Misk Art Week showcases artists from Saudi Arabia and international community

Afra Aldhaheri’s “End of A School Braid” (2021), part of the Misk Art Grant exhibition “Under Construction” at Misk Art Week 2021. (Omar Al-Tamimi)
Afra Aldhaheri’s “End of A School Braid” (2021), part of the Misk Art Grant exhibition “Under Construction” at Misk Art Week 2021. (Omar Al-Tamimi)
Short Url
Updated 03 December 2021

Misk Art Week showcases artists from Saudi Arabia and international community

Afra Aldhaheri’s “End of A School Braid” (2021), part of the Misk Art Grant exhibition “Under Construction” at Misk Art Week 2021. (Omar Al-Tamimi)
  • For its fifth year, Misk Art Institute’s annual event features several exhibitions exploring the nature of identity

RIYADH: Inside Riyadh’s Prince Faisal bin Fahd Arts Hall, multimedia artworks are displayed across the venue’s two floors on the theme of Takween, which means “form” in Arabic, and its relation to one’s identity.

As part of Misk Art Week’s fifth outing, taking place until Dec. 5, artists from Saudi Arabia, the Gulf, North Africa and the wider international community present art that questions identity — specifically how an individual’s social, historical and cultural origins influence their past, present and future.

From video works produced with AI to paintings, textile-based art and installations, the art on show aims, according to the Misk Art Institute, to offer a “critical platform for the creative community,” fostering cultural dialogue and intellectual exchange.

As visitors enter the hall, they are confronted by two dark figures by Saudi artist Filwa Nazer, made of black polyethylene industrial netting and titled The Other is Another Body (2021). The figures seem to guard the vibrantly colored wool-weave tapestry work hanging on a wall between them, titled Palm (1985), by American artist Sheila Hicks.

The works are part of Here, Now, the third in a series of the Misk Art Institute’s annual flagship exhibition, curated this time by British writer and curator Sacha Craddock alongside Misk’s assistant curators, Nora Algosaibi and Alia Ahmad Al-Saud.

The show, which features a mix of emerging and established artists and runs until Jan. 30, 2022, is the first in the Saudi capital to present works by both Saudi and international artists, including ones by well-known Saudi artists such as Manal Al-Dowayan’s abstract black and white work, I am Here (2016), Ayman Yossri Daydban’s Tree House (2019), and Sami Ali AlHossein’s colorful abstract figurative works on canvas. There is also a painting by renowned Sudanese painter Salah Elmur titled The Angry Singer (2015) and delicate floral drawings by Korean artist Young In Hong dating to 2009.

While without an overarching narrative, the show prompts the spectator to question, like the exhibition’s title, “why here and why now?” It encourages the visitor to reflect on the artworks and the nature of identity in a reflective, personal and subjective manner.

Upstairs is Under Construction, an exhibition of Misk Art Grant recipients who hail this year from Saudi Arabia, the UAE, Bahrain, Kuwait and Algeria. The grant funds up to SR1 million ($266,632) and has been distributed among the nine participating artists and collectives.

Basma Al-Shathry, lead curator at Misk Art Institute, said: “This year’s Misk Art Grant exhibition, ‘Under Construction,’ explores how identity is perceived as an emblem of growth, continuity and endless iterations of cultural representation throughout history. It has been a delight to bring together artists and designers from both the Middle East and North Africa to address the theme as a process of development, repetition, distortion and incompleteness in a time of synthesis, understanding and promise for the future.”




Mira AlMazrooei and Jawaher AlMutairi’s “Glass Libary” (2021). Part of the Misk Art Grant exhibition titled  “Under construction” at Misk Art Week 2021. (Omar Al-Tamimi)

The works on show also respond to the theme of identity while focusing on how identity can be perceived as a method for growth and renewal, as well as social and historical continuity, via the incorporation of cultural representations throughout history.

One of the most poignant works is by Emirati artist and designer Latifa Saeed’s Sand Room (2021), which presents an assembly of sand-encased glass panels in the form of a cube that one can enter to observe the desert sand sediments that she collected from construction sites around Dubai.




