For the second year in a row, the Jeddah Art Week (JAW) has been a successful event, exhibiting more than 50 different works of art made by local, regional and internationally celebrated artists.
The event kicked off on Feb. 1, with a turnout of more than 12,000 during its six-day run.
The event was held under the patronage of the Ministry of Culture and Information and the Abdul Latif Jameel Community Initiatives.
The Saudi Society for Culture and Arts, in collaboration with Sotheby’s, Edge of Arabia Projects and Arabian Wings, intend to build on the success of last year’s inaugural event, which saw 1,500 people attend.
On display was one of the biggest calligraphy and graffiti pieces made by Tunisian calligrafitti artist, Elseed.
The artist used a Saudi poem and different shades of pink spray paint and worked his magic on one of the old buildings located on the Jeddah downtown area.
Hundreds of Jeddawis attended the event.
“I used the help of five Saudi street artists to help me with filling the color. My main goal is to to inspire them to go bigger and I want to tutor them. This is my way of giving back to the community,” he said. “This, to me, is more interesting than the project itself,” he said.
The audience also attended the unveiling of Jeddah’s open-air museum on the same day. The initiative was launched by Abdul Latif Jameel Community and the Jeddah Municipality, which worked hand in hand to restore the sculptures that dot the waterfront in a bid to improve the visual ambience of Jeddah’s Corniche.
The sculptures include the works of famous artist Henry Moore (UK), Victor Vazarelly and Cesar Baldicini (France), Joan Miro (Spain), Alexander Calder (US) and Jane ARB (Germany), and Arab artists, including Mustafa Sunbul (Egypt) and Rabia Al-Akhras (Syria). The sculptures have been around since the 1980s.
The second day marked the grand opening of JAW 2014 at the Park Hyatt Al-Furusiyah, which featured 12 different exhibitions.
Kakaibang Jeddah, Filipino for “unique Jeddah,” stole the spotlight with their work, which was made by the Filipino community living in Jeddah.
The photography exhibition showcased photos taken around Jeddah, where 15 Filipino photographers exhibited their work for the first time to the public. Even the minister of Labor praised their artistic talent. “I was pleasantly surprised with the various artwork that was presented by Filipino workers. I think it is one of the things that we should work on more,” Fakeih said.
“We want to encourage our guest workers to share their experiences living in Saudi cities and encourage cultural interaction with our society,” he said.
He said this would enrich their lives. “This is a step in the right direction and the Ministry of Labor is going to further encourage various communities to participate in Saudi Arabia’s cultural activities.”
Khalid Zahid hosted his first solo exhibition entitled “I Dream Kingdom,” with five different art pieces that expresses the artist’s opinion about social issues in Saudi Arabia. “It reflects what I see happening in Saudi Arabia in the future. I see a better and positive direction with the Saudi labor force and women rights, including women driving,” he said.
“JAW combines very strong international galleries and artists with local talents and I thought this was the perfect opportunity to launch my first solo exhibition,” he added.
Another solo exhibition that caught the eyes of the audience was the work by Wasma Mansour titled Single Saudi Women, which is an ongoing photographic study of single Saudi women living in London. It is an interrogation of the stereotypical representation of women from her native country.
Artist and writer Saad Bin Mohammed contributed to JAW with a piece entitled “heaven is a state of mind, only freedom proves it.”
The artwork is part of a collection called “rebelling heaven.”
“In this specific painting, I’m saying heaven is just a state of mind that only freedom proves it. This man in the painting is standing in his own heaven with his knowledge and his wisdom, which is what the awl represents, and he is giving his back to his own heaven seeking freedom,” he said.
“I am associating freedom with heaven; there is no absolute freedom unless there is heaven. The mirrors are there to emphasize the main concept of the painting for you to put yourself in his shoes. If you find your freedom, you are in heaven,” he added.
JAW also presented Sotheby’s Exhibition Highlights from its upcoming contemporary art auction in Doha, including works by Ali Bandisadr, Jannane Al Ani, Mounir Fatmi, Damian Hirst, Hayv Kahraman, and Khalil Rabah.
The third day began early, where Dar Al-Hekma University and Ibraaz, an online publishing forum initiated by the Kamel Lazaar Foundatio, hosted a one-day conference on contemporary art and its historical development.
There was an international gathering of speakers that looked at the background behind contemporary art and its global development, specifically in the MENA region. The five-hour conference discussed markets for contemporary art, collecting art and the development of new institutions across the MENA region.
All discussions were chaired by Dr. Anthony Downey, director of the Master’s Program in Contemporary Art at Sotheby’s Institute of Art in London, and Lina Lazaar, founder of JAW and deputy director and international contemporary art specialist at Sotheby’s London.
