Recipes for Success: Chef Hadi Saroufim offers advice, shares a recipe for orange cake

Recipes for Success: Chef Hadi Saroufim offers advice, shares a recipe for orange cake
Hadi Saroufim is the executive chef at Dubai’s Beirut-import Bar Du Port. (Supplied)
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Updated 26 July 2024
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Recipes for Success: Chef Hadi Saroufim offers advice, shares a recipe for orange cake

Recipes for Success: Chef Hadi Saroufim offers advice, shares a recipe for orange cake

DUBAI: Hadi Saroufim, executive chef at Dubai’s Beirut-import Bar Du Port, has been cooking since the age of 10, but he truly fell in love with the culinary world once he began training in professional kitchens. 

“The more I worked in the industry, the more I loved it. I feel lucky to do what I do — it just feels right,” he tells Arab News. 

“One of my earliest food memories is modernizing a traditional Lebanese dish, kibbeh, from my village, Zgharta, in Lebanon. I turned it into a kibbeh roll with ice-cream yogurt, cucumber jelly, and dry ice,” he says. 




Bar Du Port. (Supplied)

His current favorite dish from the Bar Du Port menu is the grilled octopus with dried chorizo, tomato tartare, and smoky bell pepper coulis. “It uses simple ingredients but packs a punch,” he says. “This dish captures the essence of Mediterranean cuisine —fresh, bold, and delicious.” 

Here, Saroufim discusses burned onions, annoying customer habits, and the magic of vinegar. 

When you started out, what was the most common mistake you made? 

I often burned onions and garlic during preparation. In a professional kitchen, even if you’re assigned to a specific section, you have to multitask and work under tight time constraints. The pressure to juggle various tasks simultaneously can be overwhelming, especially for a new chef. Balancing the preparation of different components while keeping an eye on cooking times and techniques is a skill that takes time to develop. Those early days were tough — but essential for learning how to manage everything. 

What is your top tip for amateurs? 

Always use the best fresh produce available. Quality ingredients can elevate a dish from ordinary to extraordinary. When you start with fresh, high-end produce, the natural flavors shine through. I’ve always admired how Chef Alain Ducasse emphasizes “naturalité” in his cuisine, focusing on the purity of ingredients and letting their natural qualities speak for themselves. This philosophy has influenced my approach as well. Whether you’re cooking a simple meal or an elaborate dish, the quality of your ingredients will always make a significant difference. 




Thinly sliced yellowtail with burnt orange, passion fruit sauce. (Supplied)

What one ingredient can instantly improve any dish? 

Vinegar, such as Xeres vinegar, instantly enhances any dish by adding a burst of flavor. Just a splash can elevate the dish and bring out its best qualities, making it a must-have in any kitchen. I particularly recommend it for risotto or salad dressing. 

When you go out to eat, do you find yourself critiquing the food?  

I definitely pay attention to the food, but I try not to be too critical. One thing I often notice is an overuse of sauces. While sauces can enhance a dish, too much can overpower the main produce and mask the natural flavors.  

What’s your favorite cuisine? 

I particularly enjoy French and Japanese cuisines. I also admire the craftsmanship behind quality beef dishes, like the carpaccio at Nobu, which inspires our own menu innovations. 




Green lentil salad with rainbow cherry tomatoes, pomegranate, and yoghurt sumac dressing. (Supplied)

What customer behavior or request most annoys you? 

I love innovating and being creative — it’s all part of the craft. For example, our avocado mash has a unique twist compared to a traditional guacamole recipe, and that once sparked a ‘friendly debate’ with a guest about its preparation. While I always value guest feedback, it can be annoying when customers insist on dishes matching their exact home recipes, leaving little room for creativity. 

What’s your favorite dish to cook? 

I’m passionate about cooking fish because of its delicate nature and the precision it demands. Getting the timing just right is crucial to preserve its freshness and flavors. One dish I particularly enjoy preparing is butterflied sea bass. I love how simple yet elegant it is — seasoned with lemon juice, olive oil, salt and pepper, and served with a refreshing courgette tartare. It’s a dish that showcases the beauty of fresh ingredients and allows me to express my creativity. 




