Printmaking takes center stage at JAX District exhibition

1 / 6
At Printworks — hosted by the Personage concept store and studio —artists, designers and architects are presenting their print-based creations to the public. (Supplied)
Short Url
Updated 24 April 2025
Follow

Printmaking takes center stage at JAX District exhibition

  • Live screen-printing studio teaches public about processes
  • Curator urges support and opportunities for local creatives

RIYADH: In a corner of JAX, Riyadh’s art district, there is an open-door policy for art enthusiasts and culture aficionados to explore the diversity of the printmaking world.

At Printworks — hosted by the Personage concept store and studio —artists, designers and architects are presenting their print-based creations to the public.

The aim is to celebrate the work of the artists and engage the public.

When curator Koren Dasoar and guest curator Dana Qabbani came together for the project, they had the aim of “really doing things that are not just for the sake of it.”

Dasoar told Arab News they are not seeking “applause, but really are conscious of people’s feelings, supporting people and building quality.”

They saw a gap in the art community: a space that caters to emerging artists.

Qabbani told Arab News: “Speaking with all of the young artists and the established ones, people are down.

“People feel they’re not doing enough to appear enough … We felt that there’s a disconnect, even with all the amazing things that’ve been happening in the scene.”

Dasoar added: “We shouldn’t wait for a large format activation or event to happen for creativity to happen.

“It’s about it being constant small- to mid-scale activities that allow people that have a growing creative practice to be able to constantly create and showcase.”

Printmaking itself is a unifier of crafts, the curators say.

It “makes you use your hands physically, and therefore the process is longer than just clicking ‘print’ and having the artwork come out.

“There is more of a practice; it’s more sacred because it slows you down. You’re making the art in slow motion,” Qabbani said.

Dasoar explained: “Print is something that I feel is completely interdisciplinary, multidisciplinary and cross-medium.

“It’s something that has value in the context of artists, architects, industrial designers, product designers, and even the broader creative spectrum of writers, printers, poets.

“Print is a medium that is far-reaching. It also is something that, from a functional standpoint, allows that to be a degree of repetition, meaning that we can create repeats.

“But it’s also something that I think is quite interesting in the contemporary context, for that it takes different mediums from different practices, funnels it through a digital and non-digital medium, and translates it into something that is physical.”

The initiative aims to bring people back to a core idea of loving creativity and making art, or simply having the desire to create.

For aspiring artists to truly thrive, “there needs to be multiple points of contemplation and multiple points of creation,” Dasoar said.

“There is space for everyone, and we have a shared responsibility to support talent, nurture growth, and create opportunities for success.”

These notions manifested in Personage having an open-door policy for such events.

In this edition, the featured artists include Hayat Osama, Naif Alquba, Mohammed Zkria, Abdullah Al-Amoudi, Salman Najem, Abdullah Al-Khorayef, the sibling-led collective TwoMeem, and Shaddah Design Studio’s Il Mushtarayat.

The program allows members of the public to see how their purchased pieces are produced, as each print is made-to-order. The event also creates a space to ask questions in a more conversational setting.

“Community isn’t built in rows of chairs,” Dasoar said.

Printworks functions in two sections. The first is in existing artworks created by the artist, studio, designer or practitioner, ranging from risograph prints, screenprints, and photographic print.

The other section is an on-site, live screen-printing studio where members of the public are able to drop in and learn more about the artists, the ink, and the printing process itself.

All the works, including the print-on-demand pieces, which will be available on a limited-run basis, are part of an exhibition running until the end of April.

“We have a portion of the artists that are just in the exhibition segment, and we have several artists that have been the collaborators on the screens that are on the print and demand,” Dasoar said.

The event has talks and workshops by various creatives including Dasoar and Cristian Checcanin, the art director at TOLD, the agency behind the design of Saudi Arabia’s riyal logo.

While this is the first edition of Printworks, the goal is to create an event every month with a new, diverse set of artists and curators who can bring in fresh ideas and concepts.

This type of activation is connected to a core pillar of Personage’s mission and identity.

As a space that exists at the intersection of concept store, creative studio, and cultural platform, Personage is fundamentally about bringing people together — bridging disciplines, creative practices, and perspectives.

“We believe that the creative industry truly blossoms when we support its practitioners, while also allowing patrons and buyers to grow, connect, and engage through experiencing — and investing in — the outcomes of creativity.

