Reza Derakshani, the celebrated painter, poet, musician and performance artist transmits a sense of joy, mystery and startling beauty through his work. Speaking to Arab News, he explained that while he ‘has a lot of love’ for his Iranian cultural heritage, he sees himself first and foremost as a citizen of the world.
“I like the challenge of being measured as an international artist,” he said.
This is natural considering his life journey to date which has seen him moving from his homeland of Iran to live and work for many years in the US, Europe and Gulf region.
Derakshani, born 1952 in Sangsar, had his first solo exhibition at the age of 19 at the renowned Ghandriz Art Gallery, and graduated from the University of Tehran in 1976.
He continued his studies at the Pasadena School of Art in California, and returned to Iran to teach at the University of Tehran and the School of Decorative Arts. He left Iran in 1983 following the Islamic Revolution and lived in New York for 16 years. He subsequently moved to Italy before returning again to Iran for seven years.
He now divides his time between Dubai, UAE and Austin, USA, where in parallel to his career within visual arts, he collaborated with legendary musicians such as John Densmore, the drummer of the Doors, releasing two critically acclaimed albums.
In a way, the wanderings of his adult life echo the patterns of his early life as a child living with his nomadic family in the mountains of North Eastern Iran. He has strong memories of scenes from his childhood that captured his imagination and fed his love of color.
“I remember fields full of wild flowers,” he said. He also recalled how out of necessity his mother used to craft objects for use inside of their traditional tent — including little clay sculptures for the children to play with.
“I still have vivid memories — those experiences stay with you forever. Sometimes when I play music, melodies come back into my head which take me back to my childhood,” he said.
He keeps an open mind about the land of his birth in this new era of the ‘nuclear deal’.
“I will wait and see what happens,” he said with the wariness of a person who has lived through many ups and downs and takes a long term view.
One of his paintings, called ‘Those Roots Drink Quietly’ depicting a fissure filled with ripe red pomegranates contained within cloying black tar was inspired by verses of Rumi, the 13th century Persian poet.
Another painting titled ‘Faith Blue’ shows a face covered in blue floral motifs often seen in Persian art.
His work Shirin and Khosrow draws inspiration from the famous tragic romance of the Sassanian King Khosrow II for the Armenian princess Shirin, by the Persian poet Nizami Ganjavi (1141–1209).
He chooses to focus on the moment where the lovers meet and fall in love.
He commented: “I have an optimistic outlook. I always celebrate life, even though I have experienced difficult times. Through art you can turn those moments into vibrant, energetic moments.”
The Hunting Series paintings have a dreamlike quality and capture many moods as indicated by their names — Sunset Hunting, Nocturnal Hunting, Blue Hunting and Spring Hunt, Hunting the Ecstasy. The artist layers an abstract landscape with the motif of horse riding hunters. The figures bring to mind the rich artistic traditions of Persian miniature painting and calligraphy.
Derakshani is known both in the Middle East and in the West as one of the most significant contemporary Iranian artists.
After experimenting with pure abstraction, he devised his personal artistic style blending abstract and figurative elements from both Western and Eastern cultures.
His work features in many public art collections including the British Museum, London; the Metropolitan Museum of Art, New York, and the Tehran Museum of Contemporary Art. He has also performed as a musician in numerous museums and festivals such as the Brooklyn Museum and the Montreux Jazz Festival.
His career includes a variety of collaborations with renowned international musicians, poets and dancers including John Densmore of the Doors, Branford Marsalis, Robert Bly, Deepack Chopra and Madonna.
He recent exhibition at the Sophia Contemporary Gallery, London, showcased new works from a number of ongoing series, including the Hunting, Pomegranate and Garden Party series, as well as two large paintings from a new Calligraphy series, which have never previously been exhibited.
Sophia Contemporary, a new art gallery based in Mayfair, represents some of the most established contemporary artists from the Middle East and Iran working in a variety of media, including drawings, paintings, sculpture, video and photography. The Gallery aims to promote a new generation of emerging artists from the region with a view to providing them with a platform on the international stage. The gallery roster also includes emerging and established artists from Europe and the USA, promoting a creative dialogue between East and West.
From May 26 to July 25, 2016 a large retrospective of the artist’s work will be held in the Marble Palace of The Russian Museum in St. Petersburg surveying the artist’s career to date.
The exhibition will run alongside a solo exhibition of Robert Indiana’s work entitled ‘To the 50th Anniversary of Love’, also in the Marble Palace. Following on from this, the works will travel to Kunstsammlungen Chemnitz in South East Germany in the autumn.
