Saudi Arabia’s Red Sea film fest CEO attends opening night of Venice Film Festival  

Saudi Arabia’s Red Sea film fest CEO attends opening night of Venice Film Festival  
Mohammed Al-Turki posed on the red carpet wearing a black tuxedo by Italian luxury fashion house Giorgio Armani.  (Getty Images)
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Updated 01 September 2023
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Saudi Arabia’s Red Sea film fest CEO attends opening night of Venice Film Festival  

Saudi Arabia’s Red Sea film fest CEO attends opening night of Venice Film Festival  

DUBAI: Mohammed Al-Turki, Saudi Arabia’s Red Sea Film Festival’s CEO, attended the opening ceremony of 80th edition of the Venice Film Festival, which kicked off on Wednesday.  

He posed on the red carpet wearing a black tuxedo by Italian luxury fashion house Giorgio Armani.  

Al-Turki was joined by Lebanese presenter Raya Abirached, who wore an off-white guipure mermaid gown adorned with delicate tassels of leaves and crystals by Syrian designer Rami Al-Ali.  

The gown was from the couturier’s Fall/Winter 2023 collection.  

Another Arab designer whose work was spotted on the red carpet was Lebanese celebrity designer Zuhair Murad.  

Italian model Paola Turani wore a fitted white halter dress, from Murad’s Resort 2024 collection, adorned with intricate embellishments detailing.  

Al-Turki and Abirached were not the only Arab celebrities at the opening ceremony.  

The event was also attended by Tunisian film director Kaouther ben Hania, Palestinian actor Saleh Bakri and Moroccan filmmaker Faouzi Bensaïdi.  

In the coming days, fans are also expected to spot Lebanese filmmaker and actress Nadine Labaki on the red carpet as she is part of this year’s jury.  

She is joined by French Cesar-winning actor and producer Elsa Zylberstein, Mexican actor and Oscar nominee Yalitza Aparicio, British-Nigerian screenwriter Misan Sagay and renowned Italian director Stefano Savona. 

The world’s longest-running film festival was due to start with “Challengers,” a tennis romance with one of the biggest stars of her generation, Zendaya. 

But it was replaced at the last minute by an Italian war drama, “Comandante,” due to the ongoing strikes by Hollywood actors and writers – primarily over pay and the threat of AI – that has barred them from publicity work. 

The rest of the line-up was largely unaffected: the festival will see Emma Stone as a Frankenstein-like creature in “Poor Things” and Bradley Cooper as legendary conductor and composer Leonard Bernstein in “Maestro,” among several Oscar contenders. 


Comedian Russell Peters to hit the stage in Riyadh

Comedian Russell Peters to hit the stage in Riyadh
Updated 22 February 2024
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Comedian Russell Peters to hit the stage in Riyadh

Comedian Russell Peters to hit the stage in Riyadh

RIYADH: Global comedy superstar Russell Peters will perform at Riyadh’s Princess Nourah Bint Abdul Rahman University on Feb. 24.

The show is being produced by Smile Entertainment and Live Nation Middle East.

“We’re really excited to host Russell back in Riyadh after a gap of over 10 years,” Peter Howarth-Lees, founder and CEO of Smile Entertainment, said.

Canadian comedian Peters will be joined on stage by US comedian Adam Hunter and DJ StartingFromScatch, who will kick off the show during Saudi Arabia’s Founding Day weekend.

Recently named one of the 50 best comics of all time by Rolling Stone magazine, Peters’ most notable tour to date was titled “The Deported World Tour.” It took place in over 40 cities over the course of 18 months and premiered as a stand-up special on Amazon Prime in 2020.

It is not Peters’ first time in the region — he performed in Abu Dhabi in 2023 and also performed in Saudi Arabia’s AlUla in February 2022, among other performances in the region.

Peters, who is of Anglo-Indian descent, was the first comedian to sell out Toronto’s Air Canada Center in 2007 and has also performed at New York’s Madison Square Garden, the Sydney Opera House and London’s O2 arena.

Peters hit the comedy scene when he was 19 and skyrocketed to global fame with CTV’s “Comedy Now,” a Canadian stand-up comedy show featuring on-stage comic routines by pro and amateur comedians.