Latifa Saeed’s “Sand room” (2021). Part of the Misk Art Grant exhibition titled “Under Construction” at Misk Art Week 2021. (Omar Al-Tamimi)

“My research and work is always about transformation, whether it be of a city or of one’s mentality,” Saeed told Arab News. “I began by building an archive of sand from Dubai because the sites from where I collected the sand we cannot visit anymore because they are now construction sites.

Saeed visited development sites in Dubai, and before the construction started she would collect sand from the area and label it accordingly. She now has more than 200 different types of sand from these areas.

“I am archiving, preserving and documenting the Dubai landscape, topography and the material itself,” she said.

Near to Saeed’s mesmerizing room of sand specimens is Emirati artist Afra Al-Dhaheri’s End of a School Braid (2021) — a large installation of twisted and backcombed off-white colored rope that hangs from the ceiling. In this piece Al-Dhaheri examines how hair can be seen as the keeper of memories, preserving not only time but cultural norms and heritage.

Bahraini artist Noor Alwan’s Sacred Spaces (2021), a series of hanging textile-based tapestry works, similarly seeks to preserve personal and collective memories. Growing up, she would watch her grandfather ritually draw hundreds of patterns on paper — a tradition that stemmed from his childhood and that immersed him in a meditative process of repetition. Alwan recalls his trance-like process of art creation and likens it to a shared Arab collective practice — with elements mirroring the mesmerizing geometric forms of Islamic art.




Nour Alwan’s “Sacred Spaces,” (2021). Part of the Misk Art Grant exhibition titled “Under Construction” at Misk Art Week 2021. (Omar Al-Tamimi)

Moving into the rapidly developing digital landscape is an engaging work by Saudi artist Obaid Alsafi, titled Beyond Language (2021), in which a poem by the late revered Saudi poet Muhammad Al-Thubaiti Poetry (1952-2011), titled Salutation to the Master of the Arid Land, is transformed into a video work with sound via artificial intelligence. For the work, which captivates the viewer through its colorful abstract images — some seem like palm trees while others appear to be figures — Alsafi trained the AI through data collection and machine learning to understand poetry and produce visual representations of each verse with accompanying machine-made sound.

“The first form of art in the region and the way we connected with each other was through poetry,” Alsafi, an artist who studied computer science, told Arab News. “Al-Thubaiti, one of Saudi’s pioneer poets, changed the way that poetry was written and read. Everyone sees AI as robotic, but my vision, I want to see how we can make the machine more human so that it understands language, learn and develop artwork depending on the vision of the artist. I believe artists can use AI as a tool to develop their work.”

Lastly, there is the second iteration of works created in the Masaha residency program, located in the basement of the Prince Faisal bin Fahd Arts Hall.

The program, part of Misk Art Institute’s mission to support Saudi and international practitioners across the artistic disciplines in the research and production of new works via mentorship opportunities, can be viewed on the ground floor. Titled HOME: Being and Belonging, the works by 10 visual artists from the UK, Guatemala, Morocco, India, South Korea, and from across Saudi Arabia, examine questions of how an individual and collective sense of belonging and nostalgia for one’s culture and heritage stems from one’s socio-cultural and ethnic background. The works on show explore how our sense of belonging changes and transforms with time.

The residency offers international artists the opportunity to create work on site at Masaha over a three-month cycle. Many of the participating artists are showing their work for the first time in the Kingdom — demonstrating once again Misk Art Institute’s broader aims to expand Saudi Arabia’s cultural landscape through international creative dialogue.




Hana Almilli’s “Through The Earth I Come Back Home” (2021). Part of the Masaha Residency showcase during Misk Art Week 2021. (Omar Al-Tamimi)

 


Gaza TV studio produces Hamas response to Israeli hit shows

Gaza TV studio produces Hamas response to Israeli hit shows
Updated 58 min 16 sec ago

Gaza TV studio produces Hamas response to Israeli hit shows

Gaza TV studio produces Hamas response to Israeli hit shows
  • “We want to flip the equation, to show the Palestinian point of view," says Gaza director Mohammed Soraya

GAZA CITY: In a Gaza TV studio of the ruling Islamist armed movement Hamas, a set features Israeli flags, Hebrew documents and a portrait of Theodor Herzl, the father of modern Zionism.
The make-believe office of enemy state Israel’s security service is being used to shoot a “pro-resistance” television series on the Israeli-Palestinian conflict.
It is Hamas’s answer to Israeli hit shows such as the special forces drama “Fauda” that have gained millions of viewers on platforms such as Netflix, HBO and Apple TV+.
“Fauda,” which in Arabic means chaos, portrays a military unit led by commander Doron Kavillio that launches raids inside Palestinian territories.