— Life.style@arabnews.com
Reza Derakshani’s artworks awaken the senses
Reza Derakshani’s artworks awaken the senses
Recipes for Success: Chef Eric Vidal talks patience, pasta, perfectionism
DUBAI: Running six restaurants, a bar and a beach club might sound like a logistical nightmare, but for French chef Eric Vidal, it is just another day at Delano Dubai.
As executive chef of the new luxury destination, Vidal oversees everything from in-room dining to curated tasting menus across venues including Blue Door, Gohan, Tutto Passa, and La Cantine Beach.
Here, Vidal offers advice and a recipe for grilled seabass.
When you were starting out, what was the most common mistake you made?
I was absolutely determined to make every single element perfect, down to the tiniest garnish. If a microgreen was not angled just right or a sauce swirl looked a little off, I would start over. That obsessive attention to detail came from a genuine love for the craft, but it also meant I was constantly behind. During training, I was almost always the last to plate and serve. While others were already wiping down their stations, I was still fussing over aesthetics that, in hindsight, barely made a difference.
Looking back, I realize that pursuit of perfection wasn’t the problem, it was the way I went about it. In a professional kitchen, you simply can’t afford to sacrifice speed for polish that only you notice. I have learned that excellence is not about obsessing over every detail, it’s about knowing which ones truly matter. Ultimately, a great plate is one that delights the diner and makes it to the (table) on time.
What’s your top tip for amateur chefs?
Enjoy the process. Try not to treat dinner like a high-stakes performance. Take a breath. Cooking should be something that grounds you, not stresses you out.
It also definitely helps to have a few basics in place, like a solid grasp of simple techniques, equipment that actually works with you (not against you), and good-quality ingredients that you’re excited to use. When you have those essentials sorted, you can approach each meal with a mix of care and curiosity, whether you’re following a recipe or freestyling from the fridge.
What one ingredient can instantly improve any dish?
For me, it’s a close call between garlic and good-quality olive oil with a squeeze of fresh lemon. These are not just great ingredients on their own, but they form a trio that can transform even the simplest of dishes into something really special.
Garlic is one of those essentials I cannot live without. If it is raw and fiery or slow-cooked until soft and sweet, it brings a depth of savory flavor that is hard to beat. It’s the backbone of so many cuisines and adds warmth and complexity that instantly makes a dish feel more complete.
Good-quality olive oil is so much more than a cooking medium. The right bottle adds real character — fruity, sometimes peppery with a richness and silkiness that gives food a beautifully rounded finish. It also carries a personal significance for me. It brings back memories of the flavors I grew up with. And just a dash of fresh lemon juice can completely change a dish. It cuts through richness, lifting flavors, and adding that bit of brightness that makes everything taste fresher, lighter and more alive.
When you go out to eat, do you find yourself critiquing the food?
I try to approach the experience with an open mind rather than picking things apart. If something doesn’t quite suit my palate, I simply make a quiet mental note and I’m probably just not going to order it again. Cooking is a form of expression, and not every dish is meant to please everyone.
What’s the most common issue that you find in other restaurants?
It tends to come down to the basics: attention to detail and solid training. It’s often the small things — an under-seasoned sauce, a lukewarm plate, or a misstep in communication between the kitchen and front of house — that can affect the whole experience. Most of these issues are not about talent, they are about consistency, care and making sure everyone on the team is properly supported and well-trained. When those foundations are in place, it really makes all the difference.
What’s your favorite cuisine to order?
I have a soft spot for the artistry and surprise of Japanese cuisine, but what I really savor when dining out is the chance to explore new culinary styles — whether it’s the bold flavors of street food, the elegance of fine dining, or the comfort of a cozy local spot. I love that feeling of trying a new flavor or technique for the first time — it keeps things exciting for me.
What’s your go-to dish if you have to cook something quickly at home?
A simple pasta dish. The combination of garlic sautéed in olive oil with a basic tomato sauce is incredibly quick to prepare and always satisfying. Alternatively, a no-cook option I often rely on is a classic French cheese and salad with crusty bread — minimal effort for a delicious and well-balanced light meal.
What customer request most annoys you?
I genuinely don’t find requests a hassle; I see them as an opportunity to really understand individual needs and come up with creative solutions. Flexibility and a bit of patience are crucial in making sure everyone has a great experience.
What’s your favorite dish to cook?
Veal cheek blanquette. It requires a few patient hours of simmering, but the process is incredibly rewarding. I really enjoy the mindful attention it demands, from the initial browning to the gentle simmering that fills the kitchen with a comforting aroma.