“In this way, we nurture both the creators and the community that surrounds and uplifts them,” Dasoar said.


Role of culture in governance highlighted at Culture Summit Abu Dhabi

Updated 27 April 2025
Follow

Role of culture in governance highlighted at Culture Summit Abu Dhabi

ABU DHABI: World leaders discussed how culture can transform global challenges at the seventh edition of the Culture Summit Abu Dhabi.

The summit — which opened on Sunday in the heart of Abu Dhabi’s culture district at the Manarat Al-Saadiyat — is hosting a range of panels and discussions exploring the theme “Culture for Humanity and Beyond.”

One of the panels featured former world leaders discussing the role of culture within global governance.

Former Slovak Prime Minister Iveta Radicova set the tone at the “Bridging the Cultural Gap: The Role of Culture in Shaping Global Governance” panel, saying that “400 years ago, there were 800 million people on the planet. Today, it’s 8 billion, divided into 195 states and 6,000 different community groups with their own languages and cultures.”

The panel featured former world leaders discussing the role of culture within global governance. AN Photo

New Zealand’s former Prime Minister Jenny Shipley emphasized the importance of inclusive leadership, sharing her country’s successful model of integrating Maori cultural heritage into national governance.

She noted that leadership must be “intentional” about diversity. “I always start with the ‘I’,” she explained, “because if you’re not a committed, inclusive leader, you will not get to the destination of equity.”

Former President of Mauritius Cassam Uteem illustrated how cultural diplomacy works in practice, sharing how his small island nation has played a major role in international cultural politics. He highlighted Mauritius’ participation in UNESCO, bringing perspectives of small, developing island states into global discussions.

The panelists unanimously agreed that traditional international institutions are ill-equipped to handle today’s complex cultural landscape. They called for more innovative approaches that place culture at the center of global governance, rather than treating it as a peripheral concern.

“Culture is the mirror of human existence and the producer of new dreams, and without dreams, we lose our human dignity,” said Radicova.

A recurring theme was the need to combat misinformation and protect cultural authenticity in an era of tech moguls ruling the roost and advancements in artificial intelligence.

“If you would like to build social cohesion and solidarity around the world, you have to fight for the truth, and openly, without dancing around, with courage and really verified arguments,” said Radicova.


Hazem Harb explores displacement and memory in new Dubai exhibition

Updated 26 April 2025
Follow

Hazem Harb explores displacement and memory in new Dubai exhibition

DUBAI: In his new exhibition, “Not There, Yet Felt,” at Tabari Artspace in Dubai, the Palestinian artist Hazem Harb is making things personal, both literally and figuratively, exploring the theme of displacement.

“It’s an out-of-body experience. I’m here and I’m not here,” he told Arab News. Harb is feeling torn; while his life and studio are physically based in Dubai, his heart and mind are emotionally attached to his birthplace of Gaza. 

The show, on view until May 27, is lined with a series of aluminium self-portraits, based on silhouettes of the artist’s head and upper chest. Instead of seeing detailed facial features, the silhouettes are black, filled with images of colorful walls of Harb’s family home, which was destroyed as a result of the continuing Israeli assault. Such details of the walls, which were photographed by Harb’s nephew and a photojournalist in Gaza, took him by surprise. “I had no idea we had shades of blue, pink and yellow in the house,” he said. “There are so many layers and memories in that house.” 

Above this series of self-portraits, a central neon artwork reads “Hope Is Power,” yet ‘power’ is flickering, indicating uncertainty and a loss of normalcy in daily life. Another instance of disturbance can be sensed in a large self-portrait, printed on paper and hanging on the wall, where the end parts of the paper are intensely crumpled. Exploring the multi-layered idea of peeling, there is also a group of calming, hand-made collage works, where wall peelings resemble figurative shapes. 

Unlike his solo exhibition last year, in which there was a heady showcase of violently passionate work, entering Harb’s new show has a lighter, romantic feel, thanks to the gentle and romantic hues and language used. “Your Skin Is My Homeland,” a wall text reads. In the back room of the gallery, Harb is also presenting figurative paintings he made 20 years ago, resembling the flowing forms he experimented with for his new exhibition. 

