Three highlights from Nabil Anani’s ‘The Land and I’ at Zawyeh Gallery
Updated 27 September 2024
Arab News
DUBAI: Here are three highlights from Nabil Anani’s ‘The Land and I,’ which runs at Zawyeh Gallery in Dubai from Sept. 29 until Jan. 12.
‘The Herd’
The latest solo exhibition from the octogenarian Ramallah-based artist features a host of new works, the central focus of which is, as the name suggests, the land. But his colorful landscape paintings are not realistic portrayals of Ramallah and Palestine, rather they celebrate the country that Nabil dreams of — one in harmony with “nature, without checkpoints, cement barriers, or settlements,” as the gallery explains in the show brochure.
‘Kafr Qaddum’
For Anani, the brochure states, “the Palestinian land is not just a background, but an active participant in the narration of the story of Palestine that concludes with emancipation.” His paintings, it continues, “show an organic relationship between Palestinians and nature, one that has been disrupted by occupation.”
‘Zayta’
These portrayals of idyllic pastoral scenes serve, according to the brochure, “as a meditation and reimagination of Palestine as a living being, something that breathes and moves, reflecting a strong bond between the geography and the people. (Anani) erases the borders between the people and the landscape they live in, making them one unit with a shared history, present, and future. For him, the land is a witness to the Palestinian struggle.”
Palestinian-Chilean artist Elyanna will open for the band.
The 22-year-old has been a frequent collaborator of the group this year, joining the band on stage at their Glastonbury set. Last week, she released the Arabic edition of the band's new song “We Pray.” On Saturday, she performed with Coldplay in Las Vegas.
Promoters Live Nation Middle East confirmed Abu Dhabi will be the only stop in the region for the band.
Saudi artist Heba Ismail: ‘I see so much beauty in Arab culture in general’
The Saudi artist discusses ‘Hebaism,’ the term she has coined for her Picasso-influenced practice
Updated 27 September 2024
Rawaa Talass
DUBAI: Saudi artist Heba Ismail doesn’t lack ambition. “I want to be the second Picasso — the female Picasso,” she tells Arab News.
Born and raised in Jeddah in the Nineties, Ismail, who is also a qualified dentist, grew up in a household that valued art. Her father had lived in both Egypt and England and happily passed on his knowledge of art and history to his two children.
In their home, there was a copy of the famed Spanish artist Pablo Picasso’s 1937, black-and-white masterpiece “Guernica” — based on the devastating bombings of the Basque town during the Spanish Civil War. It left a strong impression on the young Ismail.
Heba Ismail, 'Alyah.' (Supplied)
“‘Guernica’ is so scary for a child,” she says. “We had a huge replica of it in our living room, taking over nearly half of the wall. I used to stare at it — and you can see and feel the fear in it. But, in a way, I also used to see beauty in it.”
Picasso’s radical cubist art has been a major influence on Ismail’s own practice, which she refers to as “Hebaism.” And despite the increasingly negative reports, and opinions, of the late Spanish artist as a person, Ismail is still inspired by his painting.
“I feel that all of us are full of flaws,” she says. “If you’re going to dig deep into any role model in history, you’re going to find a lot of bad stuff about them; I know Picasso was controversial (because of) how he treated women.
'Floral man.' (Supplied)
“I love being a pioneer — being the first one to do something. I love that Picasso made his cubism art movement. It was so out-of-the-box and that’s what I admire about him,” she continues. “He was creating something out of nothing. When realist artists made art, they drew something as they saw it — it already existed. Picasso drew something out of nothing. It was a form of creation.”
Ismail works mostly with painting, producing maximalist, thick-lined, angular portraits of people often dressed in traditional Saudi (and Arab) clothing or featuring local props and motifs, such as scarves and coffee cups.
“I am very proud of my Saudi heritage,” she says. “I see so much beauty in Arab culture in general. I want my work to speak to all Arabs, not just Saudis.”
On closer inspection, many of Ismail’s works can be read as psychological studies too, exuding tension and confusion.
'Shamikh.' (Supplied)
“When I’m painting, I try to create characters out of nothing. I want something that is not from reality, something from another realm. That’s why I respect Picasso’s art. He’s not painting something he is seeing; he’s painting something he is feeling,” she explains. “Art pieces shouldn’t tell you how to think, they should tell you how to feel. When people perceive my art, I want it to help them process their feelings. It’s kind of therapeutic in a way.