What’s the most difficult dish for you to get right?
I find Indian cuisine the hardest. The art of balancing the blend of spices is not easy. It’s not just about knowing which spices to use, but also the quantities and the precise moment to add them during cooking. It is a delicate dance to make sure no single spice dominates the others.
What are you like as a leader? Are you a disciplinarian? Or are you more laidback?
My approach is all about empowerment and trust. Of course, a structured and disciplined environment is important to maintain high standards, but I firmly believe that respect and genuine support are far more powerful motivators than fear or intimidation. I aim to create a team where everyone feels proud of what they bring to the table and confident enough to take initiative. They know they’ve got my full support, which gives them the freedom to grow, experiment and really shine in their roles.
RECIPE
Chef Eric’s Mediterranean grilled seabass with vierge sauce
Ingredients:
1 whole Mediterranean seabass (1.2 Kg)
Fleur de sel
9 gr fennel seeds and herbs (tarragon, dill, thyme, rosemary)
1 pc of lemon
20 cl extra virgin olive oil
Method:
1. Clean and pat the fish dry (ask supplier for scaling/gutting).
2. Brush the fish inside and out with olive oil.
3. Score skin with cross marks on both sides.
4. Stuff the belly with lemon slices and mixed herbs.
5. Place the fish on a tray, drizzle with olive oil, herbs and fleur de sel.
6. Bake it in a preheated oven at 180°C for 15-20 minutes.
7. Rest the fish, tented with foil, for 5-10 minutes before serving.
8. Fillets will be easy to remove after resting.
9. Serve hot with sauce vierge.
Note: Cooking time varies with fish size.
Vierge sauce
Ingredients:
Tomatoes on vine – 150gr
Basil leaves – 24gr
Taggiasche olives – 50gr
Lemon pulp diced – 50gr
Olive oil extra virgin – 120grs
Salt
Pepper
Method:
Score tomato skin with a cross, blanch in boiling water for 20 seconds, deseed and peel.
Sprinkle tomato petals with salt and drain on paper towel.
Quarter the taggiasche olives.
Dice the fresh basil leaves.
Dice the lemon pulp evenly.
Dice the salted tomato petals evenly.
Combine all ingredients in a bowl with salt, pepper and extra virgin olive oil.
Adjust seasoning.
Serve at room temperature.
Saudi artist Mohammad Alfaraj’s ‘Seas Are Sweet, Fish Tears Are Salty’ opens in Dubai
DHAHRAN: Saudi artist Mohammad Alfaraj, who recently won an Emerging Artists’ Medal at the Art Basel Awards in Switzerland, launches his first institutional solo exhibition this month at Jameel Arts Center in Dubai.
“Mohammad Alfaraj is part of a new generation of fast-rising artists from the region, deeply attuned to their landscapes, communities and traditions,” Art Jameel’s deputy director and head of exhibitions and programs Nora Razian said in a statement. “His is a practice that is both poetic and critical, and we are incredibly thrilled to host his first institutional solo exhibition, which offers a profound and intimate glimpse into the ways cities, communities and even languages experience change.”
“Seas Are Sweet, Fish Tears Are Salty,” which runs until January, consists of multimedia works that often incorporate found objects as well as organic materials indigenous to Alfaraj’s hometown of Al-Ahsa, such as palm fronds and dates.
Curated by Art Jameel’s Rotana Shaker, the show winds through both the indoor galleries and outdoor courtyards of the center. Themes of environment, community and shared memory emerge — often filtered through humor and tenderness.
“I’m pretty new to the ‘art world’ but definitely immersed in art itself, whether I choose to be or not,” Alfaraj tells Arab News. “I’m always looking for metaphors and different ways of looking at the world, and trying to piece it together as an enormous complex mosaic that I’m lucky to experience and be part of.”
The title aptly captures the tone of the exhibition — childlike, poetic and emotionally resonant.
“Imagining, and believing, that what makes the oceans and seas salty is fish’s tears is very childish — and super-empathetic too,” he continues. “To feel and recognize the suffering of the other — whether a human, an animal or any living creature — is absolutely necessary in today’s world, which unfortunately seems to be heading towards more apathy.”
Alfaraj comes from a family of farmers, and Al-Ahsa — a lush oasis full of palm trees — frequently inspires his work. He often uses nature as both a canvas and a tool, letting organic material shape his artistic language.
