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
From struggles to innovation: How Saudi calligrapher Abdulaziz Al-Rashedi revolutionized Arabic script
- ‘I feel there is a holy light within the letters,’ says Abdulaziz Al-Rashedi
DUBAI: Saudi calligrapher and arts instructor Abdulaziz Al-Rashedi’s first love was the pen. His fascination with writing began in elementary school in the Eighties in his hometown of Madinah.
Al-Rashedi talks about holding a pen in the same way a musician might discuss holding their instrument. In the eyes of the calligrapher, writing is an artistic act, like a dance, that has its own kind of magic.
“What I loved about the pen was the way the ink was flowing out of it,” he tells Arab News. “The pen led me to my love of writing Arabic calligraphy.”
But there were challenges imposed by the conservative social environment of the Kingdom in the Eighties and Nineties.
“People didn’t regard art as something important. During that time, people thought that art couldn’t generate money. For them, it was a waste of time,” he says. “In such a depressing environment, I was suffering from people’s lack of interest. They were saying that the writing would distract me from my studies. But actually, it encouraged me to study.”
Not everyone disregarded his interest in pursuing calligraphy, however. Al-Rashedi’s late father was always a supporter.
“He was a believer in writing, and conserving it,” Al-Rashedi says. “He thought I was doing something important with my life, even though others thought it wasn’t important. They likened it to making scribbles. I was literally making art on my own. None of my friends shared this interest with me and there were no calligraphy institutes to encourage this talent. The situation was very difficult.”
But in 1993, Al-Rashedi learned there was, in fact, a master Saudi calligrapher living in Madinah: Ahmad Dia. He kindly agreed to teach Al-Rashedi the basics of Arabic calligraphy. And, perhaps just as importantly, to do so in his home, which Al-Rashedi compares to a school and a museum, as well as a meeting place for calligraphers.
“I was young, but he treated me like a man,” the artist recalls. “For us calligraphers, he was like a spiritual father figure, who planted a seed of determination in us. He always encouraged us and never told us off if our writing wasn’t on point.”
Al-Rashedi remained in contact with his tutor until Dia’s death in 2022 during the COVID pandemic. “When he died, it felt as if the light went off,” Al-Rashedi says.
Al-Rashedi also trained himself by copying the work of another important figure: Hashem Al-Baghdadi, the influential Iraqi calligrapher and educator who published books on the rules of Arabic calligraphy. Al-Rashedi describes the pre-social media era as a “truly dark period” when there were no opportunities to host exhibitions or share his work with others.
“People weren’t communicating with each other. It was a period that lacked (opportunity) and even good materials, such as pens and paper,” he recalls.
But with the advent of social media, most notably Facebook, and the opening of a few art galleries, including Jeddah’s Athr Gallery in 2009, things improved drastically. Today, Al-Rashedi is able to share his work on Instagram and other platforms, displaying the skills he has honed over three decades of practice.
Arabic calligraphy is an internationally respected art form that has existed for thousands of years, exercised in Islamic texts and found on monuments around the world. So, what is its long-lasting secret?
“I often ask myself why the curves of Arabic calligraphy have bewitched people for so long, and I believe it inevitably has something to do with its holiness,” he says. “Allah has been an inspiration for calligraphers and their innovation of writing. I feel there is a holy light within the letters of Arabic calligraphy.”
But Al-Rashedi also believes that, for many years, calligraphy has been stuck in a rut, untouched by modern innovation or creativity.
“Many calligraphers have literally said that Arabic calligraphy has reached its end and no one could add anything new to it,” he says. “Such an idea is incorrect.”
Indeed, Al-Rashedi has invented his own form of Arabic calligraphy, which he calls “3punt.” (He says the name refers to the size of the letters, which are written using three different pens.)
“It depends on the idea of lessening the thickness of the letter. Usually, one pen is used in Arabic calligraphy. But I discovered that the original bulkiness of Arabic scripture and the usage of just one pen prevents Arabic calligraphy from having new forms of writing being added to its system.”
Based on a strict set of rules, Al-Rashedi’s 3punt calligraphy contains 55 “subtypes of writing,” he says. It has its own lightness and elegance, with carefully choreographed flowing lines of slender Arabic script.
Ultimately, Al-Rashedi believes that Arabic calligraphy is about connections.
