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
French architect showcases AlUla’s heritage in New York exhibition
- The exhibition was opened by Abdullah Al-Hamdan, the Kingdom’s consul general in New York, who spoke about the role of art in encouraging cultural exchange and international understanding
RIYADH: The Didier Aaron Gallery in New York, in collaboration with the Consulate General of Saudi Arabia, is hosting an art exhibition by French architect Jean-Pierre Heim.
The exhibition showcases AlUla’s culture and heritage through a collection of sketches depicting Saudi Arabia’s archaeological landmarks.
It runs until June 20, reported the Saudi Press Agency.
A special event at the exhibition featured Heim speaking about his visits to AlUla and the surrounding region.
It was opened by Abdullah Al-Hamdan, the Kingdom’s consul general in New York, who spoke about the role of art in encouraging cultural exchange and international understanding.
He also noted the value of such exhibitions in sharing aspects of Saudi heritage with a wider audience.
Heim described his design approach as being informed by local culture and geography, emphasizing the integration of architecture with environment, history, and traditions.
The exhibition includes selected architectural drawings by Heim, inspired by his travels to more than 80 countries, including Saudi Arabia, Egypt, Sudan, Jordan, Greece, and China.
Emirati artists perform in showcase at London’s Kensington Palace
LONDON: “If we do not tell our story, someone else will. And they will get it wrong,” said Huda Alkhamis-Kanoo, founder of the Abu Dhabi Music & Arts Foundation, following a performance in London on Friday that brought Emirati talent to a major international platform.
Emirati artists took to the stage at Kensington Palace to present a night of operatic performances. Fatima Al-Hashimi, Ahmed Al-Housani, and Ihab Darwish performed in multiple languages including Arabic, Italian and English. The performance was part of the Abu Dhabi Festival’s Abroad program in collaboration with the Peace and Prosperity Trust. The event was intended to promote Emirati cultural expression through classical music and cross-cultural collaboration.
Alkhamis-Kanoo said an event like this is vital for cultural diplomacy and is not a one-off, but a commitment to placing Emirati talent on the world stage.
“It’s about creating understanding, building dialogue, and showing the world the strength of our cultural identity through music,” she explained. “We invest in the young, we partner with the world, and we build cultural legacies that last.”
The evening also included the premiere of Darwish’s latest composition “Ruins of Time,” which blended orchestral arrangements with traditional Arabic elements.
“Music is the fastest way to reach people. It creates peace, it creates understanding,” Darwish told Arab News. “Music removes boundaries. It creates a shared language, a dialogue of coexistence, peace, and tolerance. When people from different cultures come together to create music, it naturally fosters mutual understanding.”
Al-Hashimi explained the intention behind adapting a classical repertoire to reflect Arab identity. “Even while singing in Italian, I included Arabic lyrics to keep our signature present,” she said.
Al-Housani described the event as a “professional milestone,” adding: “Performing here is more than a concert, it’s a message. We’re here to show the world the strength and beauty of our culture.”
Andria Tayeh nominated at Austrian Film Award
DUBAI: Lebanese Jordanian actress Andria Tayeh has been nominated for best supporting actress at the Austrian Film Award for her role in “Mond.”
The ceremony is scheduled to take place from June 12 to June 15.
Tayeh shared the news with her followers on Instagram, thanking her supporters and the awards organization for the recognition.
She is nominated alongside Italian actress Gerti Drassl and Austrian actress Maria Hofstatter.
“Mond” is directed by Austrian filmmaker Kurdwin Ayub. The film follows former martial artist Sarah, who leaves Austria to train three sisters from a wealthy family in the Middle East.
What initially appears to be a dream job soon takes a darker turn: The young women are isolated from the outside world and placed under constant surveillance. They show little interest in sports — raising the question of why Sarah was hired in the first place.
Tayeh plays the role of Nour, one of the three sisters.
