For the second year running, The Saudi Art Council has organized and opened its doors for the Kingdom’s most influential art galleries to present some of the country’s leading local artists’ work. Shara Art Fair, opened on the 21st of Ramadan and running for five days, was held at the Saudi Art Council headquarters after the success of last year’s art fair. Sponsored by UBS, the world’s leading wealth manager, the sponsorship of the Shara Art Fair follows a successful collaboration between UBS and the Council during the 2015 art fairs that showcased the history and direction of contemporary visual arts in Saudi Arabia through a number of exhibitions, most prominent among them “21.39”, providing the public a unique chance to learn about the development of the visual art movement through the eyes of local artists. This year, it added a new feature for the art scene by having presented local food and furniture initiatives that made waves in the area; Medd Coffee and Roastry, Shelter Shoppe, Oil Barrel and Mashareq.
The participating galleries included Athr Art Gallery, Hafez Art Gallery, Cuadro Art Gallery and a silent auction held by Al-Mansouria Foundation, a foundation established by Princess Jawaher Bint Majed in support of creativity in the Kingdom. The gallery is set to encourage more Saudi artists to participate in the growing contemporary visual arts movement that has seen a great boom in the past few years and more galleries are set out to showcase their work for public viewing depicting Saudi culture and history through their eyes. Such an initiative not only encourages artists, but encourages the public to understand what Saudi artists portray through their canvases, sculptures, calligraphy, Islamic art and geometry and photographs, bringing together artists from across the Kingdom in one art space.
The space was divided according to the number of galleries partaking in the art fair and the number of artists showcasing their work this year was impressive with many varied pieces that surely caught the attention of newcomers and art lovers alike. To name a few from the field of Islamic calligraphy and geometric Islamic art, there’s Ahmad Angawi with his take on Hijazi patterns of “Al-Mangour” on glass and number talismans from Dana Awartani’s “The Hidden Qualities of Quantities”. Arwa AlNeami’s “spring camel” photographs in full blown vibrant colors, Ghada Al-Rabea’s pop art, Osama Esid’s “Erk Soos” and Moath AlOfi’s “Haramain” from his recent exhibit “Doors of Barlik” were all a hit with the visitors.
It was difficult to pass by and not stare in awe at the the intricate details of Izzat Batrawi’s “relief sculpture” with impressively fine and designed wood work , as was the neon installation by Majed Thobaiti depicting the ever so known arabic version “hhhh”.
There was an abundance of paintings displayed from various well-known and young up and coming artists, each painting with a significant concept of its own, each telling a story. There’s Tagreed Bagshi’s beautiful painting signifying the heroism of women and mysticism on a canvas aptly named “paradise”, a beautiful mix of collage and print in Garden 1 from Filwa Nazer’s Green Library Series. There was “The Ramadan Story” by Ola Hejazi, the vibrant work of the seven tawaf or circumambulations around the Kaaba series by Siddiqa Juma, Ammar Al-Attar’s five print series “salah” in an exquisite portrayal of the daily sacred ritual of prayer, as never seen before.
The Kingdom is seeing a new wave of art enthusiasm in all its forms with centers and galleries offering the best services to steer up and coming artists into the path they need to progress and evolve. Society is also opening up to the art movement, understanding the concept of art bit by bit and allowing a new contemporary wave to be displayed and appreciated.
Oil Barrel founders Mohammed Awlia and Omar Naseef were participating in the art fair as part of an initiative to support local brands as well as to integrate them with the art scene, a mix that sat well with Oil Barrel founders. “We enjoyed being a part of Shara Art Fair as it was also an opportunity for Oil Barrel to give its own rendition of the artistic history lesson through our version of Vision 2030. We chose a concept that was similar to the one Prince Mohammed bin Salman presented but through a hundred year timeline, vision 1930. It was a period of discovery and entrepreneurship, fast forward a hundred years later and the concept can be applied to the now.”
