in hopes of quick profit, offering a sharp social commentary on the pursuit of wealth.
Directors of all three films will be present at SAFAR for post-screening discussions.
Also part of this year’s programme is Laila Abbas’s dark comedy “Thank You for Banking With Us!” (2024), where two estranged sisters reunite to claim their inheritance before the authorities discover their father’s death and transfer it to their brother.
SAFAR will also present “Palestine – A Revised Narrative,” a 30-minute silent film compiled from 35mm archival footage shot by British forces in Palestine between 1914 and 1918. Commissioned by ALFILM, this screening will feature a live score by composer Cynthia Zaven and sound design by Rana Eid, re-examining the British imperial narrative at a pivotal moment in Middle Eastern history.
The festival includes environmental programming through “Biodiversity and Cinema,” an initiative launched in 2023 that brings together Lebanese filmmakers and ecologists to create short documentaries on ecosystems and microorganisms. A selection of these films will screen under the title “Rooted Resistance,” with filmmakers in attendance.
“The Brink of Dreams” (2024) by Nada Riyadh and Ayman El-Amir also features in this year’s line-up. Shot over four years in southern Egypt, the film follows a group of girls who form a street theatre troupe to challenge the expectations of their conservative village.