Saudi artists create special commissions for Riyadh’s Diriyah Biennale

Saudi artists create special commissions for Riyadh’s Diriyah Biennale
'Saudi Futurism' by Ahmed Mater and Armin Linke. (Photo by Marco Cappellletti, Courtesy of the Diriyah Biennale)
Updated 22 February 2024
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Saudi artists create special commissions for Riyadh’s Diriyah Biennale

Saudi artists create special commissions for Riyadh’s Diriyah Biennale
  • The works explore themes of renewal, cultural heritage and conservation
  • The second edition of the Diriyah Contemporary Art Biennale runs from Feb. 20-May 24

RIYADH: The second Diriyah Contemporary Art Biennale, “After Rain,” features the work of 100 artists from more than 40 countries displayed in industrial warehouses in the JAX District of Riyadh. The theme of this year’s Biennale, curated by artistic director Ute Meta Bauer is all about renewal, rejuvenation and revitalization. Metaphorically, it can be applied to the rapid social and economic transformation the Kingdom is undergoing and the role art is playing in that change.

Among the dozens of artworks on show, some were newly produced by artists based in the Kingdom, including “Saudi Futurism,” an installation created by Ahmed Mater, one of the Kingdom’s most prominent artists, and Milan-born photographer and filmmaker Armin Linke. The two men travelled together across the country documenting historical, industrial and scientific sites, including the megaproject NEOM, a dairy farm, monumental buildings, the Shaheen supercomputer, Yamama Cement Factory and the colorful Diplomatic Club Heart Tent in Riyadh designed by Frei Otto. Visitors can peruse these images that merge Saudi Arabia’s past and select their own sequence of images to depict the rapid change the country is presently experiencing.

Jeddah-based Daniah Alsaleh’s “A Stone’s Palette” presents studies from her explorations of the archaeological sites of AlUla and Tayma, focusing particularly on carnelian stone beads produced in Tayma long ago, which, she explains, served as important social artifacts, used as both elements in rituals and as personal accessories.

Daniah Alsaleh. (Supplied)

“I learned they were sourced from the Indus Valley thousands of years ago,” Alsaleh tells Arab News. “They manufactured the beads in Tayma and then exported them to Mesopotamia. I went and got carnelian rock from India and created different pigments that I applied on these sketches, which are transfer photos of the excavation sites with my intervention using modern patterns and ornamentation.”

In his outdoor installation “The Whispers of Today Are Heard in the Garden of Tomorrow,” Al-Ahsa-based artist Mohammad Alfaraj has created sculptures from natural materials he found in the desert, including coiled palm leaves positioned on sticks placed in sand, which are complemented by photographs and painted murals on either wall of the wooden pavilion that encompasses his ‘garden.’

“Everything that is happening today has an echo in our future whether it is good or bad, especially the things that are not really prominent,” Alfaraj tells Arab News. “The installation consists of three parts: ‘Fossils of Time,’ made with photography and fabric — I really think that photographs, especially when they are printed, are fossils of a moment.”

Mohammed Alfaraj's 'The Whispers of Today Are Heard in the Garden of Tomorrow.' (Arab News/Rebecca Anne Proctor)

The second part is a mural called “Love is to Leave the Gates of Your Garden Ajar,” made from the charcoal of burnt palm trees. “What does it say when you use something that has been destroyed and you try and make something new from it?” he asks. “This is something that I want to emphasize: To build more than to destroy. This reflects a symbol of hope, even for the people of Palestine and for people living in any oppressed place. It is inspiring to see people use their resilience to build a new life.”

The third part consists of several new sculptures made from old palm leaves and covered in date syrup and gum Arabic topped with a protective resin that are stationed on metal plinths in the sand.

“I put them into these characters and try and let them have a continuation of their life,” Alfaraj explains. “They are monuments to a life that hasn’t been lived.”

The theme of memory is central to Saudi-based Yemeni artist Sara Abdu’s poignant biennale contribution “Now That I Have Lost You in My Dreams Where Do We Meet?”

Sara Abdu's 'Now That I Have Lost You in My Dreams Where Do We Meet' (Photo by Marco Cappellletti, Courtesy of the Diriyah Biennale Foundation)

“It is inspired by dreams I used to have,” Abdu tells Arab News. “When I think about those dreams, those intangible spaces, they offer us an opportunity to create new memories. The artwork negotiates our relationship with memory. It looks at time as this thing that determines the death of memories and all that is ephemeral.

