ATHENS: Authorities in Greece have arrested six people on the island of Crete in connection with an alleged antiquities smuggling ring that was attempting to sell dozens of ancient artifacts, police said Thursday.
The arrests came after a sting operation on Wednesday, during which the suspects were reportedly trying to sell a collection of antiquities. Investigators say the group operated as a coordinated criminal network, with clearly defined roles, including a leader, go-betweens, and a designated transporter.
Among the recovered items were 15 ancient oil lamps, 17 figurines or fragments, several ceramic vessels, and a marble sculpture believed to depict a child’s head. All are thought to date from various periods of ancient Greek history and will be assessed by a state archaeological service.
Police also confiscated metal detectors and scanning equipment believed to have been used to locate buried relics, as well as firearms, ammunition, quantities of cannabis, and more than 3,000 euros ($3,200) in cash.
Greece, known for its rich archaeological heritage, has long battled the illicit trade in antiquities. Despite strict national laws, such artifacts remain highly sought-after on the international black market.
All six suspects are facing multiple charges, including membership in a criminal organization and breaches of cultural heritage protection legislation.
Dozens of ancient artifacts seized in Greek island smuggling raid
https://arab.news/b89rr
Dozens of ancient artifacts seized in Greek island smuggling raid
- Among the recovered items were 15 ancient oil lamps, 17 figurines or fragments
- Police also confiscated metal detectors and scanning equipment believed to have been used to locate buried relics
Deaf artist breaks barriers with solo debut in Jeddah
- Elham Abu Talib shares vision through her expressive works
JEDDAH: “It’s never too late to follow your dream,” says Elham Abu Talib, who has held her first solo exhibition in Jeddah after 38 years.
The Saudi artist is no stranger to the local art scene, having taken part in exhibitions across the Kingdom and overcome the barriers accompanying being severely deaf.
And at the Saudi Arabian Society of Culture and Arts in Jeddah on Sunday, Abu Talib showcased more than 40 paintings to leading artists and lovers of the genre.
Titled “Inspiration,” the exhibition marked a milestone, presenting her work to the public while highlighting her artistic journey amid years of persistence.
HIGHLIGHT
Abu Talib hopes to represent the Kingdom in international competitions. She also hopes the arts society will continue supporting disabled and female artists by providing platforms for their creativity.
Her passion began in childhood, when natural talent blossomed into fine art shaped by a beautiful dream. She lost her hearing as a child and faced speech difficulties, but met her challenges with patience, courage, and ambition.
Determined to express herself, she used a brush and colors as her voice — turning her childhood dreams into vivid reality.
She shared that hearing loss kept her from entering university, but her late father convinced her it did not mean giving up her ambitions.
Inspired by his words, she began participating in exhibitions while raising her children and fulfilling her duties as a mother.
She believes her disability has sharpened her visual perception — a gift she channels into her art.
“I’m so happy that, after 38 years, my dream has come true with this solo exhibition,” she said. “I thank the Saudi Arabian Society of Culture and Arts in Jeddah for giving me this opportunity.”
Abu Talib hopes to represent the Kingdom in international competitions. She also hopes the arts society will continue supporting disabled and female artists by providing platforms for their creativity.
Maha Abdulhalim Radwi, secretary-general of the Radwi Art Prize, said the artist had finally achieved a major milestone, adding: “This event allowed her to showcase her unique perspective and creative talent to a wider audience, proving that art transcends communication barriers.”
Mohammed Al-Subaih, the director general of the SASCA, said Abu Talib had dreamed of a solo exhibition for nearly four decades — and was now finally living that dream.
He added: “She’s participated with us in many workshops and group exhibitions; now it’s time to celebrate her first solo show.
“She deserves all the support and encouragement.”
Saudi artist Ahaad Alamoudi presents ‘The Social Health Club’ in Basel
RIYADH: This month, Saudi artist Ahaad Alamoudi is turning up the heat at Basel Social Club — which runs until June 21 in the Swiss city — with her latest installation, “The Social Health Club.”
Freshly conceived, but rooted in the artist’s past works, the yellow-drenched installation offers a layered, sensory experience — and sharp cultural commentary — as well as a first for the artist: a live-performance element.
Jeddah-based Alamoudi is known for creating immersive multimedia installations drawing from and exploring the complex dynamics of her evolving homeland. “The Social Health Club” is built around pieces found in Jeddah’s Haraj market in 2018 — a range of exercise equipment including a rowing machine.
“These are pieces I collected from thrifting. I like the fact that no instructions came with the machines — I don’t have their name or the source of where they came from or who made them. But they’ve become part of the urban landscape that I’ve been in. And I was trying to create fun within the space,” Alamoudi told Arab News.