A portrait of the founder of of modern political Zionism Theodor Hertzl hangs on the set as Palestinian actors and crew shoot a scene of "Qabdat al-Ahrar" in Gaza city on Jan. 10, 2022. (Photo by Mahmud Hams / AFP)

Admitting to having watched “Fauda,” though, is not a good idea in Gaza, the Palestinian coastal enclave blockaded by Israel, said local director Mohammed Soraya.
To watch any Israeli TV series means supporting the “normalization” of relations with the Jewish state, argued Soraya, who is directing Hamas’s own TV series on the conflict.
He charged that such shows “support the Zionist occupation” because their plots “criminalize the Palestinian people,” speaking with AFP in the Gaza City studio.
“We want to flip the equation, to show the Palestinian point of view, to broadcast a drama about the spirit of our resistance.”
Hamas is considered a terrorist organization by Israel, the United States and the European Union. The Islamist group controls the Gaza Strip, an impoverished territory of 2.3 million people.
It also runs the Al-Aqsa channel, and has been investing in series inspired by Hollywood, and by Turkish soap operas that are popular across the Middle East.
The series now in production, “Qabdat Al-Ahrar” (Fist of the Free), revisits a 2018 Israeli operation in the Gaza Strip that resulted in the deaths of seven Hamas fighters and an Israeli officer.
The protagonists are the fighters of Hamas, which has fought four wars against the Jewish state since 2008.

Unlike Israeli series that often feature actors from the country’s Arab-Israeli minority, productions in Gaza do not use any Israeli actors. (Photo by Mahmud Hams / AFP)

Budgets are meagre, actors’ salaries are low, sets are basic and deadlines are tight, with the production team expected to deliver some 30 episodes by April, in time for the Muslim holy month of Ramadan.
While Israeli series often feature actors from the country’s Arab-Israeli minority, productions in Gaza do not use any Israeli actors.
This forces studios to recruit local actors to play Israelis — a job that, the performers say, can expose them to real-world hostility and danger.
One of them is Jawad Harouda, aged in his early sixties and with a husky voice, who portrays the head of Israel’s Shin Bet domestic security service in the new TV series.
To get into character, Harouda said he “soaked up the script,” but added that being too convincing can lead to trouble.
“Some women look at me and pray that I die,” he said, leaning back in his boss’s chair in the fake Shin Bet office.
“I’m happy when people insult me. It means I’ve succeeded ... The actor is a chameleon, he must be able to act out all colors.”
In Gaza productions, Israeli characters speak in Arabic. And, at the request of the Hamas mufti, or Islamic jurist, women wear their headscarves even if they play Jewish characters.

Palestinian women actors have to wear the hijab even if they are playing the part of Israeli women in the film. (Photo by Mahmud Hams / AFP)


“In one series, I played a Jewish woman,” said one actress, Kamila Fadel, who added that she may have been just a little too convincing for her own good.

“After the series was broadcast, a woman tried to strangle me,” she recounted.
“She told me: ‘I hate you, you are hurting us so much’. On another day a 13-year-old boy threw a stone at my head thinking I was Jewish... This means I played my part well.”
Not everyone is a fan of the Hamas productions, which are firmly focused on the conflict.
“There is no love” in the dramas, argued Palestinian director and critic Jamal Abu Alqumsan, who expressed regret that the rare local productions served primarily as a “tool of resistance.”
Abu Alqumsan said the potential for such productions to tell Palestinians’ stories was huge, but the challenges were many.
“In Gaza, we live under a blockade, it’s a unique situation in the world,” he said, speaking in his art gallery, which he hopes to turn into a small film library.
“So we need producers to invest in quality series and tell the rest of the world our story. We have good actors, they just need good directors and means.”
For now, Abu Alqumsan said he was unsure of the impact such shows would have.
“TV dramas are a weapon, but in the face of Israel, local productions are of a low level,” he said.