Oil Barrel’s corner of the art fair featured a centerpiece of stacked oil barrels with calligraphy work by artist Shaker Kashgari, a large mural by mother and daughter duo Siham Abdulgadir and Majdaline Bakr and original newspaper clippings from the 1930’s recreating a timeline on the very beginnings of the oil industry of the Kingdom. “Being part of Shara Art Fair also gave us the opportunity to test drive Oil Barrel’s latest furniture line, it was a success with lots of orders coming in. We literally recycle and reuse oil barrels in creative methods related to our brand,” said Mohammed Awlia.
Medd coffee and Roastery, a new favorite among Jeddawis was also a participant, serving their signature 100 percent organic, fair trade and freshly brewed specialty coffee, hot or cold of course, as well as sweets and snacks from local home businesses, an initiative they’ve been supporting since opening.
Shelter Shoppe, a concept store collaboration between husband and wife duo Faisal Sheraiff and Reem Basaad, was also a participant in the fair presenting home décor selected especially by the duo. “Shara Art Fair shared the same concept as the one we took up on ourselves to present in Shelter Shoppe, it was great being a part of such an amazing art movement. We choose pieces that are one of a kind. We handpick them ourselves and much to our pleasure, visitors were very pleased with our products and shared their delight as they browsed the area,” exclaimed Faisal Sheraiff. “We will definitely be participating more with The Saudi Art Council, the art lovers are exactly the target market we strive to attract to share our love for art.” Mashareq, a store that specializes specifically in traditional arts and crafts of the Islamic heritage, also debuted some of its magnificent wood work, handcrafted furniture and home accessories by Middle Eastern artisans. Their displays featured works that literally would take you decades back when woodwork was flaunted in homes, each uniquely crafted by the finest craftsmen.
The Saudi Art Council in partnership with the many galleries at the Shara Art Fair are helping artists in the Kingdom to come forward and showcase their work, simply by arranging art exhibits with exceptional concepts.
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Shara Art Fair celebrates Saudi artists
Shara Art Fair celebrates Saudi artists
Mohammed Al-Saleem: Saudi Arabia’s best-selling artist dominates art auctions
- Al-Saleem’s works fetched the highest prices for Saudi artists at both Christies and Sotheby’s this year
DUBAI: The late Mohammed Al-Saleem was once again the Kingdom’s stand-out performer at art auctions this year, topping the price list for a single work by a Saudi artist at both Christie’s and Sotheby’s.
He didn’t quite match the record-breaking levels of the 1986 piece sold by Sotheby’s last year, which made him the first Saudi artist in history to fetch more than $1 million for an auctioned work, but this year Al-Saleem’s 1990 work “Bi nur al-iman, nara al-s'adah” (In the light of faith, we see happiness) realized well over twice its highest estimated price for Christie’s, eventually selling for £630,000 (around $788,285), while, at Sotheby’s, an untitled Al-Saleem piece from 1960 went for £84,000.
Seen together, the two pieces clearly demonstrate Al-Saleem’s evolution as an artist over the three decades separating the pieces. But the earlier piece also shows just how well-defined Al-Saleem’s aesthetic sense was even at the start of his artistic journey.
As Sotheby’s head of sale for 20th Century Art/Middle East, Alexandra Roy, says of the untitled painting, “It’s a work that’s finding its own language. And they you see him really evolve, which I think is always a sign of a great artist — they really find their own language that you can recognize immediately. Even if you only know his later works, you can immediately infer that this was done by Mohammed Al-Saleem.
“You can see he is starting to think a lot about the visual culture around him,” she continues. “And what I love is that he is super-interested in the landscape around him, abstract art, calligraphy, the Qu’ran… and this work combines a bit of all of that: it has the abstract, the calligraphy, and that important element of the landscape around him with the figures in the painting, which are actually camels.
“It’s actually super-rare to find a work from the 1960s and really amazing to see the development — how he goes on from this,” she continues. “There’s something traditional and yet very avant-garde about this work. For me, it looks like an Arab flag. So, immediately, my associations go to those early pan-Arab artistic movements. It’s also very textured — he’s really creating something with depth and movement. And visually it has all of these elements which kind of harken back to the Islamic world, to Saudi Arabia’s landscape, to popular motifs, but done in a very original way.”
Ridah Moumni, Christie’s chairman, Middle East and Africa, also stresses the fact that Al-Saleem had a very clear aesthetic identity — one which, by the time he came to paint “Bi nur al-iman, nara al-s'adah” — had become clearly defined.
