AlUla’s Wadi AlFann, Valley of the Arts, presents two exhibitions by Saudi artist Manal AlDowayan 

AlUla’s Wadi AlFann, Valley of the Arts, presents two exhibitions by Saudi artist Manal AlDowayan 
'Their Love Is Like All Loves, Their Death Is Like All Deaths’ by Manal AlDowayan, a collaboration between Arts AlUla and Sabrina Amrani Gallery, 2024. Curated by Jal Hamad. (Image courtesy of the Royal Commission for AlUla)
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Updated 16 February 2024
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AlUla’s Wadi AlFann, Valley of the Arts, presents two exhibitions by Saudi artist Manal AlDowayan 

AlUla’s Wadi AlFann, Valley of the Arts, presents two exhibitions by Saudi artist Manal AlDowayan 
  • The shows reflect the artist’s artistic trajectory and journey towards the creation of a permanent land art commission for Wadi AlFann 

ALULA: The work of Manal AlDowayan, one of Saudi Arabia’s leading contemporary artists, is often focused on cultural metamorphosis, collective narratives and the representation of women, particularly from her home country. 

AlDowayan, who will represent the Kingdom at this year’s Venice Biennale, is currently the subject of two exhibitions in AlUla as part of the pre-opening program of Wadi AlFann, a major new cultural destination for art, design and performance.  

The first exhibition, “Oasis of Stories,” features hundreds of drawings and tales from local communities across AlUla. It will run in the AlJadidah Arts District as part of the AlUla Arts Festival 2024 until March 23.  




'Their Love Is Like All Loves, Their Death Is Like All Deaths’ by Manal AlDowayan, a collaboration between Arts AlUla and Sabrina Amrani Gallery, 2024. Curated by Jal Hamad. (Image courtesy of the Royal Commission for AlUla)

“AlUla is a library of stories,” AlDowayan said in a statement. “This land holds an archive of narratives and identities that numerous civilizations engraved into its rocks for centuries, telling us about the tools they used, the animals they farmed and the lives they led.” 

The detailed drawings of daily personal and collective life in AlUla were created during workshops AlDowayan held that attracted 700 participants from AlUla, including farmers, cooks, teachers, tour guides, rangers, artists, students, craftspeople, junior football teams and a disability association. AlDowayan asked them to draw their personal stories on paper. The results are poignant and endearing renderings that detail the realities, hopes and dreams of AlUla’s residents as well as the beauty of the region’s natural landscape. 




'Their Love Is Like All Loves, Their Death Is Like All Deaths’ by Manal AlDowayan, a collaboration between Arts AlUla and Sabrina Amrani Gallery, 2024. Curated by Jal Hamad. (Image courtesy of the Royal Commission for AlUla)

“I want to give the contemporary inhabitants of AlUla a space for their narrative, allowing it to live permanently in a public artwork for future generations to contemplate,” AlDowayan said. 

The exhibition marks a turning point in the development of AlDowayan’s permanent large-scale desert installation for Wadi AlFann, which will also be titled “Oasis of Stories,” and is expected to be completed in 2026. That work takes inspiration from the labyrinth-like passages and walls of AlUla’s Old Town. The drawings and stories from the workshhops will be inscribed into its walls, meaning that AlUla’s residents will leave their mark on a major piece of art in the region they call home.  




Wadi AlFann presents Manal AlDowayan's journey towards 'Oasis of Stories'. Exhibition curated by Iwona Blazwick, 2024. (Image courtesy of the Royal Commission for AlUla)

“I decided to speak with the AlUla residents to learn about their old town,” AlDowayan told Arab News. “I realized that the story of the people of AlUla has not been documented. (And I thought they needed to) inscribe their story onto something in the surrounding landscape. 

“I visited women’s homes and asked them to document their recipes; I attended weddings and danced and also asked eldery women to tell their stories,” she continued. “Me and my studio manager, Carla, were constantly trying to build a relationship of love and trust with the people from AlUla.” 

Wadi AlFann is a 65-kilometer “Valley of the Arts” in the desert of AlUla. It will include large-scale art installations set against the natural desert landscape and alluring rock formations. The first five commissions will be by AlDowayan, her fellow Saudi artist Ahmed Mater, and the US-based artists Agnes Denes, Michael Heizer, and James Turrell.  