Actress Melissa Barrera talks ‘Scream 5’ wearing a statement jumpsuit by Elie Saab

Actress Melissa Barrera talks ‘Scream 5’ wearing a statement jumpsuit by Elie Saab
The Mexican actress wore a black Elie Saab jumpsuit to promote the new film. Instagram
Updated 16 January 2022

Actress Melissa Barrera talks ‘Scream 5’ wearing a statement jumpsuit by Elie Saab

Actress Melissa Barrera talks ‘Scream 5’ wearing a statement jumpsuit by Elie Saab

DUBAI: “Scream” will hit theaters in Saudi Arabia this week, more than 25 years after the late Wes Craven’s slasher classic thrilled fans. The new film is the fifth title in the cult series and is a direct sequel to 2011’s “Scream 4.” Directed by filmmakers Matt Bettinello-Olpin and Tyler Gillett, “Scream” sees franchise mainstays Courteney Cox and Neve Campbell reprise their roles, while newcomers include Sonia Ben Ammar, Melissa Barerra, Jenna Ortega, Mason Gooding, Dylan Minnette and Jack Quaid.

“Scream” follows a new Ghostface-masked assailant who begins targeting teenagers to resurrect secrets from the town of Woodsboro’s past.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by laChambre (@lachambrehq)

Following the hotly-anticipated movie’s successful release in the US on Jan. 14, Barrera sat down with show host Kelly Clarkson to promote the new film and to discuss her role in the latest installment of the “Scream” franchise. For her appearance on “The Kelly Clarkson Show” the rising Hollywood star decided to don one of the most versatile pieces in fashion — the jumpsuit.

The 31-year-old exuded casual glam wearing a black power jumpsuit from Lebanese couturier Elie Saab’s Resort 2022 collection, which was titled “Infinite Horizons.” The design featured short, layered sleeves, white stitching throughout and a delicate bow on the neckline. The loose track-suit style jumpsuit boasted a black stripe running down the side. The Mexican star paired the look, which was put together by stylist Penny Lovell, with open-toe pumps and a bedazzled Ghostface-shaped hairclip to secure her raven lengths.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Lilly Keys (@lilly_keys)

The disco-era favorite that is undergoing a renaissance on the runways — it popped up on the Spring 2022 catwalks of Alberta Ferretti, Etro, Isabel Marant and Fendi — is slowly migrating to the red carpet and photo calls.

Meanwhile, the Monterrey-born star is certainly one to watch. For the past few years, Barrera has split her time between Mexico and the US. After growing up in Monterrey, Mexico, she studied in New York at Tisch School of the Arts, then returned to Mexico to star in telenovela “Siempre tuya Acapulco.” The Clinique brand ambassador moved back to the US to film the TV drama series “Vida” and later to star as Vanessa in Lin-Manuel Miranda’s screen adaptation of the musical “In the Heights.”


Quirky Saudi vintage collector lays down a challenge to the fast-fashion world

Alia Kurdi, a 27-year-old fashion enthusiast, uses shirts from her grandfather’s Versace collection that are often loud and bright in her outfits and receives compliments for her style. (Supplied)
Alia Kurdi, a 27-year-old fashion enthusiast, uses shirts from her grandfather’s Versace collection that are often loud and bright in her outfits and receives compliments for her style. (Supplied)
Updated 16 January 2022

Quirky Saudi vintage collector lays down a challenge to the fast-fashion world

Alia Kurdi, a 27-year-old fashion enthusiast, uses shirts from her grandfather’s Versace collection that are often loud and bright in her outfits and receives compliments for her style. (Supplied)
  • ‘Re-accessorize everything, borrow from your friends and lend them stuff. The perfect way to not buy for occasions’

JEDDAH: A young Saudi fashion enthusiast is trying to make people aware of vintage fashion and the footprint that fast fashion has on the world.