“I consider my art as my personal diary,” she continues. “Some of my paintings are close to my heart, telling a personal story of a traumatic experience or a feeling — either joy or sadness — that I had. A person’s life is not going to be all rainbows and butterflies.”
Ismail divides her time between art and medicine, two opposite fields that fascinate her. “I lose track of time and I’m always happy painting. Unlike dentistry, I don’t consider it work,” she says. “I always had a knack for art. I loved to draw in school books and I used to do graffiti in school. I’ve wanted to be an artist since I was a baby, but I had to have another career.
'Autumn leaves.' (Supplied)
“I loved medicine as well. There’s a weird connection between art and medicine: Leonardo da Vinci used to do anatomical drawings. I chose dentistry because it’s a skill that I can do with my hands. I love working with my hands. I felt there was something artistic about dentistry, which requires delicate and artistic hands. When I was studying dentistry, I put art to the side, but even my notebooks were full of sketches.”
As a youngster, Ismail attended art classes at Darat Safeya Binzagr, a multi-purpose and influential cultural center in Jeddah founded by Saudi artist Safeya Binzagr, who died this month. “May she rest in peace,” says Ismail. “She truly was the only one who was thinking about nurturing artistic talent for Saudis.”
Heba Ismail. (Supplied)
Ismail’s work will next be publicly shown in a group show, “Modernity Roots,” which runs at the Bilory ArtHaus in Jeddah from Sept. 29 to Nov. 15. She is making a name for herself in the Kingdom with her works (which she describes as “not for everyone, not everyone will understand them”), which have been purchased by Saudi clients and attracted the attention of brands keen to work with her, including major fashion retailer Shein and luxury manufacturing company Kohler. But her ambitions stretch far beyond the boundaries of her homeland.
“Honestly, I want to put my art on the map, worldwide. I want my paintings to be in the auction houses Christie’s, Philips and Sotheby’s,” she says. “I don’t consider it a dream, but a goal. I want to make history as a Saudi woman.”
Recipes for Success: Chef Saud Aljadhi offers advice and a recipe for mataziz
Updated 27 September 2024
Hams Saleh
DUBAI: From being a young boy helping his mother prepare Ramadan meals to becoming a sous chef at The Ritz-Carlton Riyadh Palace, Saud Aljadhi’s journey is one of perseverance, passion and overcoming the odds.
Aljadhi always had a passion for cooking, he says. He would help to prepare salads and soups in his family home near Riyadh.
In 2014, he launched a food truck business, serving burgers. Its success prompted him to quit his job at the Ministry of Education and pursue cooking full-time.
Saudi National Day cake. (Supplied)
“I honestly lost a lot — whether financially or socially — but it was all for my passion,” Aljadhi tells Arab News. “It was a one-man show. I was operating alone.”
Aljadhi’s ambitions led him abroad, first to Canada to study at George Brown College, then to Australia, where he was balancing his studies at Victoria University with working at restaurants while raising his child as a single father.
“I would drop my son off at kindergarten every morning before going to work. It was quite the challenge,” he recalls. “But I got help from my colleagues, many of whom were single parents as well.”
Despite challenges like the devastating fires in Australia in 2019, earthquakes, and the COVID-19 pandemic, Aljadhi’s determination never wavered. He returned to Saudi Arabia in 2022 and landed a position at The Ritz-Carlton Riyadh, fulfilling a long-held dream.
Chorisia Restaurant. (Supplied)
“I used to say I would come to The Ritz-Carlton and be a sous chef,” he says. “I even have a video from over 10 years ago where I made that promise to myself when I was at the hotel. And today, I’m where I dreamed to be.
“It’s nice to reach your dreams and goals in life. It makes me extremely happy,” he continues. “But I still have a lot of ambitions, and I’m working on a plan to achieve them.”
Breaking through societal stereotypes as a Saudi male chef, Aljadhi has earned respect and recognition for his accomplishments. “In our tribe, it wasn’t even allowed to work this job,” he shares. “But now, society accepts me after all that I’ve achieved. It has even become a trend now to be a chef.”
However, he points out, it’s not an easy job.
“People think chefs just cook, but that’s not true. A chef is like a physician, chemist, mathematician, and engineer all in one. For example, right now, I’m working on a cake that’s three by two meters for Saudi National Day. My team and I are measuring everything down to the millimeter. We’re even manufacturing custom molds that aren’t available in the market just to get this cake built. This job isn’t easy — it requires creativity and precision. Just like an engineer builds a building, we as chefs are building a plate and a dish.”
Here, Aljadhi discusses local cuisine, his favorite dish to cook, and his management style.