“It’s more than the technique. It’s really the composition,” Moumni says. “He creates very abstract layers of colors, in which we see a sort of geometry that we can sometimes identify as human forms, or calligraphy, or animal forms. It’s very interesting. Sometimes people would say this is a Saudi style — I don’t think it is; it’s the style of Mohammed Al-Saleem. He’s an excellent painter in the way he uses the colors to create these abstractions.”
This particular work is unusual in the way that Al-Saleem used a painted frame to divide the canvas into quarters.
“This is a really special work. You won’t see two of them. It’s a rare composition and I think the collectors who saw this work saw its exceptional quality,” says Moumni. “I find this piece extremely beautiful. I love it because it’s an abstract piece, with spectacular composition, but it’s also a piece that is absolutely optimistic and shows extraordinary creativity. In the Nineties, the artist was really struggling financially. Then he paints this beautiful message — ‘In the light of faith, we see happiness.’
“I think the Arab world is full of talent, of resilience, of creativity, of richness. And I think the artists of the Arab world have so much to give, not only regionally, but also from a global perspective,” he continues. “So when I see this work, I see also the optimism and the generosity of the art scenes of the region. The Arab world has so much to give, and we have so much to learn from its artists.”
Sound judgement: The best Arab alternative albums of 2024
- Bojan Preradovic’s pick of records released by indie artists from the Arab world this year
Tayar
‘Kol Shi Sar’
Tayar consists of Amman-based songwriters Ahmad Farah and Bader Helalat, who is also a producer and filmmaker. Since 2020, the pair have released a string of singles and EPs, often using their music as a means of processing life in a region immersed in grave injustice and trauma. Their first LP is a genre-defying record that oscillates effortlessly between indie rock, earworm electronica, and delectable, quartertone-laced neo-psychedelia. Between gorgeous, piano-driven interludes, Farah and Helalat snake their way through a sonic canvas of exquisite vocal harmonies, irresistibly danceable beats, synth-soaked laments, and lusciously arranged instrumentals narrated by the likes of double bass, oud, and trumpet.
Fulana
‘ground:from — Chapter One’
Vancouver-born, Jeddah-raised artist Nadine Lingawi’s evolution as a songwriter since signing with Saudi Arabia’s Wall of Sound in 2020 has been remarkable, culminating in this month’s ‘ground:from,’ an enlightened exploration of brooding indie pop and instantly iconic electronica. Collaborating with Abdulmajeed Alwazna and Husam Al-Sayed — Saudi duo Input/Output — Lingawi employs her lyrical prowess to convey deep, existential ruminations on themes such as death and rebirth. While watery, delay-drenched guitars drive tracks such as opener ‘the burn’ and ‘decompose’, and memorable synth melodies are an indelible feature of ‘letter #9’ and ‘marigold’, it’s Lingawi’s soulful vocal delivery and tasteful harmonies that power the album’s allure. An immensely talented up-and-comer to watch out for.
Tamara Qaddoumi
‘Sorry Signal’
The Kuwaiti-born singer-songwriter moves on from her dalliance with trip-hop into the glacial embrace of profound, reliably infectious cold pop. “Sorry Signal” sees Qaddoumi bristle with brilliance, as she reflects on lost innocence and the insidious, shape-shifting nature of grief. From the crystalline harmonies elegantly wrapped around disquieting introspections of “Cold In The Mourning” to the heaving torrents of synths and rhythmic beats of the title track, Qaddoumi weaves the threads of seemingly insurmountable desolation into a compellingly hopeful requiem that looks to a brighter tomorrow.
Hello Psychaleppo
‘Cipher’
The Syrian producer, songwriter, and multi-instrumentalist Samer Eldahr has audaciously pushed the boundaries of the very foundation of traditional Arabic music for the past decade. With his third LP, he has fully alchemized his own brand of electro-tarab, sharpening any rough edges into a well-rounded, unmistakably unique sound. The album features illustrious guest appearances, including former Mashrou’ Leila frontman Hamed Sinno, and DJ, producer, and singer Anas Maghrebi (formerly of Khebez Dawle), whose vocals grace the feverish beats and synths of the album opener, “Katha Altawq.” “Cipher” is a towering addition to Hello Psychaleppo’s already impressive catalogue.