Alia Kurdi is a 27-year-old fashion enthusiast who collects, designs, and sells vintage clothes in Saudi Arabia. She has always felt that, growing up, the only way she could express herself was through her clothes,
“There weren’t many venues for self-expression, and because I am a bit of a radical person, I began showing my personality through my clothes, and that is when I began building this connection to different pieces.”
The appreciation of vintage clothes ran within the Kurdi family. She told Arab News that her grandfather collected Versace shirts that were often loud and bright, “He didn’t dress like the typical Arab man. I still wear some of his shirts today, and people compliment them and are often shocked to find out that they belong to my grandfather.”

I feel like I already have a connection with a piece; I feel called to a store, and immediately from a distance, I know the thing I am going to buy as if these pieces speak to me. Usually, they are extremely special, whether the texture or the pattern.

Alia Kurdi

People in Saudi Arabia have always recycled their used items through charity.
However, the situation has changed as conversations around resale and pre-owned pieces have evolved.
Kurdi said that she began shopping mindfully ever since she learned the footprint that fast fashion had on the globe; that is when she started venturing into vintage and second-hand shops. The collector said that once she had started, she never looked back, and 2022 marks her fast-fashion-free seventh year.
Kurdi advised people thinking of going into fast fashion to start with baby steps and set realistic goals, “One of the most negative things is buying for occasions because people think they cannot repeat. Re-accessorize everything, borrow from your friends and lend them stuff. That will be the perfect way to not buy for occasions.”
The collector said that she loves exploring different streets and shops to find her clothes; she described the process of selecting what to buy as “intuitive.”
“I feel like I already have a connection with a piece; I feel called to a store, and immediately from a distance, I know the thing I am going to buy as if these pieces speak to me. Usually, they are extremely special, whether the texture or the pattern,” she said.

Alia Kurdi has recycled these pants from a vintage skirt. (Supplied)

Kurdi also said that the pieces she selects turn out to be beautiful, and she has developed this compass to find hidden treasures.
She describes her style as an “Emo Unicorn,” someone who likes a lot of black but with loud colors, as well. Her emotions are reflected in the outfit she is wearing.
“I did get a lot of negative comments as I was growing up, and I was very triggered by it. However, now not only have I changed my approach, but people are celebrating it a lot more; they say things like it’s amazing that I have stayed true to myself,” she said.
“Still, a lot of people have said that I was much prettier a few years ago, and I recognize that at that time I was much more insecure.”
She said her favorite piece of clothing is a ‘Google Chrome’ jacket that she bought in Berlin: “It’s black with a lot of bright colors. I broke my spending limit rule for this one jacket because I actually had to have it. So many people have complimented me. I made a friend through it as well. I am so glad that it found me.”
She gave that name to the jacket because the colors looked like Google’s logo. If she were to sum up her style and personality in an item of clothing, this would be it: “It is rough in some spots and soft in some, it is all black but also colorful. Kind of like what I feel all the time.”
The collector has started her own brand where she connects people with pieces with stories, “Diskofrenzy was born because often I will find pieces that were very special but not my size, but I had to collect them and keep them with me. My goal for my brand is to make Diskofrenzy the ultimate go-to for vintage and up-cycled fashion.”
The name connects two very personal things for Kurdi: Disco, which is vintage but is now making a comeback, and she said that she feels a frenzy only when she is dancing or shopping. This is why she decided that the perfect name for her brand would be Diskofrenzy.
She said that people often come up to her and say that only she can pull off a certain style. However, in her opinion that is not true, “Anyone can pull off whatever they want. Just be quirky and weird and a little bit rebellious. Express yourself through what you wear.”