“If we look at Latin or Chinese scripture, on letters like ‘n,’ ‘e,’ or ‘r,’ they are based on separate components. But with Arabic calligraphy, you can connect six or seven letters in one go,” he says. “Without a doubt, Arabic writing — as an art form — is superior to other types of writing.”
US contemporary artist Brendan Murphy discusses his first show in Riyadh
RIYADH: The American contemporary artist Brendan Murphy brought his solo exhibition “Complete Control” to Ahlam Gallery in Riyadh on Nov. 7. The Riyadh show is the conclusion of a global tour that Murphy began in June 2024 at Fineart Oslo.
The show features a number of Murphy’s iconic “Spaceman” sculptures, with a particular focus on his limited-edition collectible series titled “Magication.”
In an interview with Arab News, Murphy said the main goal of his show is to bring people “into the moment.” He also stressed that he felt a “creative cultural resonance” with the Kingdom, where he believes people have shown “an appetite for creative works.”
He said: “I have a lot of stuff I’m working on, but I’m focused on building a foundation in Riyadh right now. This show is not a one-shot deal, I want to be a part of this renaissance (that’s happening in Saudi Arabia) for the next five to 10 years, at least. I want to be a part of it — I want to lead it if I can.”
Murphy’s body of work includes colorful abstract paintings and sculptures of his signature Spacemen, which explore themes of beauty, power, and the human experience.
As a kid, watching astronauts and space shuttle launches played a major role in Murphy’s life and eventually became one of his main artistic inspirations.
“My spacemen have little to do with space travel,” he explained. “They epitomize embracing the unknown — taking that step — more than somebody that literally is flying into darkness.”
Murphy’s Spacemen come in various sizes and forms, including small collectibles and large-scale installations. This versatility allows them to fit into diverse settings, from private collections to public art displays. The sculptures can be found across the world, including a 13-foot Spaceman in Houston’s Minute Maid Park baseball stadium and a 22-foot Spaceman in Oslo.
Murphy hasn’t always been an artist. He was once a professional basketball player in Europe, and then became a Wall Street trader. “I did not make a full pivot into accepting that I was a creative person until I was maybe 29,” he said. Today, he is one of most financially successful contemporary artists in the world.
In 2021, Brendan created his “Boonji Project” — a collection of his artwork as non-fungible tokens — and launched it on the Ethereum blockchain (which uses the cryptocurrency Ether). It became the largest primary NFT sale in history, producing $15.5 million dollars.
His work has proven popular with both serious collectors and celebrities, including the tennis players Novak Djokovic and Serena Williams, as well as US business mogul Warren Buffett.
Inspired by artists including Jean-Michel Basquiat and Jackson Pollock — famed for their use of color — Murphy’s art aims to encourage the viewer to tune into their emotions and discover the unknown.
“I love color as a means of communicating a feeling,” Murphy said. “When I make something and I get it right, my work creates energy and that’s pretty cool. Color is the easiest way of creating energy; different colors connect with different feelings.”
Murphy said his practice, by choice, demands that he step out of his comfort zone. He utilizes non-traditional methods and rare materials including chrome and diamonds to create conceptual pieces. He has become famous for his extravagant works of art, including “Frozen with Desire,” a sculpture of an astronaut encrusted with 6,200 diamonds, priced at $25 million.
“As an artist, you have to be uncomfortable all the time,” he said. “Find comfort in what you can control, then break it and go where you have no idea what you’re doing.”
Mark Strong plays ‘interesting version’ of all-powerful ruler in ‘Dune: Prophecy’
JEDDAH: The latest big-budget sci-fi series takes fans back to the familiar universe of Frank Herbert’s “Dune,” but 10,000 years before the events of the recent movies starring Zendaya and Timothée Chalamet.
The HBO Max show “Dune: Prophecy” — streaming in the Middle East on OSN+ — follows the rise of the shadowy Bene Gesserit sisterhood. British actor Mark Strong takes on the role of Emperor Javicco Corrino, a man who has become ruler of the galaxy at a tumultuous time.
No stranger to playing characters in powerful positions — most recently, he portrayed the ruthless mob boss Carmine Falcone in another HBO series, “Penguin” — Strong claims that his Emperor Corrino is a little different to the usual screen versions of such men.
“I’m playing a very interesting version of the guy in charge,” Strong tells Arab News. “So, he is the emperor of the universe, which is a great part to play as an actor, obviously, but what’s fascinating about him is his vulnerability — the fact that he is managing a fragile peace.