Burrata with kalamata olives, heirloom tomatoes, grilled zucchini, and basil pesto. (Supplied)

What’s the most difficult dish for you to get right? 

One of the most challenging dishes for me is the traditional French foie-gras terrine — a classic of French cuisine. It demands meticulous technique, especially in layering the foie gras correctly. Precision is key; a slight misstep can cause the layers to blend together, compromising both the dish’s texture and presentation. Mastering the terrine requires careful attention to detail and a deep understanding of ingredients, making it technically demanding yet highly rewarding. 

As a head chef, what are you like? Do you shout a lot? Or are you more laidback? 

My focus is on maintaining calm and organization in the kitchen. On our busiest nights, we can serve up to 1,200 covers in our relatively small kitchen, so it’s important that everyone follows the rules. With a team of 15, discipline is crucial, but I avoid shouting, as it’s counterproductive.  

Chef Hadi’s orange cake recipe




(Supplied)

INGREDIENTS 

For the orange cake: 

340g eggs; 470g sugar; 360g flour; 10g baking powder; 230ml whipping cream; 160g butter (melted); 70g orange juice; 7g orange zest 

For the orange syrup:  

60g orange juice; 30g water; 30g sugar 

For the meringue: 

3 egg whites (100g); 200g sugar  

Additional: 

50g orange 

INSTRUCTIONS  

(Note: A bain-marie is required) 

For the orange cake: 

1. Preheat oven to 160C. 

2. In a mixing bowl, combine the sugar and orange zest. Add the eggs and beat well. 

3. Add the orange juice and whipping cream. Mix thoroughly. 

4. Sift in the flour and baking powder. Mix until there are no clumps. 

5. Add the melted butter and mix well. 

6. Pour the batter into a cake tray. Draw a straight line of melted butter on top. 

7. Bake for 55 minutes. 

8. Remove from the oven and pour the orange syrup over the cake. Allow it to cool. 

For the orange syrup:  

1. In a small saucepan, over very low heat, combine the orange juice, water, and sugar. 

2. Bring to a simmer, stirring until the sugar is dissolved. 

3. Remove from heat. 

For the meringue: 

1. In a bain-marie, heat the egg whites to 65C. 

2. Transfer the egg whites to a mixer. 

3. Gradually add the sugar while whisking until stiff peaks form. 

Assembly: 

1. Once the cake has cooled and absorbed the syrup, serve slices with a dollop of meringue and (optional) garnish with fresh orange slices and a scoop of orange ice cream. 


At Art Dubai, Pakistani artists find the space missing at home

At Art Dubai, Pakistani artists find the space missing at home
Updated 18 sec ago
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At Art Dubai, Pakistani artists find the space missing at home

At Art Dubai, Pakistani artists find the space missing at home
  • The Middle East’s leading art fair draws galleries and collectors from around the world
  • Pakistani artists say global interest is rising in their work, bringing international recognition

KARACHI: Pakistani artists have been receiving increasing international recognition, but many still grapple with limited opportunities and visibility at home, a participant at a major Gulf art fair said this week.
Her comments coincided with Art Dubai 2025, the Middle East’s leading contemporary art fair, where 10 Pakistani artists are exhibiting their work this year.
The event, running since 2007, draws galleries and collectors from across the globe and has become a vital platform for people with creative abilities in places like Pakistan.
“It’s wonderful that we as artists who have been invisible because of the greater struggles of [our] country are visible through this platform in the Gulf,” said Faiza Butt, a London-based Pakistani artist currently attending the fair, told Arab News over the phone.

Artist Faiza Butt poses against the backdrop of her artwork ‘The Male Figure’ during the Art Dubai 2025 preview at Madinat Jumeirah in Dubai on April 17, 2025. (Photo courtesy: Handout/Grosvenor Gallery)

“It’s really a matter of pride that despite all the odds, Pakistani artists continue to appear, and work and make themselves visible, especially female artists.”
Butt maintained Pakistani artists are shaped by the country’s complex realities, adding that is what gives their work its depth.
“Our social and political struggles really feed the artists’ imagination,” she said. “Art doesn’t come from a happy place. So one of the reasons our artists are so strong is because our country has gone through a great deal of strife.”
She also credited the country’s mature art education institutions, such as the National College of Arts in Lahore and the Indus Valley School of Arts in Karachi, for nurturing generations of artists despite systemic challenges.