When you were starting out, what was the most common mistake you made?
My cutting technique was all wrong. How you hold a knife and cut is so important — it really affects the dish. For example, it can change the ratio of leachate in your ingredients. I used to cut my fingers a lot — I have plenty of scars to prove it. But once I learned the proper technique, everything changed. Now, the first thing I teach my Saudi trainees is how to handle a knife properly.
What’s your top tip for amateur chefs?
Specialize in what you love. That’s where you’ll really excel. Find your passion — it might be pastry or baking — and go after it. Focus on what you love and you’ll never get bored.
Moflaq Hasawi at AlOrjouan. (Supplied)
What one ingredient can instantly improve any dish?
When it comes to local dishes, ghee is the magic ingredient. As soon as you add it, the dish instantly gets better. We use it in so many things — kabsa, jareesh, and many other dishes. Authentic, local ghee especially has such a unique flavor. And for spices, coriander is my go-to. It works with so many dishes — falafel, kabsa, molokhiya, you name it. It just adds that extra something.
When you go out to eat, do you find yourself critiquing the food?
I’m really detail-oriented. For example, I love going to Italian restaurants, but I always notice the little things. If a fork or plate is missing from the table, especially in a fine-dining setting, it makes me feel like I’m not welcome. It might annoy the people I’m with, but I can’t help paying attention to those details. When you’re paying for a meal, you expect everything to be perfect. One thing that really stands out to me is how the flavors in the same dish can sometimes change. Maybe they switched the type of cheese or used a different supplier—whatever it is, I can tell right away. Consistency is key in the restaurant business. If the quality starts to vary, it can really hurt the restaurant. Customers expect the same great dish every time, and if that slips, it can cost the business in the long run.
What’s the most-common issue that you find in other restaurants?
Many don’t really understand how much revenue they’re actually bringing in. Not many people seem interested in learning how that financial flow works, even though there’s a lot of government support available to help with it.
When you go out to eat, what’s your favorite dish to order?
Neopolitan pizza. I’m actually opening my own pizza business, focused on making authentic pizza, just like in Italy. I learned from the best at a restaurant in Melbourne that’s been specializing in pizza for over 70 years. They taught me how to make pizza, pasta, and tiramisu the traditional way. It’s surprisingly simple, but it’s all about doing it the right way, starting with making the dough from scratch just like the Italians do.
What’s your go-to dish if you have to cook something quickly at home?
Something like what I had for dinner last night — steak with asparagus, broccoli and cherry tomatoes. It doesn’t even take five minutes. I just sear the steak for two minutes on each side to get it medium-rare, toss the veggies in the pan, and that’s it. Bon appétit!
What’s your favorite dish to cook and why?
I really love making pizza. I let the dough rest for three days to get it just right, and I take great care of it during that time. Everyone knows that when the weekend rolls around, it’s pizza time. I have pretty high standards for my pizza, so I always use the best quality ingredients. It makes all the difference.
What’s the most difficult dish for you to get right?
I honestly think Saudi dishes are some of the hardest to make because they take so much time. For example, margoog can take two to three hours, and jareesh can take up to five hours. Sure, you could make them faster, but the flavor just wouldn’t be the same. Kabsa is probably the easiest local dish to make, but even that takes about an hour and a half before you’re ready to eat.
As a leader, what are you like?
I love working in a positive, happy environment, and I try to bring that energy to the team. I make sure everyone is happy and satisfied. Of course, when mistakes happen, there are times when I can get frustrated. The first time, I’ll address it kindly. But if the same issue keeps happening, especially when it comes to hygiene, I might get a little irritated. I have to be sharp sometimes because, at the end of the day, I’m the manager.
When things do get stressful, I do my best to motivate the team and lighten the mood. I want them to present food with joy, not just treat it like another task. They can all cook, but if the food isn’t made with love, it won’t taste as good. The flavor just won’t be there.
Chef Saud’s mataziz recipe
INGREDIENTS
For the lamb broth:
900g lamb (shoulder or leg, cut into pieces); 2 tbsp olive oil; 1 onion, chopped; 3 cloves garlic, chopped; 3 carrots, cubed; 4 medium potatoes, peeled and cubed; 1L meat or vegetable stock; 2 tsp ground cumin; 1 tsp ground coriander; salt and pepper to taste; fresh parsley or dill for garnish.
For the mataziz dough: 3 cups all-purpose flour; 1 tsp salt; 1 cup warm water (adjust as needed); 2 tbsp olive oil (optional)
INSTRUCTIONS
For the lamb broth:
1. In a large pot, heat the olive oil over medium-high heat. Add the lamb pieces and leave until browned on all sides. Remove from the pan and set aside.