Wadi AlFann presents Manal AlDowayan's journey towards 'Oasis of Stories'. Exhibition curated by Iwona Blazwick, 2024. (Image courtesy of the Royal Commission for AlUla)

“There is no desert quite like the AlUla desert,” Wadi AlFann’s lead curator Iwona Blazwick said during the press tour. “This was once a large plateau that was underwater over millennia. The cliffs have been eroded. They’re made of sandstone. There are 7,000 years of human presence in this area, and we find it through rock art markings, petroglyphs, pictograms and hieroglyphs. They’re everywhere you look. But we want to find an expression of the 21st century that we can also add to the landscape.”  

AlDowayan’s second exhibition, presented in collaboration with Madrid-based Sabrina Amrani Gallery, is “Their Love Is Like All Loves, Their Death Is Like All Deaths,” a solo exhibition that delves further into her artistic practice. Sculptural works and drawings in a range of mediums explore the idea of ruin — all inspired by the engravings and architecture of the ancient tombs of AlUla. 




Wadi AlFann, AlUla. (Image courtesy of the Royal Commission for AlUla)

In several rooms of the exhibition, there are soft desert rose-shaped sculptures made from tussar silk, on which are printed subtle images reflective of AlUla’s heritage. Elsewhere, AlDowayan’s labyrinth-like drawings bring to mind the winding passages of AlUla’s Old Town.  

There are also intricate works created by Sadu weaving, a technique traditionally used by Bedouin women, mounted on the wall. Once again, AlDowayan engaged the larger AlUla community, and its imprint powerfully resonates throughout.  

“I want to be sure that everyone enjoys art,” AlDowayan told Arab News. “Saudi Arabia is going through a huge transformative moment and public art is being commissioned across the Kingdom. This is part of a vision that art will be ingrained in our communities.” 


'Material Woman' exhibition in London creates synergy of Arab women’s fashion and art

'Material Woman' exhibition in London creates synergy of Arab women’s fashion and art
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'Material Woman' exhibition in London creates synergy of Arab women’s fashion and art

'Material Woman' exhibition in London creates synergy of Arab women’s fashion and art
  • Curation tells a “story about how women use their hands to craft their destinies,” Souchair says

LONDON: The worlds of fashion and art from Arab female creatives converged this week at the “Material Woman” exhibition in London.

The exhibition, held from May 17 to May 19 at Soho Revue, is the brainchild of the art collective Hayaty Diaries, in collaboration with the fashion platform and pop-up series 3eib.

"Thulathia" (2024) and "The Warmth of My Bed" (2023) by Lebanese artist Yasmina Hilal. (Supplied)

Featuring an eclectic mix of sculptural art, mixed media, projection installations, fashion and jewelry, the exhibition explored craftsmanship and materiality.

“Each element came together to tell a cohesive and beautiful story about how women use their hands to craft their destinies and honor their heritages through both creative worlds of art and fashion,” Lebanese curator and Hayaty Diaries co-founder, Christina Shoucair, told Arab News. 

The curatorial process began with the pairing of artists and designers, creating a harmony between the works. 

"Communion" (2023) and "Wound" (2023) by Bahraini artist Zayn Qahtani

Bahraini artist Zayn Qahtani’s shrine-like objects, featuring delicate ethereal drawings on date paper, explore themes of venerative mourning. These are paired alongside a series of rustic sculptures and draped garments by Egyptian designer Nadine Mos.

Lebanese artist Yasmina Hilal’s photo sculptures, which incorporate her distinctivve metalwork and soldering technique, are complemented by a curated display of contemporary silver and gold accessories by Celine Dagher, a Lebanese jewelry designer.

Meanwhile, Egyptian artist Hanya Elghamry examines the process of remembering by graphically recreating various details and narratives in her installation “Abandoned Projection.” Set as a backdrop against her floating “Tampered Redux” series, along with Moroccan designer Hanan Sharifa’s mesh and delicate dresses, the space offers visitors an immersive experience.

Garments designed by Nadine Mos on display at "Material Woman" in London. (Jules Foad)

“Christina and Kinzy presented the vision for The Material Woman and I loved the idea of blending the worlds of fashion and art together and utilizing the theme of materiality as a vehicle of creative empowerment and liberation,” 3eib founder, Dania Arafeh, told Arab News. 

Hayaty Diaries, which focuses on celebrating the artwork of Arab women, marked its debut last December with its inaugural exhibition, “Through Their Eyes: Perspectives Unveiled,” in the British capital. 

“Our Hayaty Diaries journey has been incredible. We’ve had the privilege of meeting many creatives from the region and have felt the warmth and support of the community. We are immensely grateful for all the encouragement we have received along the way,” Egyptian-Saudi curator and Hayaty Diaries cofounder Kinzy Diab told Arab News.

The London-based collective is now preparing for its exhibition “Levitate,” which will run from June 6 to June 16 and center around themes of fantasy and imagination.
 