Artwork ‘The Male Figure’ by Pakistani artists Anwar Saeed and Faiza Butt on display by Grosvenor Gallery during the Art Dubai 2025 at Madinat Jumeirah in Dubai. (Photo courtesy: Handout/Grosvenor Gallery)

Karachi-based visual artist Sana Arjumand, who is also exhibiting at the fair, echoed similar views.
“There is now more and more interest coming into Pakistani art because we are really making very good art,” she said.
“Because of so many different experiences here [in Pakistan], we have that informed kind of making of art. It’s more vibrant and alive. It stands out as well — that is why more and more interest is coming here.”
Arjumand, who studied painting at NCA, said her early work focused on self-reflection but has since evolved to include themes of Sufism, mysticism and human interconnectedness with nature.
Her new work, presented at the fair, explores the idea that human behavior mirrors elements in the natural world.
“It’s for everyone,” she said. “It has a storyline that anybody can relate to.”
A total of ten Pakistani artists, including one posthumously, are featured in the fair’s Contemporary Art section. Among them is the late Sadequain, whose pioneering calligraphy and figurative works helped define Pakistan’s post-Partition art movement and continue to influence generations of artists.

Sana Arjumand’s painting ‘The Perfect Mirror’ on display by Aicon Gallery at Booth E5 as they set up for the Art Dubai 2025 preview at Madinat Jumeirah in Dubai on April 16, 2025. (Photo courtesy: Handout/Sana Arjumand Studio)

Also exhibiting are Rasheed Araeen, a Karachi-born conceptualist known internationally for his contributions to British minimalist and postcolonial art, and Imran Qureshi, whose fusion of classical Mughal miniature techniques with contemporary themes has earned him acclaim worldwide.
Other featured names include Anwar Saeed, celebrated for his explorations of identity and sexuality, and Shezad Dawood, a London-based multidisciplinary artist with Pakistani and Indian heritage.
Butt is being represented by Grosvenor Gallery in London, which is exhibiting her work alongside that of Anwar Saeed under a shared curatorial concept focused on representations of the male form.
“The female figure is represented enough in the arts,” said Butt. “Anwar and I both discuss the male form but with our own unique politics based on our unique ethnography. But we are both Pakistanis, and there are overlaps in our concerns.”
She will also deliver a talk on behalf of Saeed, reflecting on his practice and political engagement through art.
Despite global attention, Butt stressed that Pakistan lacks the institutional and financial infrastructure to support a thriving art scene.
“Art is a very priced project, and Pakistan cannot afford having art fairs or a very established art market,” she said. “Pakistani artists get absorbed by galleries from other countries.”
She described Art Dubai as a great opportunity for artists in her country.
“Dubai is a very stable financial hub of the Gulf region,” she continued. “It has welcomed a great deal of migration from India and Pakistan. You get a diverse audience. It’s a beautiful coming together, in a positive way, of ideas, culture and exchange of thought.”


Art Dubai’s 18th edition marks UAE’s rise as key market for contemporary art 

Art Dubai’s 18th edition marks UAE’s rise as key market for contemporary art 
Updated 19 April 2025
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Art Dubai’s 18th edition marks UAE’s rise as key market for contemporary art 

Art Dubai’s 18th edition marks UAE’s rise as key market for contemporary art 
  • Latest edition of the region’s leading contemporary art fair presented high-quality works from around the world, cementing the Gulf metropolis as a key market player 

DUBAI: The Madinat Jumeirah is alive once again with the invigorating buzz of collectors, artists, gallerists and art lovers all gathered for the 18th edition of Art Dubai, which runs until April 20. There is the familiar sound of a multitude of languages and accents, reflecting Dubai’s ever-growing international population as gallerists from around the world, including North America, China, South and Central Asia, Africa and from across the Middle East, showcase works that reflect the artistic breadth and culture of their respective countries.

Of note are the 30 new exhibitors at Art Dubai, hailing from around the world, forming part of the 120 galleries taking part this year. The quality of works on display, underlined artistic director Pablo del Val, are particularly noteworthy this year and, he says, evoke a sense of escapism and surrealism as if to provide refuge from the uncertainty of today’s times.

