New partnership to conserve AlUla’s cultural heritage
National Archives will work with the commission in four broad areas: training and scientific exchange, archival research, public programming, and digitization
Abeer Al-Akel: Our partnership with the National Archives exemplifies the power of international collaboration
Updated 10 September 2024
Arab News
JEDDAH: The Royal Commission for AlUla has signed a partnership agreement with the UK National Archives in line with the commission’s goals of cultural heritage preservation, international collaboration, and contribution to Vision 2030.
Through its expertise in archival management and historical documentation, the National Archives will work with the commission in four broad areas: training and scientific exchange, archival research, public programming, and digitization. Specific initiatives will focus on joint research projects, digital archive initiatives, and cultural exhibitions.
Abeer Al-Akel, acting CEO of the commission, said: “RCU’s campaign of comprehensive regeneration is transforming AlUla into a global hub for heritage and culture — and an extraordinary location for residents and visitors. Our commitment to conservation supports Vision 2030’s goal of promoting Saudi culture through initiatives that are ‘powered by the past, reimagined for the future.’
“Our partnership with the National Archives exemplifies the power of international collaboration, combining expertise and resources from Saudi Arabia and the UK to enhance cultural heritage research and public programming.”
Saul Nasse, chief executive and keeper of the National Archives, said: “Working with the Royal Commission for AlUla is an opportunity to share our pioneering work in documenting and safeguarding heritage. RCU has an ambitious strategy to preserve the rich stories of northwest Arabia, and we look forward to contributing our insights and experience.”
Through this collaboration, RCU and the National Archives aim to enhance the visibility of Saudi documentary heritage and strengthen the capacity of local archives to provide wide access to these invaluable resources, further solidifying AlUla’s position as a global hub for cultural preservation and exploration.
Mona Zaki-starring ‘Flight 404’ chosen as Egypt’s Oscars submission
Updated 17 September 2024
Arab News
DUBAI: Egyptian actress Mona Zaki and the Egyptian Film Syndicate announced this week that the film “Flight 404” will be Egypt’s official submission for the Best International Feature Film category at the 2025 Academy Awards.
This means that the film will be considered for the shortlist. If the movie gets shortlisted, it could then get nominated for an Academy Award.
The movie tells the story of Ghada, who, just days before her Hajj pilgrimage, is confronted with an emergency that requires a large sum of money. Forced to seek help, she must turn to individuals from a troubled past she had promised to leave behind.
Besides Zaki, the film, directed by filmmaker Hani Khalifa and scripted by Mohamed Ragaa, stars actors Mohamed Farag, Mohamed Mamdouh, Shereen Reda, Khaled El-Sawy, Mohamed Alaa, Hassan Al-Adl, Sama Ibrahim, Shadi Alfons, Rana Raies, Gihan El-Shamashergy and Arfa Abdel Rassoul.
The Oscar’s 97th edition is set to take place on March 3, 2025, at the Dolby Theatre in Los Angeles.
Key dates for the 2025 submissions and voting were announced earlier this year. The deadline for general entries and Best Picture submissions is Thursday, Nov. 14. Preliminary voting for shortlists in ten categories will occur between Dec. 9-13, with the results to be revealed on Dec. 17. The nominations voting period will run from Jan. 8-12, and the official nominations will be announced on Friday, Jan. 17—a shift from the usual earlier-in-the-week schedule.
Last year, Egypt selected Mohamed Farag-starring “Voy Voy Voy!” as its entry for the Oscars’ Best International Feature Film award, while Yemen selected director Amr Gamal’s “The Burdened” and Tunisia competed with Kaouther Ben Hania’s “Four Daughters.” Morocco selected Asmae El-Moudir’s documentary “The Mother of All Lies.”
Jordan submitted Amjad Al-Rasheed’s movie “Inshallah a Boy” and Palestine submitted Lina Soualem’s documentary “Bye Bye Tiberias.”
None of the films won at the 2024 Oscars, though “Four Daughters” was nominated for Best Documentary Feature, a category ultimately won by “20 Days in Mariupol.” This marked a historic moment for director Kaouther Ben Hania, as she became the first Arab woman to receive a second Oscar nomination.