That same day, the audience moved to the Ayyam Gallery to attend the “Contemporary Kingdom,” an exhibition of six contemporary Saudi Arabian artists. Spanning three generations, each artist in the show was specifically featured for their creative dynamism and consistent development in pushing the boundaries of contemporary and conceptual art in Saudi Arabia. In “Contemporary Kingdom,” Faisal Samra, Maha Malluh, Abdulnasser Gharem, Rashed Al Shashai, Shaweesh and Huda Beydoun exhibited artworks addressing, as well as embodying, the spirit of rapid modernity and its impact on Saudi Arabia.
Day number four of JAW was a celebration of Saudi Art at Al Alamia Gallery and then Abdulaziz Bube Asher solo exhibition, Saudi art center that was curated by Arabian Wings gallery north Jeddah.
On the fifth day, Jeddawis went to Palestine street to see the Saudi colors exhibition at the house of artists. They also attended Shift, a new perspective at the Dama art gallery.
On its final day, the JAW audience attended a miniature and contemporary art event from the Middle East at Rochane Gallery.
The art week ended with the Al-Corniche exploration, art and culture association.
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Jeddah Art Week — a blend of local and international talents
Jeddah Art Week — a blend of local and international talents
Meet Reman Assere, Saudi Arabia’s youngest Arabic calligraphy instructor
- She became the youngest certified instructor at the age of just 11
- Assere now tutors students of all ages
MAKKAH: After qualifying at just 11 years old, Reman Assere officially became Saudi Arabia’s youngest calligraphy instructor.
Her journey started in fifth grade, sparked by a school activity. She began with basic exercises but, with continuous practice and self-learning through platforms such as YouTube, she steadily refined her skills.
Her ambitions and her love of the art drove her to undertake professional training in Kufic calligraphy, believed to be the earliest example of a universal style of Arabic calligraphy. Once qualified, she was registered on the Ministry of Culture’s official platform, Al-Khattat.
What truly set her apart and caught people’s attention was her relentless dedication to learning. Even during vacations, she practiced tirelessly, seeking out special events and connecting with other calligraphers.
FASTFACT
Reman Assere’s ambitions and her love of the art drove her to undertake professional training in Kufic calligraphy.
Now aged 15, Assere told Arab News that her professional training was carried out under the guidance Shurooq Al-Harbi. She also highlighted the pivotal role played in her development by Prof. Siraj Al-Omari, whose ongoing support and encouragement were instrumental.
Today, Assere has become proficient in both in writing and teaching Kufic calligraphy and is expanding her expertise to include the Diwani style.
However, her journey has been far from easy. A lack of calligraphy institutes in her native region of Abha posed considerable challenges and meant she had to rely on online courses or travel to other cities.
It was worth it, however. Her numerous awards include first place in the 2023 Cultural Skills Competition and the Ministry of Education’s National Olympiad for Arabic Calligraphy. She has also demonstrated her talents at prominent events, such as the Layalina Festival in Wadi Al-Dawasir and the Abha Shopping and Entertainment Festival.
Assere has also led courses at the Holy Mosque Library in Makkah and organized calligraphy workshops in schools.
Today, she is recognized as one of the most influential trainers in Arabic calligraphy, teaching across all age groups. She takes pride in seeing her students compete in calligraphy competitions, a testament to the success of her approach and teaching methods.
Even in an age of rapid technological advancements, Assere is confident that calligraphy’s unique beauty will endure. She believes the future is bright for students and trainees, as the art of calligraphy continues to inspire and cultivate creativity.
She explained how the beauty of Arabic calligraphy is in the balance and harmony of its letters, with fluid lines that interlace. For Assere, Arabic calligraphy not only captures the essence and grace of the Arabic language, but it also allows the writer to convey thoughts and emotions.
Arabic calligraphy is celebrated for its variety of styles, including Kufic, Naskh, Thuluth, Diwani, and Ruq’ah, each with a unique character and distinct lettering technique. Rooted in precise geometric principles, Arabic calligraphy achieves a harmonious visual balance, allowing for flexibility in letter formation, overlapping designs, and intricate decorative motifs.
Assere said: “The beauty of Arabic calligraphy extends beyond writing; it is a visual art that enhances both artworks and decorations. Over time, it has become a cultural symbol that embodies Arab and Islamic identity.”
Ancient Italian masterpieces arrive in AlUla for first regional exhibit at Maraya
DUBAI: The Royal Commission for AlUla has partnered with the National Archaeological Museum of Naples to bring ancient masterpieces from its renowned collection to Saudi Arabia and the region for the first time.
The agreement between RCU and MANN will facilitate the transport of a curated collection of artifacts from Naples to AlUla for the “Masterpieces of the National Archaeological Museum of Naples” exhibit.
This exhibit, a highlight of AlUla’s 2024 Ancient Kingdoms Festival, is on display at Maraya, the world’s largest mirrored building, until Dec. 14.