The quality of works and international range of galleries also reflect the changing nature of Dubai.

Mohasses, Untitled, 50 x 70 cm. (Supplied)

Rather than take up residence in Dubai for a short-term period of a few years, new residents are coming to the city with plans, it seems, to stay for longer. At the same time, there has been notable investment in cultural infrastructure within the UAE that is now paying off, resulting in a plethora of new museums, galleries, institutions and initiatives offering visitors to Art Dubai a wealth of cultural activities outside the fair.

“Today there is a change in the architecture (of Dubai), with residents desiring more state-of-the-art homes with more space,” del Val told Arab News. “When these people move to Dubai they are doing so with a long-term version. This gives a sense of stability to the city and necessitates a different kind of art collecting.”

Among the newcomers to the fair was Richard Saltoun Gallery, which has branches in Rome, London and New York.

Mohasses, Untitled, 70 x 100 cm. (Supplied)

“This will be our first participation at Art Dubai and we are thrilled to be participating. Dubai, and the UAE in general, is one of the most interesting and growing markets that we work with,” Niamh Coglan, sales director at Richard Saltoun Gallery, told Arab News. “The institutional collections, foundations and private collections are curious, active and engaging to work with. Having worked with several major museums and foundations over the past few years in the region, we knew we had to take a more active role and be more present.”

Among the artists the gallery will show at the fair is Mozambican modernist Bertina Lopes, whose work is on display in the exhibition Kings and Queens of Africa at the Louvre Abu Dhabi.

Among the notable works at the fair was a large 196 x 363 cm painting by the late Iranian artist Bahman Mohassess and New York-based Leila Heller Gallery’s booth portraying two abstract figures locked in a passionate embrace, one colored red and the other off-white next to a group of stones and an abstract black bird flying overhead. The work, which has garnered great interest among collectors, is being sold for $2,650,000.

Mohasses, Untitled.25 x 35 cm. (Supplied)

In the Bawwaba section of specially commissioned works for the fair, Saudi artist Abdullah Al-Othman is showcasing a solo project in the form of a large installation work of signs, symbols and photography from around Riyadh as part of his series Manifesto: the Language & the City (2011). The work is being displayed through Iris Art Projects, the only GCC gallery exhibiting in the section.

Showcasing works from the African continent and diaspora is Efie Gallery, a Dubai-based gallery that recently moved to Alserkal Avenue. The gallery’s booth presented a mixed media presentation that is thoughtfully and serenely curated featuring works by Abdoulaye Konate, Maria Magdalena Campos-Pons, Hugh Findletar and J.K. Bruce Vanderpuije.

“We love being in the Middle East and Dubai because it has offered us a clean slate as opposed to the West, where we need to deconstruct narratives,” said co-founder of the gallery Kwame Mintah. “Here we are offered the space to construct the narratives.”


11th Saudi Film Festival opens with a night of cinema, culture, stars

11th Saudi Film Festival opens with a night of cinema, culture, stars
Updated 18 April 2025
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11th Saudi Film Festival opens with a night of cinema, culture, stars

11th Saudi Film Festival opens with a night of cinema, culture, stars

DHAHRAN: The red carpet was rolled out for the 11th edition of the Saudi Film Festival on Thursday, as the event confirmed its role as a cornerstone of the Kingdom’s burgeoning movie culture.

Hosted by the dynamic duo — Saudi actors Aixa Kay and Khaled Saqer — the celebration at the King Abdulaziz Center for World Culture (Ithra) in Dhahran was brimming with glamor and drama.

Saudi opera singer Mohammed Khayran Al-Zahrani and renowned French soprano Fabienne Conrad serenaded the crowd, while a live orchestra performed a medley of classical renditions of popular film scores under the direction of maestro Gevorg Sargsyan.

The 11th Saudi Film Festival was hosted by Saudi actress Aixa Kay and actor Khaled Saqer. (Supplied)

The event was organized by the Cinema Association in strategic partnership with Ithra — an Aramco initiative — and was supported by the Saudi Film Commission of the Ministry of Culture.

This year’s festival, with the theme “Cinema of Identity,” delves into the power of storytelling to reflect and shape cultural, personal and collective narratives.