“So, the guy isn’t what I normally am asked to play, which is people with power who know what they’re doing. He’s very unsure of himself. He doesn’t feel like he’s inherited the ability of his father, he feels a bit of an imposter. He’s trying to deal with a world that he’s not in control of. And I love that juxtaposition of a man that’s supposed to be in charge and supposed to know what he’s doing, and actually he’s very unsure of himself.”
For Strong, the success of the current “Dune” movie and TV franchise is down to the source material.
“The base of the whole thing is these amazing novels that people adore. They are incredibly complicated — really rich. A lot of what we know as modern science fiction, whether it’s ‘Star Trek’ or ‘Star Wars’ or whatever, they come from those books,” he said.
“It’s a world that you want to try and have a go at, because nobody’s done it before. The series, obviously, is set before the movies and in a very different world. And it’s great to have a go at something that that is as fresh as this.”
Princess Rajwa attends parliament session in Jordan
DUBAI: Saudi-born Jordanian royal Princess Rajwa Al-Hussein attended a ceremony marking the inauguration of the first ordinary session of the 20th Parliament in Amman on Monday, marking her second public appearance since the birth of her first child this summer.
The royal showed off an elegant black ensemble for the occasion, complete with an oversized belt by Dior and pumps by Chloe. The look was finished off with the Goji Mini Bag in Black by Jill Sander.
Princess Rajwa was photographed alongside Queen Rania, who showed off a red look courtesy of Maison Valentino and Altuzarra.
Princess Rajwa made her first public appearance since the birth of Princess Iman bint Al-Hussein bin Abdullah II at a 2026 FIFA World Cup qualification match in October.
On August 3, 2024, the royal welcomed her first child, Princess Iman, with Crown Prince Hussein bin Abdullah.
At her birth, Jordan’s King Abdullah posted a tribute to his granddaughter on social media. Translated from Arabic, the post read: "I thank God for giving us our first granddaughter Iman bint Hussein. I congratulate beloved Hussein and Rajwa for their newborn.
“We ask God to raise her well and protect her for her parents. You have lit up our family.”
Princess Rajwa, who celebrated her 30th birthday in April, is the daughter of late Saudi businessman Khalid bin Musaed bin Saif bin Abdulaziz Al-Saif, who died in January this year, and his wife, Azza bint Nayef Abdulaziz Ahmad Al-Sudairi.
Flormar seeks to expand Saudi footprint to meet growing demand in beauty market
DUBAI: Skincare and makeup brand Flormar is planning to triple the number of its stores in Saudi Arabia over the next four to five years to meet the demand of a burgeoning and increasingly competitive market.
Established in Milan, Italy, in the late 1950s, the company is now headquartered in Turkiye. Arab News spoke to CEO Matthieu Gomart about why he is so keen to increase the brand’s presence — currently 25 outlets — in the Kingdom.
“The beauty market in the Middle East — and specifically in Saudi Arabia — is quite dynamic,” he explained. “They have double-digit growth, making it one of our most exciting markets.”
Flormar has undergone something of a transformation in recent years, refining its product lines and formulations to appeal to a broader, more discerning audience.
Gomart said the brand’s approach has evolved to focus “on high-quality makeup at affordable prices” that aligned with skincare and ethical beauty trends.
The company’s clean and vegan products, designed to enhance skin health, have been particularly well-received among Saudi consumers, he added, noting an increasing appetite for natural ingredients and skin-friendly formulations.
It is a trend highlighted by panelists at Riyadh’s Hia Hub beauty conference in October. Industry insiders, such as Chalhoub Group president Patrick Chalhoub, told Arab News the under-30 demographic “use skincare products more frequently and are willing to experiment with innovative products, even with brands that are not necessarily very popular.”
With an entire conference dedicated to growing the Kingdom’s skincare market, it is no wonder Flormar has identified it as a target segment.
Gomart said Saudi consumers were also embracing innovations such as “skinification” — adding skincare benefits to makeup products.
To meet this demand, Flormar is adapting its offerings to include sun protection and hydration in its makeup line.
“Saudis have a strong appetite for those nutrients,” he said.
Flormar’s growth includes partnerships with local retailers, distribution through pharmacy chains, and plans to expand its e-commerce footprint.
“We are happy to be contributing to the rise of self-expression in Saudi Arabia,” Gomart added.