2. In the same pan, sauté the chopped onion until soft, then add the garlic and cook for another minute.
3. Return the browned lamb to the pan. Add the carrots, potatoes, and stock.
4. Stir in the cumin, coriander, salt and pepper. Bring to a boil, then reduce the heat, cover and simmer for 1.5 to 2 hours until the lamb is tender.
For the mataziz dough:
1. In a mixing bowl, combine the flour and salt. Gradually add warm water and mix until a dough forms.
2. Knead on a floured surface for about 5-10 minutes until smooth. Add olive oil for extra flavor and softness, if desired.
3. Cover the dough with a damp cloth and let it rest for about 30 minutes. This helps to relax the gluten.
4. Divide the dough into small balls (about the size of a golf ball).
5. Roll each ball out on a floured surface until very thin (about 1/8 inch thick) and cut to size for the dish.
6. Heat a skillet over medium-high heat.
7. Cook each rolled out dough for 4-8 minutes on each side until lightly browned and cooked through. They should be slightly puffed.
SERVING
Presentation is always an opportunity to show your creativity. My only advice is to reflect nature on the plate. Start with a circle of mataziz dough in the middle as a base for all the vegetables. Don’t forget to add black lemon as it gives a different flavor to the dish. Create a garden around it using meat broth. Add the lamb and add your touch of dill or coriander. The dish should be served hot.
DUBAI: Amid the ruins and chaos of Gaza, artist and designer Reem Harazin continues to weave the vibrant threads of Palestinian history into her work.
Her latest project, “Native” — a collaboration with the lifestyle brand Palestinian Hustle, is more than a collection of garments, it is an intricate portrayal of her people’s past and present, drawing on motifs that reflect and highlight the essence of Palestinian culture.
“Every element represents a unique facet of Palestinian history and civilization, woven together to form a vibrant narrative,” she tells Arab News. “These elements are inseparable, like the threads of a tapestry, intertwining to tell a continuous story that stretches from the past to the present.”
Her latest designs depict Palestine as it was before the 1948 occupation. (Supplied)
Her latest designs depict Palestine as it was before the 1948 occupation, showing cities unmarred by checkpoints or settlements, where people moved freely from the river to the sea.
The outer border of the “Native” T-shirt and hoodie line mirrors the walls of Jerusalem, while olive leaves like those in the pattern of the Keffiyeh — used to symbolize strength and resilience — form the inner frame.
Within the word “Native,” a fishnet pattern represents Palestinian heritage. The map of Palestine is laced with barbed wire to signify the barriers of separation across the country, alongside the keys of return held by Palestinian families and the Palestinian Liberation peace hand below.
To Harazin, the cultural elements reflected in her work are just a small part of the Palestinian people’s deep-rooted history, which she describes as being “as complex and interconnected as the branches of a tree.”
Within the word “Native,” a fishnet pattern represents Palestinian heritage. (Supplied)
She continues: “These roots are deeply embedded in the land, passed down from one generation to the next, carrying the Palestinian story forward.”
Behind the beauty of Harazin’s designs lies the harsh reality of survival in Gaza. The ongoing conflict has left her and countless others with an ever-present sense of danger.
“There’s no safe place here, not even in our own homes. Death is always lurking, a shadow that could swallow us whole in an instant,” she says.
Just days ago, she was injured while trying to escape a fresh round of violence. “It was a small injury, but it felt like a symbol of the chaos and fear we live with every day.”
Despite the constant turmoil, Harazin has found solace in her art.
“Art has been a lifeline for me,” she says. “Whenever war breaks out, I turn to drawing. It helps me process the fear, the pain, the constant barrage of negative thoughts. It’s a way to express what words can’t. It helps me remember who I was before the war; before everything changed.”
Harazin recalls picking up a pencil for the first time as a child, playing on the streets of Gaza. From those early, messy scribbles to the drawings that now capture her life story, art has always been an integral part of her life.
“I can still picture my first drawing — a strong Palestinian woman wearing traditional clothes and standing tall like a symbol of resistance. And next to her, always, was the map of our homeland, the place we dreamed of being free,” she says. That image — the strong Palestinian woman — remains a recurring theme in Harazin’s work today.
Her designs also use the rich, ancient patterns of traditional Palestinian clothing, known for bold reds, intricate embroidery, and symbols of resilience.
For Harazin, the connection between art and resistance is undeniable.