At the opening, Cinema Association chairwoman Hana Al-Omair emphasized the theme’s significance.

“We present this year’s edition at a time when Saudi film production is undergoing noticeable growth. Saudi films are no longer rare appearances; they are now competing for prime slots in Arab cinemas. This reflects an artistic momentum worth pausing and reflecting upon,” she said.

She also highlighted the festival’s special focus.

Saudi opera singer Mohammed Khayran Al-Zahrani and renowned French soprano Fabienne Conrad. (Supplied)

“In addition to the usual festival activities, we are shining a spotlight on the Japanese cinema experience, which has had a profound impact on world cinema, thanks to its artistic schools, rich experience and global history,” she said.

Opening night saw visitors treated to the premiere of “Siwar” by Osama Al-Khuraiji.

The program, which runs until April 23, is packed with events including a steady stream of stars, film screenings, seminars, workshops, masterclasses and the coveted Golden Palm awards.

Since its founding in 2008, the Saudi Film Festival has become the Kingdom’s longest-running cinematic event.

This year, 36 out of 68 screenings are Saudi and Gulf films, comprising eight narrative features, 21 shorts and seven documentaries. Parts of the proceedings, and some other festival events, are being live-streamed.

For more information about buying tickets, visit the Ithra website.


Saudi filmmaker Ryan Al-Bishri discusses ‘When the Light Shines’ 

Saudi filmmaker Ryan Al-Bishri discusses ‘When the Light Shines’ 
Updated 18 April 2025
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Saudi filmmaker Ryan Al-Bishri discusses ‘When the Light Shines’ 

Saudi filmmaker Ryan Al-Bishri discusses ‘When the Light Shines’ 
  • The documentary about Layan Culture tells a remarkable story of artistic perseverance against the odds 

DUBAI: Saudi Arabia’s cultural scene is becoming increasingly significant both inside and outside of the Gulf region, with the Kingdom’s artists being collected by prestigious international institutions and fetching impressive prices at auction.  

But a common gripe is that there is little archival material on those creatives who, decades ago — and without any of the institutional support the current generation now enjoy — built careers for themselves and inspired those who came after them. 

In his documentary “When the Light Shines,” which screens at the Saudi Film Festival today, Saudi filmmaker Ryan Al-Bishri reveals one long-running initiative that bucks that trend. Layan Culture was officially established in 2007 by Prince Faissal bin Abdullah bin Mohammad Al-Saud and Princess Adelah bint Abdullah bin Abdulaziz Al-Saud, but stems from decades-long support for artists and creators from its founders.  

Filmmaker Ryan Al-Bishri. (Dhasha Productions)

Layan is an archive, a collective, an “art-concept creator” and much more. It celebrates, promotes and is a patron of Saudi creatives. Its website states that its vision is also to “nurture artistic appreciation in the minds and hearts of the Saudi people.” However, despite its significance, Layan Culture is little-known, even inside the Kingdom. Al-Bishri hopes to change that. 

Al-Bishri was first introduced to Prince Faissal through his father, the fashion designer Yahya Al-Bishri.  

“I heard a lot of the stories through my father, of course. And then from Prince Faissal himself. And whenever they talked about it, it was just like ‘Wow!’ Stories I’d never heard —really interesting stuff from back in the 1960s,” Al-Bishri tells Arab News. 

A few of those stories — of trips overseas or to then-rarely visited areas of Saudi Arabia as the prince and his friends attempted to gather information about the Kingdom’s artistic and cultural heritage — made it into “When the Light Shines.” Indeed, Al-Bishri says, one in particular was the spark for the whole project. 

In the 1960s, American artist, photographer and explorer Gerhardt Liebmann entered Saudi Arabia through Yemen. “He just walked in — no visa or nothing — and started painting,” says Al-Bishri. Eventually, Liebmann was discovered by the authorities and deported.  

Layan Culture’s managing director Ghada AlTobaishi (R) and art director Mazen Tarabishi. (Courtesy of Dhasha Productions)

Years later, Prince Faissal and others were on a trip to Geneva. As they were walking past one of its many art galleries, the prince spotted a painting of a mosque minaret. The gallery provided the name of the artist (yes, Liebmann) and Prince Faissal reached out to him. In 1981, Liebmann returned to the Kingdom. The minaret, it turned out, was that of a mosque in Taif. Over the next few years, until Liebmann’s death in 1985, the artist visited regularly, painting portraits of some of the Kingdom’s rulers and its landmarks. Those works form part of Layan Culture’s extensive collection related to Saudi Arabia, much of which the organization has restored, and much of which has never been on public display. 