“I’m attracted to a certain material because it matches the concept and the idea of the work; like, to use rice paper to tell stories about the fading rice farming in Al-Ahsa, or making a film about water irrigation while filming it and projecting it at the same angle on water. This way of coupling the medium and concept seems to have a much stronger impact to me — more tactile, engaging and alive,” he says. “Intuition is a wonderful, mysterious compass.”
For “Seas Are Sweet, Fish Tears Are Salty,” Alfaraj and Shaker sifted through the artist’s archives to try and understand the different ways in which he expressed his work through various mediums.
“(Alfaraj) is an artist whose practice doesn’t really fit rigid definitions; it’s very fluid, oftentimes using found or natural materials,” Shaker tells Arab News. “It was a fun process to spend time with Mohammad and understand all these different facets of his practice, to pull out prints and drawings from his stacks of papers in his studio in Al-Ahsa, or to go through his hundreds and hundreds of photographs that he’s digitized, as well as to think playfully about what it is that he wants to intervene in within the exhibition space.
“The experience was a balancing act between finding moments we can create impactful presence within the space, while at the same time allowing for in-situ interventions, which are very much characteristic of Mohammad’s practice,” Shaker continues.
Several new commissions were also developed specifically for this show.
“He came (to Dubai from Al-Ahsa) with a suitcase of papers and drawings,” Shaker says. “I found a note amongst his papers where he had scribbled an idea and it was a great opportunity for us to bring this to life.”
The show offers a contemplative and immersive encounter with a world shaped by memory, landscape and imagination; inviting viewers to take a deep breath, listen deeply, and trace the intricate connections between place, language and time.
On the exhibition’s opening night, June 25, Alfaraj and Shaker will discuss the show and the real and imagined worlds they evoked within. That will be followed by a 10-minute reflective performance by Alfaraj titled “The Missing Piece.”
And the artist is hopeful that his show will inspire change in its viewers.
“To make them feel — to inspire them to be more kind, to be more caring and more sensitive,” he says. “That would be more than I could ever wish for.”
Review: Toronto Arab Film Festival screens searing ‘Arze’
DUBAI: The Toronto Arab Film Festival, running from June 20- 29, screened the scathing yet poignant Lebanese film “Arze,” directed by Mira Shabib.
The ambitious “Arze” — which means "cedar" in Arabic — follows the story of Arze, a single mother supporting her teenage son and love-struck sister through a homemade pie delivery business. In an effort to improve their lives, she steals and sells her sister’s jewelry to buy a scooter for her son to use for deliveries. But when the scooter is stolen, mother and son embark on a frantic journey across Beirut to recover it.
On the surface, “Arze” tells a story that resonates deeply with many Lebanese families caught in financial limbo. It explores the emotional toll of such hardship, with questions arising as to whether one should leave the country or give up remnants of a once-comfortable life to survive Lebanon’s shifting socio-economic landscape.
Beneath the family drama lies sharp satire. Even the film’s title that references the cedar tree, a national symbol of Lebanese identity, carries layered meaning. Like the character herself, that identity appears fragmented, constantly lost amid the country’s sectarian divides. This is where the film truly shines: Arze, portrayed with emotional depth by Diamand Abou Abboud, dons various religious symbols and disguises to navigate Beirut’s fractured neighborhoods.
Shabib excels in exposing the farce of sectarianism, insinuating that Lebanon’s religious divisions are not deeply rooted but socially constructed and performative. Arze’s ability to blend into different communities simply by changing her appearance highlights how fragile and superficial these boundaries truly are.
In this sense, the film excels in its portrayal of a fourth main character: Beirut itself. Through Shabib’s lens, we are taken on a tour of a city so diverse it borders on overwhelming. Yet this diversity, rather than being a source of division, becomes a stage for a pointed critique, one that targets society’s fixation on appearances and its preference for the performative over lived reality.
Michelin Guide to launch first-ever Saudi edition
RIYADH: The Michelin Guide is set to launch in Saudi Arabia, marking a major milestone in the Kingdom’s evolving culinary landscape.
Organized in partnership with the Culinary Arts Commission, a subsidiary of Saudi Arabia’s Ministry of Culture, the “new selection will focus on the bustling cities of Riyadh and Jeddah, while also beginning to explore the diverse regions of the Kingdom, including Khobar, AlUla, and many more,” according to the Michelin Guide.
Gwendal Poullennec, international director of the Michelin Guide, spoke to Arab News in Riyadh on Tuesday and explained that the ultimate aim is to “(explore), gradually, the regions to unearth all the culinary gems and to make sure that we are letting no stone go unturned.