“The materials are inspired by the Islamic funeral ritual of washing the deceased,” she continues. “I used two main ingredients: sidr powder and camphor crystals. For me, these two ingredients are the smell of death.”

The installation is constructed in a way, explains Abdu, that it looks like it is “trapping and immortalizing memories. Allowing us to exist with them in the same time and space.”

She continues: “The title of the work is very present in the space and revolves around the idea of repetition, leaving the viewer to ask how the answer to that question would leave us feeling in return.”


7 highlights from this year’s Desert X AlUla 

7 highlights from this year’s Desert X AlUla 
Updated 5 min 42 sec ago
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7 highlights from this year’s Desert X AlUla 

7 highlights from this year’s Desert X AlUla 

ALULA: “We are in the presence of deep times,” says Lebanese art specialist Maya El-Khalil, sitting against a breathtaking backdrop of golden-brown rock formations in the far distance in AlUla. El-Khalil and her Brazilian colleague Marcello Dantas are the curators of the third edition of Desert X AlUla — an open-air show of 15 monumental sculptural art installations in the ancient Saudi desert.  

Spanning three locations, including the up-and-coming ‘cultural destination’ of Wadi AlFann, the show — “In The Absence of Presence” — asks viewers to look beyond the physical in this mystical landscape.  

“Rather than presenting work that addresses the monumentality of the desert, we wanted to approach this edition by maybe focusing on what cannot be seen — what’s invisible to all of these forces,” El-Khalil tells Arab News. “As humans, we’re nothing when you look at this place’s sense of deep time.”    

Seventeen artists are taking part in the exhibition, several from the Gulf and the wider Arab world, including Monira Al-Qadiri, Faisal Samra, Kader Attia, Rand Abdul Jabbar Ayman Yossri Daydban, and Caline Aoun. For their site-responsive works, some artists were inspired by historical narratives, while others delved into poetry, philosophy, nature and performance art.  

“We urged artists to really engage with the landscape with questions and uncertainty rather than certainty,” says El-Khalil.  

So, why have this “light intervention,” as El-Khalil puts it, in an ancient site where protection is a top priority?  

“Probably there is this element of creativity,” she says. “I think it’s quite natural. . . There is creativity in nature and human beings respond to that. It is really about leaving no trace, as much as possible. Having said that, we have a trace of the passage of time, traces of civilization and of the rock art that you see. These are windows into the past that have been left for us to enjoy and learn from.” 

Here are seven highlights from Desert X AlUla, which is free to the public and runs until Mar. 23. 

FILWA NAZER 

‘Preserving Shadows’ 

The Saudi artist designed an elevated bridge-like installation, topped with high black triangles that are meant to give a sense of “fear and hostility in relation to the nature of the desert,” Nazer explained during a press tour. “There’s an ancient belief, even from before Islam, that there are ‘jinn’ or spirits that reside in the shrubs of the desert. I read an account of two men that were sitting in the desert and they lit a fire in the shrub. Snakes flew out of the shrub and they attacked and killed them. Growing up in ‘previous Saudi’ we heard stories about jinn in this part of the country, and it kind of contributed to the fear of not having accessibility to it.” The work resembles “the body of a petrified skeleton of a snake and it’s meant to feel, as you approach it, like you are walking through a journey of shadows and then you reach the end of the ramp — a metaphor for overcoming a dark journey,” she said. 

MONIRA AL-QADIRI 

‘W.A.B.A.R.’ 

In the 1930s, a British explorer — Harry St. John Philby — was looking for Ubar, an ancient city known as the ‘Atlantis of the Sands’ in the Empty Quarter of the Arabian Peninsula’s desert. There, he was shown what locals claimed were ‘black pearls.’ It was later discovered that they were, in fact, meteorites from outer space. Philby named them ‘Wabar’ pearls. This little-known story is the inspiration behind Kuwaiti artist Al-Qadiri’s installation, ”W.A.B.A.R.” It consists of five large black spheres, made of bronze, scattered on the sand.  