When putting the documentary together, Al-Bishri was himself left bemoaning the lack of material available from the 20th century. “There’s a lot of archive we wish we had,” he says. “Like, if there was any footage of Gerhardt and his journey and the people around him, that would have been really incredible.” 

Fortunately, Al-Bishri did have access to Prince Faissal’s personal footage. “He had a team around him who filmed, and we had to gather everything we could to get this together. As you see in the film, everyone is really down-to-earth and welcoming. They never had any formalities about anything. Even the prince himself.” 

That footage makes up some of the documentary’s most joyous scenes — including a camping trip to the Empty Quarter — in which you really get a sense of the camaraderie between this handful of people trying to create a lasting cultural legacy. As Al-Bishri’s father says in the film, “Across the Kingdom, there were only individual efforts by people, and only a few who were willing to support these few artists.”  

Those words are echoed on screen by artist, sculptor and photographer Dr. Dia Aziz Dia, who was given a scholarship to study art in Italy, but on his return, he says, “I was surprised that society wasn’t ready to embrace art.” 

“The prince connected a lot of people together. Without that, you’ve lost that sense of community. A lot of people might have given up,” says Al-Bishri. “Especially at a time where everyone was telling you what you’re doing is wrong. You know, my father got that for a long time: ‘This is not right, what you’re doing is very wrong.’ But finding a group of people who are there to support you, as an artist, was incredible. Now we have that, of course, the government, the ministries… all of this change, it’s wonderful. But it kind of feels like it misses the people before this — the people who fought, who struggled. We have to talk about them too. They started this. I want this film to bring people to Layan Culture so they can really appreciate the work that they’ve done.” 

It certainly seems to have done that. Since its premiere at the Red Sea International Film Festival late last year, “When the Light Shines” — the title alludes to Prince Faissal’s feeling that now was the time to make some more noise about the work of Layan Culture — has won Best Film at the Munich New Wave Film Festival and been officially selected to compete at Mexico City’s Mirada Corta Short Film Festival, East Village New York Film Festival, and the Florence Film Awards, as well as appearing at several other festivals. And Al-Bishri hopes his short documentary will spawn a television series.  

“There are so many stories that we discovered that even a feature-length film wouldn’t be enough,” he says. “What we want to do is make a short film about each artist where they talk about their journey. I think that would be great.” 

His goal is a simple one.  

“I want people to recognize the amount of work these people have put in. They sacrificed a lot and they had to fight a lot of people — a lot of family — just to do what they love,” he says. “A lot of these artists — a lot of these communities — were very quiet before and maybe they got used to that. But I think it’s very important that they should not be forgotten.” 


Highlights from Art Week Riyadh  

Highlights from Art Week Riyadh  
Updated 18 April 2025
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Highlights from Art Week Riyadh  

Highlights from Art Week Riyadh  

Ayesha Singh 

‘Liminal Gaps’ 

The Indian artist’s “Liminal Gaps,” according to the gallery Nature Morte, “explores the areas ‘in between,’ or transitional spaces” and “reshapes perspectives on India’s evolving cultural identity.’ The installation acts as a 3D drawing through which the viewer can move. Singh has said her works “aim to counter established narratives.”  

Joana Hadjithomas and Khalil Joreige 

‘Message with(out) a code’ 

This work comes from the Lebanese duo’s ongoing series “Uncomformities” (a geological term indicating natural disasters and geological movements). That series began in 2016 when the artists started collecting earth core samples that “revealed the subterranean worlds of cities omnipresent in the personal imaginaries: Athens, Paris, Beirut and Tripoli.  

Dhewadi Hadjab  

‘Untitled’ 

This work comes from a series of paintings that the Algerian-born artist created last year, which were presented in Paris in November. At the time, art critic Anael Pigeat wrote: “He shows unreal images of positions impossible to maintain: several times in one single time and several bodies in one single body.”