Snakeskin
‘They Kept Our Photographs’
Julia Sabra — frontwoman of Lebanese dream-pop outfit Postcards — has a long history with producer Fadi Tabbal — who has shepherded countless indie artists in his Beirut-based Tunefork Studios. Their sophomore album as Snakeskin perfects the distinctive formula of Sabra’s ethereal, instantly recognizable vocals and Tabbal’s visionary production and electronic experimentation. The pair are at their most imperious on tracks like “Bodies,” which rattles off a machine-gun beat as a scene-setter for Sabra, who vocalizes with both fragility and poise to the aqueous, hypnotic soundscapes of synths engineered by Tabbal. This is a mournful, beautiful record, to be listened to with headphones in the twilight of a dying day, or just before the dawn of a new one.
Garwasha
‘Garwasha’
Saudi Arabia isn’t known for its jazz, but Riyadh-based, alternative fusion band Garwasha aim to change that with their debut album — a dexterous combo of jazz, rock, and experimental instrumentation, with nods to elements of traditional Arabic music. The LP is brimming with musicianship, as the four-piece storm through vibrant, frequently playful tracks. The eight-minute “Consolacao” is a mélange of jazzy progressions, funky breakdowns, and showcases of virtuosity. Meanwhile, song titles such as “Dancing Delicately Along the Dichotomies of Reverse Orientalism” follow a curious naming convention often deployed by post-rock bands that, like Garwasha, communicate their message effectively solely through the strength of their music.
Seera
‘Al Mojallad Al Awal’
All-female Saudi foursome Seera’s debut LP is an amalgam of psychedelic and indie rock that employs nuances of traditional Arabic music, stylishly ornamented by cathartic guitar parts, keyboard passages reminiscent of The Doors and the artistic exuberance of the late Sixties, and tinges of everything from blues to electronica. With an anonymous drummer who goes only by ‘Thing’ and wears a mask symbolizing Saudi heritage, Seera’s rise embodies the ongoing cultural change within the Kingdom, the blossoming spirit of creative freedom, and female empowerment.
Showtime: The best television of 2024
- From warlords in feudal Japan, through tender comedy and banking chaos, to a stalker in Scotland
‘Shogun’
Historical drama “Shogun” was reportedly years in the making, and it shows. Each episode is like its own mini big-budget movie. Few foreign-language shows (the majority of the dialogue is Japanese) have managed to grab the attention of the Western world in the way “Shogun” has. The adaptation of James Clavell’s 1975 novel centers on John Blackthorne (Cosmo Jarvis), loosely based on the English navigator William Adams, who became a samurai for the founder of the Tokugawa shogunate in the early 17th century. But it’s the women, particularly Blackthorne’s translator Lady Mariko (a hugely impressive Anna Sawai) who are the real heroes of the show, which is a beautifully paced mix of political intrigue and brutal combat.
‘Industry’
The high-stakes, high-paced financial drama’s third season was its best yet, as the stress levels of the employees of London investment bank Pierpoint & Co skyrocketed. The introduction of Kit Harington as Henry Muck (no, not Musk, definitely not. Right?) — the horribly wealthy, horribly privileged creator of a green-energy startup whose doomed desperation to be liked was a constant source of glee for viewers — was a stroke of genius, as was the jaw-dropping chaos of the finale, stunning not least because there had already been so many instances of jaw-dropping chaos throughout that it was a surprise they had anything left. But “Industry” always seems to have plenty more in the tank. Roll on season four.
‘Slow Horses’
No, the fourth season of Apple TV+’s espionage drama didn’t really break any new ground. But when what’s in place is already so good, why mess with it? Gary Oldman continues to have a ball as the foul-mouthed, foul-smelling former superspy Jackson Lamb, lording it over his ragtag crew of MI5 cast-offs in Slough House, and his team of misfits continue to defy expectations by actually being quite good at spy work — even if only by accident at times. The show continues to mine familiar tropes of the genre, but also continues to make them feel fresh thanks to brilliant performances and direction, and the strength of the source material — Mick Herron’s novels.