“It’s a story of disappointment and human imagination,” Al-Qadiri says. “That you could find these small items in the middle of the desert and make this huge story from them about a people and pearls. This is why I exaggerated the size of the objects.”   

FAISAL SAMRA 

‘The Dot’ 

The Bahraini-born Saudi artist presents a trail of rocks lead to the titular large reflective sphere, which stands in a small valley. “The aim for me was for the audience to come and complete the work. It will not be completed without the audience,” Samra says. “I want the audience to live a unique moment of AlUla with this work, which is respecting the environment.” The simple shape is a symbolic one, representing a “trace of a second,” a moment in time, a grain of sand. “The accumulation of dots is the accumulation of moments,” he adds. It also demonstrates how a small dot can be physically impactful — like the drops of rain that, along with the wind, eventually led to the formation of this valley, which was once a single rock.  

IBRAHIM MAHAMA 

‘Hanging Garden’ 

The Ghanaian artist is presenting works at all three sites of the exhibition, including this one at AlManshiyah Plaza, located in a historic neighborhood where the AlUla Railway Station is preserved. In the early 20th century, the station was part of the Hejaz Railway, which connected Damascus to Madinah. Mahama’s work is comprised of dangling terracotta pots of the kind used for storing water in Ghanaian communities — a recurring motif in Mahama’s work at AlUla. According to an Instagram post by the event’s artistic director Neville Wakefield, “Mahama asks how we can restore memories we never had before, and how we can use archeology and the scars of history to create new meanings within a landscape.” 

RANA HADDAD AND PASCAL HACHEM  

‘Reveries’ 

The Lebanese duo created this trio of intriguing, circular towers made of orange terracotta pots, which stand tall in Wadi AlFann. Viewers can enter the narrow spaces and look up to admire the precise, repetitive pattern the pots form. The project pays tribute to regional heritage and craftsmanship. “Our art, like a gentle breeze, whispers the importance of respect, nurturing a harmonious relationship between humanity and the natural world,” wrote the artists. According to a statement released by Desert X AlUla, the work is also “a testament to the circular economy. . . Light, air, and frankincense flow through, creating sanctuaries for desert flora and fauna.” 

SARA ALISSA AND NOJOUD ALSUDAIRI  

‘Invisible Possibilities: When The Earth Began To Look At Itself’ 

The two young Saudi creatives, co-founders of syn architects, carved a geometrical 110-meter-long pathway into the desert, including ledges on which visitors can rest and contemplate their surroundings. “Based on a more poetic criteria of time, memory, materiality, and occupation, the artists believe that this form of intervention raises and intensifies our awareness of the surrounding ecology and creates a place of meaning and contemplation out of a careful reframing of the familiar,” Wakefield explained.  

KIMSOOJA 

‘To Breathe’ 

The South Korean conceptual artist explores the ethereal nature of light, often materialized in site-specific installations in eye-catching iridescent tones. Her work in AlUla is “a reflection on a conceptual and geometrical formation of the AlUla desert landscape,” according to a written statement. “It reflects the movement of wind and the passage of light traversing through the spiral path of prismatic glass surface that becomes a fluid, translucent canvas. Sunlight unravels into an iridescent color spectrum, casting rainbow-colored shadows and circular brushstrokes onto the sandy earth. . . A walk in and out of a contained yet open path of spiral unfolds an abstract lightscape that is at once a drawing, a painting, and a sculpture.” 


Celebrity-loved Atelier Zuhra presents new collection in London

Celebrity-loved Atelier Zuhra presents new collection in London
Updated 21 February 2024
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Celebrity-loved Atelier Zuhra presents new collection in London

Celebrity-loved Atelier Zuhra presents new collection in London
  • The Omani label has dressed a number of international celebrities, including Beyonce, Mariah Carey, and Paris Hilton

DUBAI: Omani label Atelier Zuhra showcased its Fall/Winter 2024 collection in London this week, delivering a showcase of glamour and style. 

Designer Rayan Al-Sulaimani, who is based in Dubai, put on a show for guests gathered at Cafe Royal in London with a runway showcasing glittering evening gowns infused with a hefty dose of drama. Voluminous capes, satin hoods, and feathered ensembles took center stage. 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by FARHANA (@farhanabodi)

 

The color palette was varied and ranged from light hues — such as white, pink, silver and beige — to deeper tones like navy blue, emerald green, maroon and black. 