Despite the uncertainty felt by the artist, there is a glimmer of hope. One piece that shows this is a large work, where a body (made of medical gauze) stands still, carrying emotional wounds yet rising from the ashes. “The show is a statement. I felt a responsibility,” he said. “The whole world, not just Palestine, is in a very critical time, and I was thinking about the role of art in a sensitive, genocidal time. Art is a way to say something and is a part of history, an archive for the future.” 


UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’

Updated 25 April 2025
Follow

UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’

  • Third installment of popular franchise will be released in November

DUBAI: The UAE has landed a starring role in the upcoming Hollywood film “Now You See Me: Now You Don’t,” with scenes filmed in the capital city Abu Dhabi.

The production, which will be released in November, wrapped up a 13-day shoot at several of the capital’s landmark locations, according to the Creative Media Authority on Thursday. 

The film, which is packed with high-stakes heist scenes, was shot at destinations including the Louvre Abu Dhabi, Sheikh Zayed Bridge, the Liwa Desert, Ferrari World Abu Dhabi, CLYMB, Yas Marina Circuit, W Abu Dhabi — Yas Island, and various city streets.

The third installment of the popular franchise, directed by US filmmaker Ruben Fleischer, brings back Jesse Eisenberg, Woody Harrelson, Dave Franco, and Morgan Freeman in their previous roles, joined by an ensemble cast that includes Justice Smith, Dominic Sessa, Ariana Greenblatt, and Rosamund Pike.


Saudi historical highlights on display at Abu Dhabi Book Fair 

Updated 25 April 2025
Follow

Saudi historical highlights on display at Abu Dhabi Book Fair 

  • Selections from London-based rare-book dealer Peter Harrington’s offering at the UAE fair, April 26 to May 5 

‘The Holy Mosque at Makkah’ 

With a foreword by former Saudi Minister of Finance Sheikh Mohammed Abalkhail and images by the award-winning African photojournalist Mohamed Amin, this “sumptuous production” tracks the quarter century of restoration of the Sacred Mosque and Holy Kaaba in Makkah in the mid-20th century. “The text contains a historical description of the Holy Kaaba, Masjid al-Haram, a summary of recent construction in the Saudi era, and architectural notes, with the rest of the volume dedicated to Amin’s photographs, presenting detailed views of the diverse and extensive developments,” the book dealer’s notes state. Amin was “the first photographer to be given access to document the Hajj and among the first to photograph sections of the Holy Mosques of Makkah and Madinah. Over three years during the 1970s, he travelled by camel, helicopter, car and on foot to Madinah, Arafat, and Makkah.” 

Confidential reports from the First and Third Arab Petroleum congresses 

The historical global significance of the first Arab Petroleum Congress in 1959 cannot be understated. It was here that the idea of an oil-producing organization (an idea that eventually turned into OPEC) was introduced. “During proceedings, the influential oil journalist Wanda Jablonski introduced Saudi Arabia’s Abdullah Tariki to Venezuela’s Juan Pablo Perez Alfonzo, both of whom were upset by recent price cuts. They rallied delegates to sign the secret Maadi Pact, suggesting a Petroleum Consultation Commission to coordinate producer responses. This laid the groundwork for the 1960 Baghdad Conference, at which OPEC was officially formed,” the book dealer’s notes state. This grouping of documents contains in-house reports from Aramco on that congress, and the Third Arab Petroleum Congress in Dec. 1961, as well as other Aramco-produced materials from 1956-1961. 

Photographic archive and reports from the recommissioning of the Hejaz Railway 

The book dealer describes this collection as “a unique archive relating to the earliest post-war attempt to reconstruct the Hejaz railway and link Damascus with Madinah.” The last train to travel the full length of the railway was reportedly in 1925, after which “the line south of Mudawwara was washed away, and the conflicts that led to the creation of Saudi Arabia in 1932 dampened collective efforts at reconstruction.” The archive includes previously unpublished photos and original reports issued by the International Resources Engineering and Exploration Group, which was awarded to contract to design the project in 1956. “Coverage is particularly detailed for central and northern Saudi Arabia, especially the area around Mada’in Salih and Khur Himar,” the dealer states, and includes images of the party meeting with local officials including the rulers of AlUla and Tabuk. 