‘Somebody Somewhere’
Rarely have big themes been tackled with such lightness and joy as in Hannah Bos’ and Paul Thureen’s coming-of-middle-age comedy drama. The third (and sadly final) season of this underrated gem keeps up the remarkable consistency of the previous two, and the remarkable Bridget Everett continues to shine as the main protagonist, forty-something Sam — a flawed but entirely relatable woman searching for acceptance and love, while continually self-sabotaging. The supporting cast are equally brilliant, and fans will feel bereft at their disappearance.
‘Baby Reindeer’
Back in the spring, Richard Gadd’s autobiographical drama was the most high-profile show in the world — though not always for the reasons its creator — or Netflix — would have wanted. The streamer’s ethical failures aside, its water-cooler status was earned just as much by Gadd’s raw depiction of a wannabe comedian (himself) and his relationship with a female stalker, Martha (a superb, emotionally harrowing performance by Jessica Gunning). Equal parts hilarious and horrifying, this is one of the most original shows in years and Gadd’s performance and writing are both unflinchingly self-aware.
‘Only Murders in the Building’
The fourth season of the comedy drama about an unlikely trio of true-crime podcasters (Steve Martin, Martin Short, Selena Gomez) was arguably it strongest since its debut run, helped in no small part by its introduction of a host of new guest stars (Zach Galifianakis, Eva Longoria, and Eugene Levy) and returning ones (Meryl Streep and Paul Rudd, among others). This season’s murder investigation was deeply personal, and allowed the main characters to show greater depth than ever before, while retaining the sparkling comic chemistry between the three of them.
‘Fallout’
Adaptations of post-apocalyptic video games are proving hugely popular with viewers. “The Last of Us” was one of 2023’s finest shows, and the more cartoonish, but equally violent, “Fallout” thrilled us this year. Set in an alternate history in which a nuclear exchange between the US and China in 2077 drove many survivors underground into bunkers known as Vaults, “Fallout” centers on Lucy (Ella Purnell), who, more than two centuries after the bombs dropped, ventures into the wasteland that used to be Los Angeles to hunt for her father, who has been kidnapped by raiders. Having been raised in the safety and the — outwardly, at least — polite society of the Vault, Lucy is, let’s say, underprepared for the horrors that await.
‘Ripley’
Steven Zaillian’s adaptation of Patricia Highsmith’s psychological crime thriller novel “The Talented Mr. Ripley” is beautifully shot in black-and-white, with gorgeous, lingering shots of the Italian coast. If that sounds a bit highbrow, don’t worry; the plot explores the basest of human instincts. Tom Ripley (the excellent Andrew Scott), a down-on-his-luck con-man in 1960s New York, is hired by the wealthy Herbert Greenleaf to convince his wayward son Dickie to return home from Italy, where he is living a leisurely life at his father’s expense. But when Ripley sees Dickie’s leisurely luxurious life for himself, he decides he’d quite like a piece (or considerably more) of it.
Screen stars: The best films of 2024
DUBAI: From action-packed escapism to bone-chilling mundanity, here are our picks from this year’s big-screen offerings.
‘The Zone of Interest’
Strictly speaking a 2023 film, but it came out too late to make last year’s list (although not too late to earn the Best International Feature Film Oscar this year). Jonathan Glazer’s extraordinary take on the story of the Auschwitz commandant Rudolf Höss, his wife Hedwig and their family and entourage as they make their home next to the concentration camp where unthinkable horrors are perpetrated contains no scenes of those horrors, but their sounds form a continual backdrop to this subtle portrayal of what philosopher Hannah Arendt famously called “the banality of evil.”
‘Inside Out 2’
Pixar’s summer offering was a delight: moving, silly, and profound. Riley, the young girl who — along with her five personified emotions — was the star of 2015’s beloved “Inside Out,” is entering her teenage years, which usher in a host of new emotions (Anxiety, Ennui, Embarrassment and Envy), disturbing the delicate balance achieved by the veterans Joy, Sadness, Anger, Fear and Disgust, who must now recalibrate to try and help Riley deal with adolescence.