The actress, who is also known for her roles in Netflix’s hit series “Al-Rawabi School for Girls,” has had a busy year collaborating with multiple brands and fronting their campaigns.
In February, Giorgio Armani announced her appointment as its new Middle East beauty ambassador.
She took to Instagram to express her excitement: “I am thrilled and honored to embark on this new journey with Armani beauty. This marks a real milestone for me, as the brand embodies values I have always cherished: timeless elegance, dramatic simplicity, and women empowerment.”
That same month, she was named the first Middle Eastern ambassador for French haircare brand Kerastase.
In a promotional clip, she appeared in an all-white studio, answering questions about why she is the ideal Kerastase ambassador. Tayeh spoke in a mix of English, Arabic and French, playfully flipping her hair for the camera as she discussed her dedication to maintaining healthy hair.
In March, she also fronted Armani’s Ramadan campaign, set against the backdrop of a desert landscape.
Draped in a flowing emerald-green abaya, Tayeh was seen in the video applying the Vert Malachite perfume from Armani Prive as the camera captured the details of the fragrance and her attire. The setting featured sand dunes stretching into the horizon.
Labubu mania sweeps the UAE, CEO of The Little Things says
DUBAI: Once just a niche collectible from Asia, Labubus have now become the must-have accessory among youth, influencers and collectors of all ages.
Seen clutched in the hands of BLACKPINK’s Lisa and Rosé, flaunted by Rihanna, and even making cameos in Kim Kardashian’s social media posts, Labubu has found its way into the UAE’s trend-savvy culture.
According to Hassan Tamimi, CEO of The Little Things, the UAE’s official POP MART retailer, the demand for Labubu has reached unprecedented levels.
“Labubu has become more than a collectible here,” Tamimi told Arab News Japan. “It’s a lifestyle statement. We’re seeing people pair them with luxury handbags, sports cars, even use them in wedding shoots.”
But in a region known for its love of luxury and limited-edition goods, the blind box collectible has struck a chord, especially among Gen Z and millennial buyers seeking aesthetic, niche fandom items with resale value.
However, the spike in popularity has brought an unfortunate side effect: a flood of fake Labubu figures infiltrating the UAE market. Counterfeit toys, often dubbed “Lafufu” by collectors, have been circulating online via scam websites and unverified sellers.
“We’ve had several customers walk into our stores with fake Labubus thinking they were real,” Tamimi said. “It’s heartbreaking, especially for those who paid high prices for something inauthentic.”
Tamimi warned buyers to look out for telltale signs: typos on packaging, incorrect paint colors, poor stitching on plushies, or even the wrong number of teeth, authentic Labubu figures always have exactly nine.
To meet the overwhelming demand while keeping things fair, The Little Things has implemented a strict one-piece-per-customer policy. The company has also increased restocking efforts and trained in-store staff to help collectors verify authenticity.
Tamimi also pointed out that Labubu’s appeal lies in the thrill of the hunt.
“The blind box format taps into that collector instinct, there’s excitement, suspense, and FOMO. You never know which figure you’ll get, especially with rarer editions, and that makes each purchase feel like an event,” he told Arab News Japan.
While Labubu has long been a cult favorite in Japan, Tamimi noted that the UAE is quickly becoming a hotspot in its own right. In Dubai and Abu Dhabi especially, Labubu fans are forming communities, trading figures and sharing unboxings and display setups online.
“What’s happening here mirrors what we’ve seen in Tokyo,” he added. “The only difference is access, Japan often gets first dibs on regional exclusives. But that scarcity is part of what makes collecting in the UAE so exciting.”
As for those looking to join the Labubu craze, Tamimi has one piece of advice: stick to official sellers.
“If it’s too cheap or too easy to find online, it’s probably fake. Trust verified stores. The magic of Labubu is in the real thing.”
- This article was first published on Arab News Japan.