The designs stood out for the incorporation of crystals, intricate pearl work, beading, feathers, and luxurious fabrics. These elements reflected the opulence of the chandelier-filled hall where the runway presentation unfolded.

Voluminous capes, satin hoods, and feathered ensembles took center stage. (Getty Images)

The dresses were crafted from a variety of fabrics including tulle, satin, chiffon, velvet and organza. 

Netflix’s “Dubai Bling” star Farhana Bodi walked the runway. She graced the catwalk in a metallic pink form-fitting gown complemented by a satin hood trailing from the shoulders of the dress.

She shared the clip of her walking the runway on Instagram and wrote: “Your SHOWSTOPPER Bling Girl at the London Fashion Week (sic).” 

Chanel Ayan wore a black sequined gown featuring a halter neckline. (Getty Images)

She was also joined by “The Real Housewives of Dubai” star Chanel Ayan, who was dressed in a black sequined gown featuring a halter neckline. Completing her ensemble was a pink satin abaya-inspired coverup. 

Atelier Zuhra CEO and head designer Al-Sulaimani’s mother Mouza Al-Awfi founded the couture house in Dubai in 2015.  

“My ambition for the future is for the brand to be well recognized internationally. Over the next five years I hope to have Atelier Zuhra established in Europe – either in London or Paris,” Al-Sulaimani previously told Arab News.

The Omani label has dressed a number of international celebrities. US superstar Beyonce, US music sensation Mariah Carey, US socialite Paris Hilton, US singer Nicole Scherzinger, British supermodel Naomi Campbell and Saudi star Dalia Mubarak, who is signed with US record label Warner Recorded Music, have all been spotted in the brand’s creations.  


Review: Jeremy Paxman’s ‘A Life in Questions’ is a humorous take on a media icon’s life with lessons to learn

Review: Jeremy Paxman’s ‘A Life in Questions’ is a humorous take on a media icon’s life with lessons to learn
Updated 20 February 2024
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Review: Jeremy Paxman’s ‘A Life in Questions’ is a humorous take on a media icon’s life with lessons to learn

Review: Jeremy Paxman’s ‘A Life in Questions’ is a humorous take on a media icon’s life with lessons to learn

RIYADH: In his 2016 memoir, “A Life in Questions,” Jeremy Paxman, the prominent British journalist and presenter, outlines how he has been inquisitive his entire life.

The autobiography uncovers Paxman’s early years, interviews with prominent figures, insights into journalistic integrity, political engagement, and the power of asking the right questions.

Paxman takes a humorous approach in recounting past experiences, notably an incident involving Marks & Spencer underwear. He described an occasion when he put his leg through his briefs, causing the elastic to detach from the cotton.

Paxman asked the other people in the gym: “Any of you blokes had any trouble with pants?" His concerns about the quality sparked a media frenzy, resulting in an abundance of underwear being sent to him, even from strangers.

The book showcases Paxman’s recollections over four decades of journalism. However, when considering his interviews, I hoped for more insights into his technique and style. Renowned for his unconventional approach, his interviews often left interviewees feeling unsettled or nervous, as if they were “quaking in their boots.”

At times, the narrative becomes monotonous, particularly in sections where Paxman delves into less compelling aspects of his career, making the reading experience somewhat laborious.

However, Paxman’s recounting of iconic interviews and behind-the-scenes anecdotes kept me from looking away. A notable interview showing his commitment to getting answers, which was widely praised, took place in May 1997, where Paxman questioned former Home Secretary Michael Howard a total of 12 times about his potential overruling of the head of the Prison Service, Derek Lewis.

The writing style can feel a bit disconnected, shifting between different times in Paxman’s life with abrupt transitions. This might make it a little harder to follow his story. Paxman’s memoir might be more relatable to those familiar with the UK’s political and cultural scene, as it assumes a certain level of knowledge about the figures and events discussed.

Learning from Paxman’s methods can help journalists develop their own style and ensure that they can engage with and extract valuable information from interviewees.

Overall, “A Life in Questions” is recommended for those fascinated by unconventional interviewing styles. It not only tells stories but also acts as a guide for journalists seeking to enhance their interviewing skills.