In “The Social Health Club,” the equipment, painted predominantly in vibrantly-saturated monochrome yellow, stands untouched, serving as symbols of a culture obsessed with self-optimization. At the core of the installation is a cameo from a yellow-painted iron previously featured in her 2020 video work “Makwah Man.” (Makwah means iron in Arabic.)
“A lot of my pieces stem from a narrative I create within a video. In ‘Makwah Man,’ this man wearing a yellow thobe is ironing a long piece of yellow fabric in the middle of the desert. And as he’s ironing, he tells us how to live our lives. But in the process of him telling us how to live our lives, he also starts questioning his own in the process — understanding the role of power, understanding the pressure of change, adaptation,” Alamoudi explained.
“The yellow exists within the video piece, but he’s also wearing yellow thobe in the video piece. And (in this iteration at Art Basel) there’s also a rack of yellow thobes twirling in the exhibition. For me, the yellow thobe is like a unifying symbol. I’m trying to say that we’re all experiencing this in different ways. So in the performance (for “The Social Health Club”) a man (a local body builder) in a yellow thobe will be performing on these machines. He has no rule book. He doesn’t know anything; he doesn’t know how to ‘properly’ use the equipment. He’s going to go into the space and do things with the machines.
“The performance will be recorded. But I think it’s more like an activation,” she continued. “It’s not the piece itself. The piece itself exists as the machines.”
“The Social Health Club” was shaped through close collaboration with curator Amal Khalaf, who combed Jeddah’s market with Alamoudi in search of “machines that were a little bit abnormal, like not your typical machines that people would directly know what it is in the gym,” Alamoudi said.
“She’s quite incredible,” she continued. “And we really built the space together. Essentially, the main thing that I created was the video; everything else was built off of that. She really helped. She really looked at social change and how we navigate that. Our collaboration was perfect.”
Yellow dominates every inch of the piece—deliberately and intensely.
“I obsess over symbols within certain works I create. And with that also comes a color,” Alamoudi said. “I wanted to showcase something that was luxurious, colorful, almost like gold, but it’s not gold. It’s quite stark in its appearance.”
Yellow is both invitation and warning. “I think that yellow is also quite deceptive. I like it as a color to get people excited to come closer and see what’s happening, but at the same time question what it is — it’s so aggressive that it becomes a bit uncomfortable.”
The viewer’s interaction is critical to the piece’s meaning.
“I think the machines represent something and they carry something, but they really are activated by the people — what people are doing with them,” Alamoudi said. “And that’s why I’m encouraging a lot of viewers to engage with and use the pieces, or try to use them without any instruction. A lot of people entering into the space (might) fear even touching or engaging with them. Having the performer there activating the structures is going to add another layer to the piece itself.”
She hopes visitors feel free to explore, unburdened by expectations.
“People are meant to use it any way that they want to use it. They can sit on it, stand on it, touch it — they can leave it alone,” she concluded with a laugh.
Ancient Malian city celebrates annual replastering of mosque
- The annual replastering with “banco” — a mix of earth and water — shields the mosque from harsh weather
DJÉNNÉ, Mali: Thousands of Malians have replastered the iconic earthen mosque in the historic city of Djenne during an annual ceremony that helps preserve the World Heritage site.
To the sound of drums and festive music, townsmen on Thursday coated the towering three-minaret mosque with fresh mud plaster.
The annual replastering with “banco” — a mix of earth and water — shields the mosque from harsh weather ahead of the Sahel region’s often violent rainy season.
“This mosque belongs to the whole world,” said Aboubacar Sidiki Djiteye, his face streaked with mud as he joined the “unifying” ritual.
“There’s no bigger event in Djenne than this,” he told AFP.
“Replastering the mosque is a tradition handed down from generation to generation,” said Bayini Yaro, one of the women tasked with carrying water for the plaster mix.
Locals prepared the mix themselves, combining water, earth, rice bran, shea butter and baobab powder — a hallmark of Sahel-Sudanese architecture.
Chief mason Mafoune Djenepo inspected the fresh coating.
“The importance of this mosque is immense. It’s the image on all Malian stamps,” he said.
A blessing ceremony followed the replastering, with Qur’anic verses recited in the mosque courtyard. Participants then shared dates and sweets.
First erected in the 13th century and rebuilt in 1907, the mosque is considered the world’s largest earthen structure, according to the United Nations’ cultural body, UNESCO.
Djenne, home to around 40,000 residents and known for preserving its traditional banco houses, has been on UNESCO’s World Heritage list since 1988.
The site was added to the endangered heritage list in 2016 due to its location in central Mali, where jihadist fighters linked to Al-Qaeda and the Daesh group, as well as ethnic militias and criminal gangs, have waged a violent insurgency since 2012.