“Art is our voice, our way of saying, ‘We’re here. We matter,’” she says. “When words fail us, art speaks for us. It shows our pain, our struggles, and our unwavering spirit. Even in the darkest of times, art reminds us that there’s still beauty in the world.”
As the conflict intensifies, leaving Gaza has become nearly impossible for Harazin. She had planned to flee to Egypt, but the closure of the Rafah crossing and ongoing military operations in the area have eliminated that possibility.
“Our fate remains uncertain, and we don’t know what the future holds. All we can do is hope and pray,” she says. “In the darkest of times, we cling to our faith. It’s the only thing that keeps us going.”
Arthouse cinema opening soon in the heart of Saudi Arabia
Faisal Baltyuor discusses the launch of his passion project, Cinehouse
Updated 26 September 2024
Jasmine Bager
RIYADH: “I created Cinehouse because I wanted it for myself,” Saudi film producer Faisal Baltyuor tells Arab News from his headquarters in Riyadh. In October, Baltyuor is opening what he’s billing as the first arthouse cinema in the Kingdom.
Baltyuor — a film buff hailing from the Eastern Province — has been involved in some of Saudi Arabia’s most successful titles, including critically-acclaimed Netflix hits. But Cinehouse is more than just a business venture; it’s a passion project, designed to foster the kind of creative and immersive environment he himself would want to experience.
“Having it in Riyadh, the capital and the heart of the country, was important,” Baltyuor states. His focus, he says, is on building a thriving hub for filmmakers, and making it a go-to destination for those “coming from anywhere in Riyadh — even from the airport.”
Cinehouse’s first screening will be a never-before-publicly-shown 1975 documentary, “Development of Riyadh City,” by Saudi director Abdullah Al-Muheisen. To screen a documentary about Riyadh in Riyadh was a deliberate choice on Baltyuor’s part.
Hiring and nurturing Saudi talent is also a key pillar of the Cinehouse vision. The venue has committed to supporting local professionals across various roles from cinema staff to truly understanding the distinct Saudi audience, in order to ensure that Cinehouse remains a space where local talent is both celebrated and developed.
“We wanted to create a place that feels like home, while showcasing the best of Saudi talent in both cinema and dining,” Baltyuor says. It’s all in the name. But, he adds, “It’s not just putting a chair and watching a movie.” It is, quite literally, about the bigger picture.
Cinehouse is equipped with three screening rooms, all designed to provide an intimate setting. The Dolby Atmos sound system in each is state-of-the-art. In addition to the high-end cinematic environment, Cinehouse features a menu created by a Saudi chef.
“We’re creating a space where people feel like they belong,” Baltyuor says.
Baltyuor has a team of five trusted members who will select the films to be screened each month. Cinehouse will always include a local Saudi and Middle Eastern entry as well as top films from around the world. October’s films include Jonathan Glazer’s “The Zone of Interest,” Ryoo Seung-wan’s “The Executioner,” Aki Karuismaki’s “Fallen Leaves,” and Yemeni director Amr Gamal’s “The Burdened.”
FAISAL BALTYUOR’S FIVE MUST-SEE MOVIES
‘The Godfather’
I don't think there’s a single person who doesn't know how the great director Frances Ford Coppola, with this film, influenced lovers of artistic cinema — to the point that it turned into a cinematic icon that was, and still is, high up the lists of the best films in history.
‘The Shawshank Redemption’
What I love most about this cinematic masterpiece is that it’s an ordinary story about hope, which the little-known director Frank Darabont transformed into a great film. Could Stephen King have imagined, when he wrote “Rita Hayworth and Shawshank Redemption,” what it would become? I don't know. But, as Andy Dufresne says: “Remember, Red, hope is a good thing. Maybe the best of things, and no good thing ever dies.”
‘Inception’
Christopher Nolan’s visual world — which revolves around memory, mind and the nature of the human psyche — always aims to explore topics within the framework of a social-philosophical plot in an attempt to reach the truth of man, time and identity in an artistic way. In this film, he took inspiration from the architectural compositions of the works of the Dutch artist M. C. Escher.
‘Past Lives’
In South Korean culture, the concept of In-Yun is one similar to fate, which suggests that nothing is coincidental and every single meeting is mainly the result of meetings that happened in previous lives. That’s what’s at the heart of Celine Song’s romantic drama.
‘Ratatouille’
This is a must-see because Pixar, and even Walt Disney Pictures, have not yet produced a better film than this animation in all its aspects — the story, the imagery, the technology, and the acoustics.