The storied auction house’s regional president says time is ‘undoubtedly right’ for expansion
Updated 17 September 2024
Rawaa Talass
DUBAI: The renowned auction house Christie’s is expanding its presence in the Middle East by opening a franchise in Riyadh, led by managing director Nour Kelani. This will be Christie’s second outpost in the region, following the 2005 opening of Christie’s Dubai, which has had a significant impact on the promotion of Arab art and creativity, both contemporary and modern.
In an exclusive interview with Arab News, Anthea Peers, Christie’s president, EMEA, explains why now is the time to expand the auction house’s activities in the Kingdom, which is experiencing a historic cultural boom.
“Christie’s has a longstanding presence in the Middle East, with deep-rooted relationships with Saudi Arabian collectors based both in the Kingdom and around the world,” Peers says. “In recent years, we have witnessed a considerable period of growth within the arts and culture sector — I have the privilege of visiting the Kingdom regularly and each time I am blown away by the passion, the ambition and the creative talent that I encounter — and the time is undoubtedly right for this expansion,” Peers says.
Ahmed Mater's 'Magnetism.' (Supplied)
An opening date has not yet been confirmed. “Having recently established our entity, we look forward to completing all necessary formalities and further extending our business in the Kingdom as soon as possible,” Peers said.
In Saudi Arabia, Christie’s will focus on providing works of art by modern and contemporary Middle Eastern artists, as well as high-end jewelry and watches or other timepieces. They are also keen to engage with the Saudi youth and aspiring art collectors.
“Bearing in mind the high percentage of millennials in the Kingdom, it’s likely we will also continue to see an increase in engagement among this demographic for Arab artists, modern and contemporary art, as well as engagement with the secondary luxury sector,” says Peers.
Abdulnasser Gharem's 'Message-Messenger' is the most expensive piece by a Saudi artist to have been sold by Christie's to date, fetching $842,500 in 2011. (Supplied)
In recent years, several acclaimed Saudi artists have made a splash at Christie’s with notable artworks sold at high prices. “The market has been reinforced by strong biennials, gallery representations, and alongside key institutional shows both locally and internationally,” says Peers.
Saudi conceptual artist Abdulnasser Gharem’s golden-domed wood-and-copper installation piece “Message/Messenger” was sold at Christie’s for $842,500 in 2011 — the highest price fetched so far by a Saudi artist at the auction house. Manal AlDowayan, who represented the Kingdom at the Venice Biennale earlier this year, has a long-standing relationship with Christie’s, which most recently sold her work “Dove” — previously exhibited at the Venice biennale — for just over $15,000, more than three times its low estimate, having, Peers says, “attracted strong bidding from our established Middle East clients.”
Manal AlDowayan's 'Dove' sold for $15,120 earlier this year at Christie's. (Supplied)
Mid-career artist Ahmed Mater, whose multidisciplinary works were highlighted in a solo exhibition at Christie’s London this summer, has also sold pieces at well above estimated prices; his “Magnetism” triptych fetched £189,000 (around SAR935,000) at Christie’s London. Other emerging Saudi artists, such as Dana Awartani and Alia Ahmad, have also been highlighted at Christie’s.
“We have had passionate Saudi Arabian clients for many years with a wide range of interests ranging from Old Master paintings and modern and contemporary Middle Eastern art to fine watches and jewelry, among other categories,” Peers says. “We have seen increased interest in a number of Arab artists over the last three years including Saudi artists Ahmed Mater, Manal AlDowayan and Dana Awartani. There are active Saudi clients who are evolving and refining their own collections to include a mix of established and emerging Saudi artists.”
Christie’s opening in the Kingdom comes at a time when the domestic arts scene is flourishing, with new cultural initiatives, institutions, and festivals supporting Saudi artists as well as welcoming international names.
Dana Awartani's 'Icosahedron within a Dodecahedron' was sold for £35,000 at Christie's Dubai in 2023. (Supplied)
“We will be honored to support the burgeoning arts scene in Saudi Arabia as part of the ongoing national diversification efforts,” says Peers.
“We look forward to partnering with institutions and arts and culture organizations, hosting dedicated exhibitions, as well as supporting regional cultural events within the Kingdom — for example, we collaborated with Diriyah Contemporary Arts Biennale earlier this year.
“We are also committed to bringing regular international sale highlights from important auctions around the world into the Kingdom for the public and clients to view,” she continues. “Christie’s will continue to raise awareness of art and artists from Saudi Arabia’s rich cultural heritage to our wider international audience.”
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.