‘The Arts Tower’ brings new meaning and color to Riyadh’s Sports Boulevard
- For Gharem, Saudi Arabia’s Vision 2030, like “The Arts Tower,” constantly lifts eyes upward, motivating people to leap from the familiar into the unexpected, pushing them to embrace the future with imagination
RIYADH: As you venture down the promenade of the capital’s latest attraction, Sports Boulevard, a new landmark is sure to catch your eye.
A tower at the intersection of Prince Mohammed bin Salman bin Abdulaziz Road and Prince Turki bin Abdulaziz Al-Awwal Road bursts with color and character.
The mind behind this work, named “The Arts Tower,” is renowned Saudi artist Abdulnasser Gharem, who has centered the mundane within the architectural landscape early on in his career with works like “Siraat” (The Path) and “Road to Makkah.”
Gharem told Arab News: “This piece is a witness to the transformation that’s happening here. It’s a symbol of investment into the cultural infrastructure as proof of how important that is to any society or community. I think the tower represents this transformation, especially that it, in itself, transforms one of the symbols of energy into a beacon for creative expression.”
Previously one of numerous 83.5-meter electricity pylons, the tower was meant to be removed for the sake of the Sports Boulevard project.
“I asked if I could have one,” Gharem said, explaining that, as one of the nominated artists to propose a work to beautify the boulevard, he was keen to use the existing structure.
HIGHLIGHTS
• The selected proposal features a total of 691 colored panels that were installed to bring the tower’s vibrant facade to life.
• The pieces used are all related to the grand narrative of the Kingdom, including economic diversity, cultural transformations, and social changes.
Author and curator Nato Thompson said about the work in a statement: “By repurposing a symbol of energy infrastructure and turning it into a beacon of artistic expression, Gharem highlights the evolving role of culture and art in Saudi Arabia’s development journey.
“It stands as living proof of the Kingdom’s commitment to nurturing its cultural landscape, making arts and creativity an inseparable part of its identity just as oil and energy were in the past.”
The selected proposal features a total of 691 colored panels that were installed to bring the tower’s vibrant facade to life.
It utilizes elements from Saudi architecture and patterns we recognize from our old homes, primarily the triangular shape.
“I was lucky that the tower was made up of triangles, which is a geometrical shape that brings together the different regions of the Kingdom and the historical features of our beginnings, so it’s a symbol of unity,” Gharem said.
The pieces used are all related to the grand narrative of the Kingdom, including economic diversity, cultural transformations, and social changes.
This piece is a witness to the transformation that’s happening here. It’s a symbol of investment into the cultural infrastructure as proof of how important that is to any society or community.
Abdulnasser Gharem, Saudi artist
“The colors are alluding to the connection between our history and heritage and the concepts of cheerfulness and mental hospitality. A tower always forces you to look up.”
For Gharem, Saudi Arabia’s Vision 2030, like “The Arts Tower,” constantly lifts eyes upward, motivating people to leap from the familiar into the unexpected, pushing them to embrace the future with imagination.
“The piece is based on sunlight,” he said. “The daylight gives a completely, completely different dimension to the work compared to its urban illumination during the night.
“The colors do not just appear; they shift, transform, and come alive in different ways throughout the day. Here, nature becomes a crucial element to the structure.”
Even the wind has played a part in determining the number and placement of the colored pieces used. “It taught me that there needs to be some gaps in order to allow the piece to breathe and I was forced to humble myself upon the power of nature.
“The wind became my partner in design,” he said.
“The Arts Tower” is designed to make people feel represented and connected.
While the Sports Boulevard promotes physical activity, the creative landmark serves a deeper purpose: it is a thoughtful space meant to inspire human interaction and community — and more importantly, invite them to slow down, engage, and ponder the future.
“Culture is one of the key factors for our country’s development path. At the end of the day, culture is just as important as energy. It’s worth investing in, and it’s a certificate that the Kingdom is committed to nurturing its cultural scene,” Gharem said.
Egyptian film ‘Happy Birthday’ takes top honors at Tribeca Film Festival
DUBAI: Egyptian film “Happy Birthday,” the debut feature by writer-director Sarah Goher, this week took two of the international festival’s top honors — for best international narrative feature and for best screenplay.
The film, which stars Nelly Karim, Hanan Motawie, Hanan Youssef and Doha Ramadan, tells the story of Toha, an eight-year-old girl working as a child maid for a wealthy family in Cairo. She forms a close bond with the family’s daughter, Nelly, and becomes determined to give her the perfect birthday — something Toha herself has never experienced.
As her connection with Nelly’s mother begins to blur the lines of class and duty, Toha is forced to confront the stark social hierarchies of modern Egypt.
Goher co-wrote the film with acclaimed Egyptian director Mohamed Diab, internationally recognized for Marvel’s “Moon Knight.” Diab also took on the role of executive producer.