Ithra celebrates ‘creative voices’ at Cannes Film Festival

According to film director Hamza Jamjoom, the present opportunities for Saudi directors have greatly improved.
According to film director Hamza Jamjoom, the present opportunities for Saudi directors have greatly improved.
Updated 20 May 2024
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Ithra celebrates ‘creative voices’ at Cannes Film Festival

According to film director Hamza Jamjoom, the present opportunities for Saudi directors have greatly improved.
  • Panel discussion was held within the Saudi pavilion of the Film Commission, with attendees from the global cinematic industry
  • Panelists discussed the 15 projects that won support from the Ithra Film Production Program

RIYADH: Ithra organized a panel discussion entitled “Creative Voices” to shed light on young Saudi cinematic talents on the sidelines of the 77th Cannes Film Festival.

It was held within the Saudi pavilion of the Film Commission, with attendees from the global cinematic industry.

The panelists discussed the 15 projects that won support from the Ithra Film Production Program, including 11 short films and four feature-length films.

According to film director Hamza Jamjoom, the present opportunities for Saudi directors have greatly improved compared to previous years, allowing them to showcase local stories through cinematic works that reflect the Saudi culture internationally. 

Raneem Al-Muhandis, the director who debuted her film “Swing” in 2022 with support from Ithra, said Saudi Arabia boasts a rich pool of narratives ripe for cinematic exploration with worldwide appeal.   

Ithra cinema coordinator Mansour Al-Badran said that this program has taken local filmmaking to a new level.

“We produced the film ‘Hajjan’ within IFPP which has so far won nine awards in local and regional film festivals and was chosen to be the opening or closing film in prestigious festivals,” he said.

Al-Badran added that “Hajjan” is a prime example of the cinematic projects Ithra is working on.

He highlighted that Ithra is interested in stories that draw inspiration from the rich Saudi culture and aims to raise the standards of filmmaking in the local community through workshops and seminars.

Additionally, he highlighted Ithra’s collaboration with the Cinema Society to host the Saudi Film Festival, which is as a major platform for showcasing up-and-coming talents in the film industry. 

The Ithra event at the Saudi pavilion featured a luncheon bringing together representatives of organizations that support filmmakers in Saudi Arabia. The aim was to strengthen relationships and promote the exchange of cinematic experiences between industry professionals and enthusiasts. 


Dubai Fashion Week announces Spring/Summer 2025 edition dates

Dubai Fashion Week announces Spring/Summer 2025 edition dates
Updated 20 May 2024
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Dubai Fashion Week announces Spring/Summer 2025 edition dates

Dubai Fashion Week announces Spring/Summer 2025 edition dates

DUBAI: Dubai Fashion Week (DFW) has announced its Spring/Summer 2025 dates, with international labels set to hit the runway from Sept. 1-5, 2024.

 “By positioning it ahead of the fashion weeks of New York, London, Milan and Paris, DFW provides an opportunity for participating designers to set the season’s trends and capture the attention of buyers,” organizing bodies the Arab Fashion council and Dubai Design District said in a released statement.  

Previous iterations of DFW saw New York-based label Carolina Herrera as the guest of honor last October with a presentation by the brand’s Creative Director Wes Gordon; supermodel Naomi Campbell closing the October edition by walking for Rizman Ruzaini; and Moroccan designer Maison Sara Chaibi making her DFW debut in February after presenting her collection at Paris Haute Couture Week.


Emirati actress Meera AlMidfa reflects on Cannes and her first feature-length film, co-starring Saudi actor Fahad Al-Butairi

Emirati actress Meera AlMidfa reflects on Cannes and her first feature-length film, co-starring Saudi actor Fahad Al-Butairi
Updated 20 May 2024
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Emirati actress Meera AlMidfa reflects on Cannes and her first feature-length film, co-starring Saudi actor Fahad Al-Butairi

Emirati actress Meera AlMidfa reflects on Cannes and her first feature-length film, co-starring Saudi actor Fahad Al-Butairi

DUBAI: Emirati actress and filmmaker Meera AlMidfa has two short films screening on the sidelines of the ongoing Cannes Film Festival — “Shame” and “Umm Salama The Matchmaker”. 

Set to entertain audiences in the French Riviera, although the films are not playing on the official calendar of the film festival, each provides sharp insight and commentary on Arab womanhood, while approaching the subject from separate viewpoints and taking a different tone.

While in “Shame” AlMidfa plays a woman whose attempt to flee from home is abruptly halted when her mother catches her and leads to an intense confrontation, in “Umm Salama The Matchmaker,” she plays the daughter of a matchmaker trying to avoid getting hitched.