Saudi artist Abdullah Al-Othman discusses work exploring linguistic architectural landscapes
DUBAI: In the Bawwaba section of the most recent edition of Art Dubai, Saudi artist Abdullah Al-Othman’s installation “Manifesto: Language & the City II” presented photographs and numerous illuminated signs and symbols in Arabic against two black walls, reflecting the urban signage one may find in Riyadh.
The installation was an evolution of a series that includes 2021’s “Manifesto: the Language and the City,” a multimedia installation exploring the linguistic and architectural landscape of Riyadh for the inaugural Diriyah Contemporary Art Biennale, which went on to be included in the Lyon Biennale in 2022, and “Fantasy Land,” which Al-Othman created for the Sharjah Islamic Arts Festival in 2021 — a neon wall installation exploring themes of human experience and the shifts between reality and illusion.
“Language & the City II” pulsed with light and color and the expressive characters of the Arabic language made the viewer feel as if they were indeed on a bustling street in the Saudi capital. “Language is akin to history — it’s very deep,” Al-Othman tells Arab News. “Through my research I realized how language is like a brand for a culture — it references history and people. I study the language that we find in cities. The documentation of language affects the architectural style in an urban environment and the relationship between people and their environment.”
“Language & the City II” was made from a variety of materials, predominantly neon signage, lightboxes and wooden advertising signs that were once hung in the streets of Riyadh. Al-Othman’s installation brought them together to create a portrait of the city through its typographic, visual and architectural styles.
Riyadh’s identity, explains Al-Othman, is revealed through the language, style and vibrant colors of these lit symbols, offering a collective memory of a city in the throes of change.
As an artist and a poet, language has always played an important role in Al-Othman’s life. While he began as a writer, he arrived at a point where he could no longer fully express himself with words and turned to art, creating works that incorporate sound, found objects, sculpture, film and performance.
In 2017’s “Suspended Al-Balad,” for the 21,39, contemporary art festival, Al-Othman wrapped an entire building in Jeddah’s historic Al-Balad district, originally used as a shelter for widows and divorced women, with tin foil.
Al Othman’s intuitive approach to art creation leads him to organically move between and incorporate different mediums. Light is a significant element in his work, whether bouncing off tin foil or shining in neon to reflect the everyday urban environment of Riyadh.
“I want to create journeys for people to discover the importance of language,” says Al-Othman. “Language is a deeply important part of being human.”
Today Al-Othman continues to expand his research and art creation. He has recently published a book on his research supported by The King Abdulaziz Center for World Culture (Ithra) and the Saudi Cultural Development Fund.
Presently he is creating sculptures out of various Arabic words from made from different materials for his latest project, “Engineering the Incomplete.”
“In my artistic practice, I engage with language as an open field for analysis and reconstruction,” he writes in his statement for the new project. “I begin from moments of absence — from missing letters and fractured words — treating them as signals of the fragility inherent in the symbolic systems we rely on to make sense of the world.
“Failure to achieve perfection becomes an essential part of creation, not a flaw to be corrected,” he continues. “Incompleteness is not simply a void, but an active component that generates new, open-ended meanings. Each missing letter, each visual gap, forms an alternative path of reading and invites the viewer to reshape their relationship with language and the urban environment.”
“Engineering the Incomplete” uses the structure of the letter as an entity capable of both disintegration and destruction and therefore the resulting text as something that is unstable and constantly changing.
“My practice transforms language from a tool of communication into a material and temporal organism caught in the tension between structure and collapse,” Al-Othman adds. “Through material techniques that draw from urban elements and the reconfiguration of textual spaces, my work seeks to highlight the continuous tension between the desire for expression and the inherent limits of linguistic possibilities.”
Al-Othman says that “Engineering the Incomplete” is not an attempt to restore what is lost, but an invitation to read absence, or lacking, as another form of presence and a new beginning.
Incompleteness, he emphasizes, offers “a way to produce new meaning and vision.”