Italian fashion pioneer Nino Cerruti dies

Italian fashion pioneer Nino Cerruti dies
Updated 15 January 2022

Italian fashion pioneer Nino Cerruti dies

Italian fashion pioneer Nino Cerruti dies
  • Cerruti, who dressed many a Hollywood star in his heyday, introduced “casual chic” into men’s fashion when he created the first deconstructed jacket in the 1970s
  • He was one of the leading figures in men’s ready-to-wear fashion in the 20th century

ROME: Pioneering Italian fashion designer Nino Cerruti has died at the age of 91, it was on reported Saturday.
Cerruti, who dressed many a Hollywood star in his heyday, introduced “casual chic” into men’s fashion when he created the first deconstructed jacket in the 1970s.
He died at the Vercelli hospital in the northwest region of Piedmont, where he had been admitted for a hip operation, the Italian daily Corriere della Sera reported on its website.
Cerruti was one of the leading figures in men’s ready-to-wear fashion in the 20th century, with a style that was at once elegant and relaxed.
“A giant among Italian entrepreneurs has left us,” said Gilberto Pichetto, deputy minister for economic development.
Tall and slim, he always insisted he be the first to try on his creations, many of which were kept at the textile factory his grandfather founded in the northern town of Biella in 1881.
“I have always dressed the same person, myself,” he once said.
Born in 1930 in Biella, Cerruti dreamt of becoming a journalist.
But after his father died when he was 20, he was forced to give up his philosophy studies to take over the family textile factory.
In the 1960s, he met Giorgio Armani and hired him as a creator of men’s fashion.
The duo made a profound mark on the world of fashion, before Armani branched out on his own with his own fashion house in 1975.
Cerruti opened his first shop in Paris in 1967, launching his luxury brand into global fame.
“Clothes only exist from the moment someone puts them on. I would like these clothes to continue to live, to soak up life,” he said.
While French students protested in 1968, he revolutionized fashion by asking male and female models to walk down the catwalk in the same clothes.
“Trousers have given women freedom,” said the designer, who in the 1970s created his first line of women’s clothing.
The man nicknamed the “philosopher of clothing” dressed American actors Richard Gere and Robert Redford as well as French star Jean-Paul Belmondo.
He also made cameo appearances in Hollywood films “Cannes Man” (1996) and “Holy Man” (1998).


US actress Hilary Duff taps Lebanese designer for press event

US actress Hilary Duff taps Lebanese designer for press event
Updated 15 January 2022

US actress Hilary Duff taps Lebanese designer for press event

US actress Hilary Duff taps Lebanese designer for press event

DUBAI: US actress and singer Hilary Duff turned heads this week wearing a pair of heels designed by Lebanese shoemaker Andrea Wazen.

The “Lizzie McGuire” star championed the brand’s Denver pumps in white during a press event for her upcoming show “How I Met Your Father,” which will premiere on Hulu on Jan. 18.

The 10-episode comedy series is a sequel to the CBS hit sitcom “How I Met Your Mother.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Hilary Duff (@hilaryduff)

Duff, who is also the producer of the series, will play the role of Sophie, the show’s protagonist, who tells her son the story of how she met his father.

During the press event, Duff paired the heels with a printed thigh-high dress in blue by US label Rhode that featured a ruched skirt with a side ruffle, elbow-length puff sleeves and a round neckline.

“This whole thang to sit in a chair from 9-7 yesterday doing press, but those shoes and that gloss lid were sass,” wrote Duff to her 19.7 million Instagram followers, complimenting Wazen’s creations.

Duff is known for championing labels from around the world.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Hilary Duff (@hilaryduff)

In November, the star turned to a British-Afghan-Pakistani designer for the 2021 Baby2Baby gala at Hollywood’s Pacific Design Centre. 

The 34-year-old actress was a vision in a dazzling hot pink dress by UK-based label Osman, which featured a plunging neckline, dramatic sleeves and thigh-high slit. 

Duff is not the only celebrity fan of Wazen, however.

In fact, the Lebanese label is shaping up to be the next big footwear brand to watch.

Since launching in 2013, the label’s strappy sandals and stilettos have made their way onto the pedicured toes of A-listers and It-girls across the globe, including Beyonce, Megan Fox, Hailey Bieber, Khloe Kardashian, Kylie Jenner and Addison Rae, who have all championed Wazen’s creations.

Just this week, US actress Alyssa Milano wore the label’s black Denver pumps during an interview with celebrity interviewer Steve Varley for her new Netflix film “Brazen.”