“I think you have the heritage, you have the dynamism, you have young talents,” he added of the Kingdom.
According to the organization, Michelin inspectors “are already in the field.” The selection will be made according to the Michelin Guide’s criteria: “The quality of the ingredients, the mastery of cooking techniques, the harmony of flavors, the personality of the cuisine and the consistency both over time and through the menu as a whole,” according to a released statement.
One Michelin star is awarded to restaurants for “high-quality cooking that is worth a stop,” two stars for “excellent cooking that is worth a detour,” and three stars for “exceptional cuisine that is worth a special journey.”
Alongside the coveted star ratings, the selection also includes the popular Bib Gourmand category, a distinction awarded to restaurants that provide good quality food at a moderate price.
Aside from impacting the country’s F&B scene, Poullennec also touched on the Michelin Guide’s effect on the local economy.
“I have to say that, beyond the selection, beyond the stars, there are also a lot of ripple effects throughout the food chain. For example, impacting the products and the farmers (who) will find a demand for local high-quality products in a region,” he said.
The restaurant selection for the inaugural edition will be unveiled toward the end of 2025.
The guide currently operates in Dubai, Abu Dhabi and Qatar.
The prestigious French guide began as a handy guidebook for Michelin tire customers in France in 1900. It was the brainchild of the Michelin brothers, who sought to “provide motorists traveling through France with all the useful information to supply their automobile, to fix it, where to sleep and eat, and which means exist to communicate, by mail, telegraph or telephone,” according to Christie’s auction house, which put a set of guides under the hammer in 2016.
The first edition saw almost 35,000 copies printed and contained useful information for motorists, including a list of hotels, groceries, bakeries, hardware stores and instructions on how to fix and change tires.
In 1931, ratings featured the current system of three stars for the first time, with the definitions becoming clear and definitive in 1933.
Although production of the guide was suspended during both world wars, the 1939 edition of the guide was reprinted by the US military in 1943, just before the June 6 invasion of Normandy the following year, as it was deemed the most up-to-date map available to the armed forces.
The push eastward is relatively recent, as until 2006, Michelin’s country guides only covered Europe.
Co-founder of digital platform The Open Crate shares Art Basel top picks
BASEL: Tunisian art expert Amina Debbiche, who co-founded digital art platform The Open Crate alongside Nora Mansour, shares her top artworks from Switzerland’s Art Basel contemporary art fair, which wraps up on Sunday.
The Open Crate allows clients to digitalize their entire collection, whether it be artwork, design objects or luxury items.
Yto Barrada at Sfeir-Semler Gallery
“I first discovered Yto Barrada’s work at the Arsenale during the 2011 Venice Biennale and was instantly captivated by her poetic and political approach. Since then, I’ve followed her brilliant trajectory across film, photography, textiles, and installation. Born in Paris and raised in Tangier, her practice explores themes of memory, displacement, and resistance. We’ve now come full circle - she will represent France at the upcoming Venice Biennale, curated by Myriam Ben Salah.”
Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited
“Alia Farid’s ‘Elsewhere’ deeply moved me with its layered storytelling and political tenderness. The work maps Arab and South Asian migration to Latin America and the Caribbean through handwoven rugs made with Iraqi weavers. It documents hybrid identities, memory, and solidarity across geographies. I’ve long admired how Alia reclaims overlooked narratives with such poetic clarity. Her voice feels both urgent and timeless.”
Eunnam Hong’s ‘Safeway’ at Mendes Wood DM booth
“Eunnam Hong’s painting … stopped me in my tracks — cinematic, hyper-stylized, and effortlessly cool. With nods to Cindy Sherman and K-drama aesthetics, the Korean artist explores identity and performance through staged, uncanny tableaus. Her figures- drenched in soft light, wrapped in curlers and headscarves, clutching vitamin D and Safeway bags - feel both retro and unmistakably now. It’s suburban surrealism meets generational moodboard, complete with Converse and quiet rebellion. Hong is one of the most compelling contemporary voices out there - sharp, relatable, and iconic in the making.
Simone Fattal’s ‘Music On My Mind’ (2024)
“Simone Fattal is a Syrian Lebanese artist whose sculptural practice draws from archaeology, poetry, and mythology to explore themes of memory, exile, and resilience. Born in Damascus and raised in Beirut, she has created only a few large-scale sculptures, making each one rare and significant. Her works are held in major collections including MoMA, Centre Pompidou, and the Sharjah Art Foundation … I was drawn to “Music On My Mind” for its quiet power — the naive, totemic form and subtle reference to sound felt deeply poetic.”