Meera AlMidfa (right) in “Umm Salama The Matchmaker”. (Supplied)

“The two films were made as part of Arab Film Studio workshop by Image Nation Abu Dhabi. And I was cast by the filmmakers who were doing the filmmaking course, both female directors. And they both explore similar issues about women and marriage,” AlMidfa said in an interview with Arab News.

However, AlMidfa is most excited about her first full-length feature, “Al Eid Eiden,” Image Nation Abu Dhabi’s Saudi-Emirati family comedy. “I play an Emirati woman married to a Saudi man,” said AlMidfa.

Starring opposite AlMidfa is Saudi actor Fahad Al-Butairi (“Telfaz11,” “The Office,” “From A to B”), with the film’s worldwide release planned for July 4.

Meera AlMidfa will soon star in her first full-length feature, “Al Eid Eiden,” Image Nation Abu Dhabi’s Saudi-Emirati family comedy. (Supplied)

The production brings together an all-female Emirati creative team featuring first feature director Maitha Alawadi, producer Rawia Abdullah and writer Sara Al-Sayegh.

The film’s logline reads, “‘Al Eid Eiden’ follows a Saudi-Emirati family as they make the final preparations for an Eid getaway in Abu Dhabi. An unexpected turn of events on their day of travel changes things drastically for the parents, but not wanting to disappoint their three young children, they decide to go ahead as planned.

“What ensues is a roller-coaster ride of comedic mishaps and misunderstandings as they hurtle through uncharted parenting territory, a theme park, and Eid gatherings with relatives. Through the chaos, they discover unity as a family.”

Having been an integral part of the theatre and acting scene for more than a decade in the UAE, AlMidfa — who has a master’s degree in film directing from the American Film Institute — is also interested in working behind the camera as much as she is performing in front of it.

“I would say acting comes more naturally to me. But the more I do production work, the more it sinks in as well. But it’s like a complete personality switch. So, you need to kind of figure out how to balance yourself when you switch from one to the other based on the project. So, I don’t mix them up too much — I don’t direct something and then act like back-to-back,” she said.


Review: Cannes title ‘Everybody Loves Touda’ is a sparkling example of Nabil Ayouch’s work

Review: Cannes title ‘Everybody Loves Touda’ is a sparkling example of Nabil Ayouch’s work
Updated 20 May 2024
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Review: Cannes title ‘Everybody Loves Touda’ is a sparkling example of Nabil Ayouch’s work

Review: Cannes title ‘Everybody Loves Touda’ is a sparkling example of Nabil Ayouch’s work

CANNES: Directed by Morocco’s Nabil Ayouch, Cannes Film Festival title “Everybody Loves Touda” is a compelling look at a single mother, Touda (an excellent Nisrin Erradi), who lives by the age-old dictum “never say die.”

Living in a small town, she is a bundle of music and mirth and her dances seem to bring cheer to her audience, but she soon faces unwanted attention.

The Cannes screening ended with a standing ovation, and Ayouch’s fourth outing at the festival seemed to garner far more audience appreciation than in earlier years. In 2012, his critically acclaimed drama “Horses of God” played in the Un Certain Regard section, which is second in importance to the main competition and is widely seen as a platform for experimental cinema. But Ayouch has also played in the In Competition section for the coveted Palme d’Or — his 2021 feature “Casablanca Beats,” the first title from Morocco since 1962 to vie for this honor, proved a sensation.

 Maryam Touzani and Nabil Ayouch attend the "Everybody Loves Touda" Photocall at the 77th annual Cannes Film Festival. (Getty Images)

Like his other movies, Ayouch approaches “Everybody Loves Touda” with fascinating realism that at times may appear a little too harsh. Having written the script with Mayam Touzani (“The Blue Caftan”), Ayouch may have given us formulaic fare, but he infuses Touda with a kind of determination that is awesome. Striving to relocate to Casablanca, where her deaf son would have better schooling and she herself could find greater opportunities, Touda begins to sing in village nightclubs, bearing with a grin the lecherous gaze of men drunk with delusion.

This is not the first time that Ayouch puts women in such precarious positions. His 2008 “Whatever Lola Wants” talks about the trials of a postal worker in New York who dreams of becoming an Egyptian belly dancer, and “Much Loved” (which played at in the Director's Fortnight section) created a storm with its exploration of prostitution in Morocco.

Peppered with lively music (by Flemming Nordkrog), Touda croons folkloric songs on liberation and other forms of women’s rights. The actress’s gripping performance causes the narrative to sparkle —Erradi has a remarkable on-screen presence that makes the movie a joy to watch.