Fifteen masterpieces from ancient sites such as Pompeii, Herculaneum and Rome are being presented to a regional audience for the first time, marking a historic debut outside Italy.
The Nilotic Mosaic, displayed abroad only once before in Japan, will also be featured.
Abdulrahman Al-Suhaibani, vice president of culture at the RCU, said: “The National Archaeological Museum of Naples is a repository of masterpieces that reveal the wonders and richly interconnected stories that helped shaped the ancient world — key among them are Nabataean artifacts including alters and inscriptions dedicated to the Nabataean chief deity Dushares that show the extent of that civilization, from AlUla in northwest Arabia to the shores of southern Europe.”
“It’s a privilege for RCU to host the masterpieces of the National Archaeological Museum of Naples exhibit and to display its wonderful collection of ancient artifacts for the first time in the region as we build toward an exciting calendar of cultural events, including the AlUla World Archaeological Symposium and the Ancient Kingdom’s Festival,” he said.
Michael Buble to perform in Abu Dhabi
DUBAI: Globally acclaimed artist Michael Buble will perform in Abu Dhabi on Jan. 16, 2025, during the second edition of Saadiyat Nights.
The Canadian singer-songwriter joins an impressive lineup for the three-month outdoor concert series.
The performers include pop icon Robbie Williams on Dec. 28, Iranian music legend Ebi on Jan. 4, American vocal harmony group Boyz II Men on Jan. 25, Egypt’s renowned composer Omar Khairat on Feb. 1, and US pop sensation Christina Aguilera on Feb. 15.
Buble, celebrated for his signature blend of swing and jazz, has delighted fans around the world with hits including “Home,” “Sway,” and his rendition of “Feeling Good.”
The Grammy Award-winning artist has sold over 75 million albums globally, making his upcoming performance a highly anticipated event.
Saudi artist Fatimah Al-Nemer discusses her female-centric works and the ‘universe within’ Arab women
DUBAI: Saudi artist Fatimah Al-Nemer has devoted herself to depicting narratives of women through her multimedia art, which merges collage, photography and tapestry. From childhood, her life was shaped by the female presence, she says, whether that meant family members or characters in legends.
Al-Nemer comes from Al-Qatif in the Eastern Province, one of the oldest cities in the Kingdom. “Imagine,” she says, “it’s an area that existed 600 years before Jesus.” She now lives on Tarout Island just off the coast of Al-Qatif. The island’s name is possibly derived from Ishtar, the Mesopotamian goddess of love and war — it was here that she was expelled, abandoned by her community.
Al-Nemer claims that every household in her hometown holds some form of artist within its walls. “Al-Qatif’s rich cultural history affected us all,” she says. “It was a magical city, attracting tradespeople from Persia and Anatolia. We grew up with these stories.”
Her mother, who had an eye for design, was her earliest supporter. She provided her daughter with art materials and didn’t even scold her for painting on the walls of their family home. “She even paid for my art classes,” Al-Nemer says. “She always called me the artist of the family. If my mother wasn’t by my side, it would have been impossible for me to become an artist.”
For the young Al-Nemer, drawing and painting was her only outlet for self-expression. “As a child, I was fearful and endured social anxiety, so I would only express myself through art,” she says. “It boosted my confidence. I used to draw on walls and on paper. If I was sad or happy, I would draw about what was making me feel that way. I was impacted by art and it became a language for me.”
By the time she was 18, Al-Nemer had shifted from taking art classes to teaching them, and had already participated in some exhibitions. She also worked as a jewelry designer in a gold factory. And in 2009 she took the decision to travel abroad to further her studies.
She went to Jordan, where she enrolled as an interior design student at the Philadelphia University in Amman, exposing herself to a cultural openness offered by the capital city.
“In Jordan, people were highly cultured. Its environment was rich with artists and poets. You’re not just studying art there, you’re also going to the theater. I even performed there,” she says.
In the early days of her art career, Al-Nemer experimented with oil paintings and charcoal, depicting classical, surrealistic and symbolist scenes. At one point, she was solely making self-portraits, which she says caused some issues with family members and others, particularly when they were published in magazines and newspapers.
“I think I was saying: ‘I am Fatimah. Accept me for who I am. I am an artist and I represent this identity and my culture and I am proud of it,’” she explains.
Eventually, though, she expanded her focus to include women other than herself. She has been inspired by personal stories from fellow Saudi women. “I used to listen and live their stories as if I was the heroine of their tales,” she says.
In her large, detailed, carpet-like artworks, which are full of ornamentation and native cultural symbols, she pays tribute to Saudi and Arab women, adorned in traditional attire while holding objects related to her homeland, such as a musical instrument or an incense burner. They reflect her attachment to her roots.