M'barek Bouhchichi’s Terra series. 2024. Wool weaving and natural dye. 220x170cm at Selma Feriani booth
“I love this work for its quiet intensity and material poetry and Selma Feriani, who presents it, is one of the few truly independent voices from the region to make it to Art Basel with a consistently bold program. M’barek Bouhchichi, born in southeastern Morocco, lives and works in Tahanaout, Morocco. The artist collaborates with women artisans to create henna-dyed wool works that evoke both landscape and memory. His ‘Terra’ series explores cultural links between Morocco and Mali through ancestral weaving techniques. These minimal, earthy compositions blur the line between textile and painting. A major solo show in Tunis is coming this September.”
Noah Davis’s ‘The Goat from Grayson’ (2008) at David Zwirner
“I’ve always been drawn to Noah Davis’s ability to create scenes that feel both dreamlike and grounded in Black lived experience. “The Goat from Grayson” (2008), shown here at David Zwirner, captures his signature blend of poetic realism, rich symbolism and painterly tenderness. The glowing tree, the quiet tension, and the spiritual undertone pull you in. Davis, who passed away tragically young at 32, was not only a brilliant painter but also the founder of The Underground Museum in Los Angeles, a vital space for Black art and community. His work was the subject of a major retrospective at the Hammer Museum in 2020, cementing his legacy as one of the most influential artists of his generation.”
Eric Fischl’s ‘After the Funeral’ (2017)
“Eric Fischl’s paintings often feel like paused movie scenes, loaded with tension, memory, and unspoken drama. I was instantly drawn to these two women, something about the cigarette, the ice cube, the gaze, it felt like I’d stumbled into a Woody Allen film mid-conversation. Fischl captures that strange mix of intimacy and detachment with uncanny precision. A key figure of American figurative painting since the 1980s, his work explores suburban psychology and social dynamics. He is represented by Skarstedt, a gallery known for championing major contemporary artists like David Salle, Cindy Sherman, and George Condo.”
Sheila Hicks’s ‘Lianes Etoiles’ (2020)
“Sheila Hicks’s ‘Lianes Etoiles’ is pure visual rhythm. Its vibrant threads, soft textures, and sculptural layering instantly drew me in. There is something meditative and sensual about the way the colors pulse across the surface. Hicks, a pioneer of textile art, has redefined fiber as a sculptural and painterly medium for over six decades. This piece feels both contemporary and ancestral, like a coded language of color and craft. It is shown by Alison Jacques, a gallery that consistently champions strong, visionary practices.”
Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii glass amphora (#06)’ (2023) at the booth of Lia Rumma
“Wael Shawky’s amphora sculptures are a masterclass in historical layering and contemporary wit. Representing the Egyptian Pavilion at the last Venice Biennale, his work was among the most celebrated and nearly won the Golden Lion. The video “Drama 1882” retelling of the ’Urabi revolution that was co‑funded through support from Mai Eldib, who organised key patronage, was later acquired by a major institution in the Middle East. These Murano glass forms, draped in ornate textiles, are as subtle as they are rich in reference. Shawky continues to expand the visual language of Arab myth, ritual, and storytelling with quiet force.”
Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery’s booth
“This striking portrait by Amoako Boafo was exhibited at the Gagosian booth, where the brilliant Rola Wazni, director of Gagosian Paris, walked me through a presentation curated by Francesco Bonami. Boafo, originally from Ghana and based in Vienna, is known for his lush finger-painted figures and bold exploration of Black identity and presence. His textured brushwork and floral detailing here are both tender and defiant. The composition radiates quiet power, dignity, and individuality. Rolla’s sharp eye and grace made the experience even more memorable.”
Maurizio Cattelan and Rudofl Stingel at Gagosian Gallery’s booth
“Gagosian’s booth at Art Basel 2025, curated by Francesco Bonami, offered a brilliantly irreverent pairing of Maurizio Cattelan’s ‘No’ (2021) and Rudolf Stingel’s ‘Untitled’ (2012). Cattelan’s kneeling figure in a suit, head covered by a paper bag, delivers a biting satire of modern-day capitalism and mental health collapse — a man caught between denial and trauma, refusing to face symbolic castration or mortality. Stingel’s silvery abstraction provided a haunting, meditative counterpoint, echoing themes of absence and ego. Together, the works reflected on visibility, repression, and the absurd rituals of the art world. The result was a sharp, minimalist statement that lingered long after.”