‘Dune: Part Two’
The second instalment in Denis Villeneuve’s adaptation of Frank Herbert’s epic sci-fi work follows Paul Atreides (Timothee Chalomet) as he attempts to earn the trust of the native Fremen people of the desert planet Arrakis to persuade them to help him take down House Harkonnen, who were responsible for the massacre of Paul’s own house. Love versus duty, religious extremism, and the morality of violence are all explored, but never in a way that detracts from the entertainment, which includes dazzling battle sequences, the love affair between Chalomet and Zendaya’s fierce Fremen woman Chani, and thrilling sandworm rides.
‘Deadpool & Wolverine’
It has its detractors, and many of the criticisms are deserved, but this Marvel buddy comedy is great entertainment — frenetic, often hilarious, and pushing its 15 certificate to the limits. Ryan Reynolds’ titular foul-mouthed antihero takes his fourth-wall-breaking meta self-awareness to crazy new levels, and his connection with co-star Hugh Jackman as the reticent, always-anger-adjacent Wolverine is a joy. It’s not going to win any major awards, but it’s a huge amount of fun.
‘Furiosa: A Mad Max Saga’
This prequel and spin-off to the excellent “Mad Max: Fury Road” was a relative flop at the box office, but that’s no reflection of its quality: Anya Taylor-Joy is excellent in the lead role, finding an emotional connection to Charlize Theron’s portrayal of Furiosa in “Fury Road,” and Chris Hemsworth holds nothing back in his performance as the evil warlord biker Dementus. As usual, director George Miller delivers astounding action sequences, but the screenplay also has real depth.
‘Challengers’
Zendaya steals the show in Luca Guadagnino’s spicy sporty drama. She plays former tennis prodigy Tashi Duncan now coaching her husband, Art, after injury forced her retirement. Art is struggling with form and fitness, and must face his former best friend (and former competitor for Tashi’s affections), Patrick (Josh O’Connor). The heated chemistry between its three stars makes “Challengers” a lot of fun.
Play it again: The best video games of 2024
‘Metaphor: ReFantazio’
With its mix of social division, political wheeler-dealing, tragedy and personality-forming insecurities, there was arguably no more of-the-moment game in 2024 than this Japanese RPG set in a medieval fantasy realm inhabited by an array of tribes, where discrimination runs wild and chaos has set in following the death of the king, the exclusive possessor of Royal Magic.
‘Like a Dragon: Infinite Wealth’
The ninth mainline entry in the “Like a Dragon” RPG series was the best yet. It took the action to Hawaii, where Ichiban Kasuga and Kazuma Kiryu team up to help the former reunite with his mother, who is living with cancer. The revamped combat system was a triumph, resulting in free-flowing fighting that always seemed to offer something unexpected.
‘Astro Bot’
This joyous cute-as-you-like PS5 platformer was both nostalgic and wildly inventive, with callbacks to numerous PlayStation characters from the console’s 30-year history. Easily accessible for even novice gamers, but tricky enough to satisfy the most adept, and filled with personality and humor, “Astro Bot” was a great reminder of why video games deserve to be considered art.
‘Helldivers 2’
Takes co-op chaos to a whole new level of hilarity. Suit up as an elite warrior and gun down alien baddies in missions that demand strategy, teamwork and the occasional lucky grenade toss. The game masterfully mixes intense firefights with biting satire and laugh-out-loud moments. Combined with the right group of gamer friends, you’re guaranteed a blasting good time spreading democracy across the galaxy.
‘Dragon Age: The Veilguard’
Breathes fiery new life into the beloved RPG series. As Rook, you’ll face complex relationships, consequence-driven choices, and probably some dragons — all while wrangling a motley crew of flawed companions. With action-packed combat, stunning visuals, and a story that pulls at your heartstrings, it’s a rollercoaster of feels and fantasy. A triumphant return to form (we can forgive the pacing issues).
‘Animal Well’
Shared Memory’s surreal nonlinear platformer in which you (a blob) must navigate a labyrinth filled with animals, solving puzzles along the way (for a purpose that remains opaque), is one of those games that can begin to seep into your dreams as your mind continues trying to crack it even when you’re sleeping. It’s enchanting, entertaining, tricky and consuming. A magical and surprising treat.