“I try to embody the Arab woman with certain admirable qualities. She is the butterfly, the mother, the sister, the doctor. She is the giver,” says Al-Nemer. “She is not just a figure; there is a universe within her. It is like a letter of appreciation for all that she stands for and has given to society.”
She also treats these images, which she started making nearly a decade ago, as research-like documentation of traditional Saudi dress and cultural symbolism, focusing on specific areas of the Kingdom (beginning, of course, with her own hometown).
Often, she depicts women with their mouths or eyes covered. In part, this is to encourage viewers to focus on the details surrounding the women in her portraits, but it also reflects some of the creative limitations she experienced when younger, when it was frowned upon to make figurative art in the Kingdom. Now, however, as Saudi Arabia opens up, she feels more free in her practice.
“As artists, our lives have changed 180 degrees,” she says of the current Saudi cultural scene. “Art has become more than a profession.”
Off the beaten track in Sri Lanka
- New visa rules have made it easier than ever for Gulf tourists to visit the island nation
TORONTO: Sri Lanka has long been a favored destination for visitors from the Gulf. Easy access, budget-friendly offerings, and diverse experiences – from cultural and historic landmarks to idyllic beach resorts and scenic treks – make it an ideal getaway destination. And now, there’s one more reason for Saudis to take a trip to the island nation. Last month, the Sri Lankan government announced that residents of Saudi Arabia, the UAE, Qatar, Oman, and 31 other countries can now visit without a visa.
The capital, Colombo, is probably the most popular destination in Sri Lanka, along with Kandy and Ella, but the less-frequented areas in the central and southern regions of the country are well worth considering.
My Sri Lanka trip started in Hatton, in the Nuwara Eliya region. Often called “Little England,” the region is a reminder of the country’s former colonial rule, with Tudor-style architecture and sprawling tea estates named after their former British proprietors.
The central province is home to Sri Lanka’s renowned tea highlands. Tea is an integral part of the island’s history and culture — as its former name, Ceylon, suggests.
My encounter with Ceylon tea starts at the Dunkeld Tea Factory, owned by The Dilmah Group, a family-run business that has become a global name. The tea is single-origin — meaning it is picked, cultivated, and packed from the lush, rolling terraces of the region. The tour takes guests through the history of Ceylon tea, which actually began with coffee plantations in the 18th century. But leaf disease devastated those plantations, leading to the demise of the short-lived coffee industry in Sri Lanka. In 1867, James Taylor, a Scottish man, planted the first tea clearing in Kandy. By the late 19th century, the country had become one of the largest tea producers in the world. Guests are also invited to a tea-tasting experience, including the Orange Pekoe, the robust tea blend that is a specialty of the region.
I stayed at Summerville, one of the five palatial bungalows once home to English plantation owners which have now been refurbished into boutique properties by the Ceylon Tea Trails Hotel under the Resplendent Ceylon Group. Perched at nearly 4,000 feet and set across 2,000 hectares, the bungalows are perfect for those seeking a slow, luxurious vacation. Guests can enjoy breathtaking panoramic views of the emerald hilltops from various vantage points or unwind in the several tranquil lounge spaces scattered throughout the bungalows. Or — with a private chef and butler on hand — choose to indulge in a five-course dinner that features the likes of a Yatawatte tea-infused roasted chicken or the Earl Gray fondant.
The tea trails, ranging from four to 15 kilometers long, connect the various bungalows, offering scenic hikes through the valleys. For those seeking adventure, the newly-inaugurated Pekoe Trail (a 300-km route with 22 phases) allows tourists to explore the rich biodiversity of the area. This trail can be experienced on foot or by rail.
The next leg of my trip was drastically different. As we were making our way down from the central region to Sri Lanka’s southern tip, the hilltops, winding roads, and cool weather gave way to palm trees, speedy tuk-tuks, and tropical weather.
In the Hambantota district, the biggest draw is undoubtedly Yala National Park, the second largest national park of the country, and the one with the highest density of leopards. An early morning or afternoon game drive provides ample opportunities to spot wildlife, including the elusive leopard, sloth bears, and elephants.
After the adrenaline rush of a wildlife safari, I head to our ‘glamping’ lodge — the Wild Coast Tented Lodge, another one of Resplendent Ceylon’s properties. The luxury camp is unfenced and wildlife will often wander into the premises from the park, giving guests a sometimes-gleeful, sometimes-terrifying experience.
The lodge itself is an architectural delight, focusing on sustainable design and the use of organic materials, including bamboo. It includes 28 “cocoons” or pods scattered throughout the jungle wilderness. The interiors feature rustic touches like cooper hardware, a leopard-claw bathtub, and vintage leather furniture.
It’s also here that the jungle meets the Indian Ocean. As I wandered along the rugged coastline or enjoyed a sundowner, I was once again reminded of the serenity that Sri Lanka has to offer.