A collection of magic lantern slides by Harry St John Bridger Philby & Alec Horace Edward Litton Holt 

The British intelligence officer Philby — who served as an advisor to Saudi Arabia’s founder, King Abdulaziz Ibn Saud — and the engineer and explorer Holt travelled 600 miles together in 1922 through the desert via Al-Jawf province in Saudi Arabia “at the height of increasing tensions between Ibn Saud and the Hashemites.” These 23 slides were, the book dealer believes, likely used to illustrate the presentation the pair gave about their journey before the Royal Geographic Society in the UK on Feb. 12, 1923. “The collection shows Holt and Philby in Arab dress; Ford cars and aeroplanes at Jidd, desert scenes, a Ford condenser, and ploughing for landing fields, among others.” 

Aramco educational PR pack 

In an attempt to attract US students and graduates in the Sixties and Seventies, Aramco produced several collections of promotional material that included posters much like this one, which it distributed to schools and universities in the States. “The lively posters explore the history of Saudi Arabia and the company’s operations, each illustrated with photographs of historical figures (including T. E. Lawrence), company personnel and oil wells, and Saudi architecture,” the book dealer states.  


‘Adaptability’ at SAMoCA shows ‘the similarity between clay and humans’ 

Updated 25 April 2025
Follow

‘Adaptability’ at SAMoCA shows ‘the similarity between clay and humans’ 

  • Exhibition showcases ceramic works by 11 Arab artists  

RIYADH: The Saudi Arabian Museum of Contemporary Art in Riyadh is currently hosting “Adaptability,” an exhibition of work in clay by 11 artists from five different Arab countries, each offering their unique perspective on our relationship with the material. The show runs until May 20. 

“This exhibition beautifully illustrates the adaptability of clay, showcasing human creativity and our capacity for enduring change across cultures and civilizations,” curator Samer Yamani told Arab News. “It shows the similarity between clay and humans: We both are so strong, but fragile, and the higher the fire gets, the stronger we get — we adapt to new circumstances and new things happening in life; we are able to innovate and to be present.”  

The show is laid out in three circles. The inner one includes work that expresses inner thoughts and emotions; the middle explores topics related to communities, culture, and life; the outer circle addresses heritage, urbanism, and sustainability.  

Hana El-Sagini's 'The Doctor's Desk.' (Supplied)

“Clay is such a malleable material that you can shape through many different forms — hand-made, technological, mechanical… so it’s interesting to see all the different ways that the various artists have used or thought about clay; some more technical, some to express more emotional stories. The dialogue between the different ways of thinking with the same material is very interesting,” participating Jordanian artist Sama Alsaket told Arab News.  

Alsaket’s piece, found in the middle circle, is titled “Shades of Terracotta” and was constructed from five different types of clay sourced from her home country. Combining her background in architecture with visual art, her work is intended to spark discourse around handmade, digital, and industrial processes.  

“My work focuses on researching the different kinds of clay in Jordan and documenting traditional techniques there,” she said. “Through exploring these kinds of clay, which are iron-rich and usually used for terracotta, I was thinking about how to translate a vessel which is usually made out of terracotta and used to store water into something that is vertical. I was also thinking about how to leverage the different qualities and characteristics of terracotta in architecture.”  

She added: “Riyadh seems like such an amazing platform for artists and they’re trying to shape and think about what contemporary art in the Middle East is.”  

Sama Alsaket's ‘Shades of Terracotta.’ (Supplied)

Egyptian artist Hana El-Sagini’s “The Doctor’s Desk” also features in the exhibition.  

“It’s a reflection on illness as a female,” El-Sagini told Arab News. “I was a cancer patient and as a Middle Eastern Muslim woman you kind of protect your body and it’s very sacred, but once you become a patient, things totally change. You become this object they need to fix, which is very noble of them, but it’s a very overwhelming experience for us. Anyone who’s going through adversity goes through surreal ideas of reality versus illusion and ‘Is this really happening to me?’ Like with heartbreak, or the death of a loved one, or illness — all of these — you find yourself in a surreal state. This is why there are a lot of fingers in the work.” 

The work is playful as well, she added. “I’m Egyptian, so I need to have that dark humor.”  

El-Sagini is better known as a painter. In fact, “The Doctor’s Desk” is her first ceramic work.  

“It was the right medium for this work: it’s fragile, it’s real, it’s malleable, raw, and very expressive,” she said. “It’s not perfect. It’s kind of a reflection on the human form.”