Co-founder of digital platform The Open Crate shares Art Basel top picks

Co-founder of digital platform The Open Crate shares Art Basel top picks
Gallerists work next to artworks of B. Wurtz displayed at Art Basel at Messe Basel on June 18, 2025 in Basel, Switzerland. (Getty Images)
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Updated 25 June 2025
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Co-founder of digital platform The Open Crate shares Art Basel top picks

Co-founder of digital platform The Open Crate shares Art Basel top picks

BASEL: Tunisian art expert Amina Debbiche, who co-founded digital art platform The Open Crate alongside Nora Mansour, shares her top artworks from Switzerland’s Art Basel contemporary art fair, which wraps up on Sunday.




Amina Debbiche. (Supplied)

The Open Crate allows clients to digitalize their entire collection, whether it be artwork, design objects or luxury items.

Yto Barrada at Sfeir-Semler Gallery

“I first discovered Yto Barrada’s work at the Arsenale during the 2011 Venice Biennale and was instantly captivated by her poetic and political approach. Since then, I’ve followed her brilliant trajectory across film, photography, textiles, and installation. Born in Paris and raised in Tangier, her practice explores themes of memory, displacement, and resistance. We’ve now come full circle - she will represent France at the upcoming Venice Biennale, curated by Myriam Ben Salah.”




Yto Barrada’s work at Art Basel. (Supplied)

 Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited




Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited. (Supplied)

“Alia Farid’s ‘Elsewhere’ deeply moved me with its layered storytelling and political tenderness. The work maps Arab and South Asian migration to Latin America and the Caribbean through handwoven rugs made with Iraqi weavers. It documents hybrid identities, memory, and solidarity across geographies. I’ve long admired how Alia reclaims overlooked narratives with such poetic clarity. Her voice feels both urgent and timeless.”

Eunnam Hong’s ‘Safeway’ at Mendes Wood DM booth

“Eunnam Hong’s painting … stopped me in my tracks — cinematic, hyper-stylized, and effortlessly cool. With nods to Cindy Sherman and K-drama aesthetics, the Korean artist explores identity and performance through staged, uncanny tableaus. Her figures- drenched in soft light, wrapped in curlers and headscarves, clutching vitamin D and Safeway bags - feel both retro and unmistakably now. It’s suburban surrealism meets generational moodboard, complete with Converse and quiet rebellion. Hong is one of the most compelling contemporary voices out there - sharp, relatable, and iconic in the making.




Eunnam Hong’s ‘Safeway’ at Mendes Wood DM booth. (Supplied)
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Simone Fattal’s ‘Music On My Mind’ (2024)

“Simone Fattal is a Syrian Lebanese artist whose sculptural practice draws from archaeology, poetry, and mythology to explore themes of memory, exile, and resilience. Born in Damascus and raised in Beirut, she has created only a few large-scale sculptures, making each one rare and significant. Her works are held in major collections including MoMA, Centre Pompidou, and the Sharjah Art Foundation … I was drawn to “Music On My Mind” for its quiet power — the naive, totemic form and subtle reference to sound felt deeply poetic.”




Simone Fattal’s ‘Music On My Mind’ (2024). (Supplied)

 




M'barek Bouhchichi’s ‘Terra’ series (2024)

M'barek Bouhchichi’s Terra series. 2024. Wool weaving and natural dye. 220x170cm at Selma Feriani booth

“I love this work for its quiet intensity and material poetry and Selma Feriani, who presents it, is one of the few truly independent voices from the region to make it to Art Basel with a consistently bold program. M’barek Bouhchichi, born in southeastern Morocco, lives and works in Tahanaout, Morocco. The artist collaborates with women artisans to create henna-dyed wool works that evoke both landscape and memory. His ‘Terra’ series explores cultural links between Morocco and Mali through ancestral weaving techniques. These minimal, earthy compositions blur the line between textile and painting. A major solo show in Tunis is coming this September.”

Noah Davis’s ‘The Goat from Grayson’ (2008) at David Zwirner

“I’ve always been drawn to Noah Davis’s ability to create scenes that feel both dreamlike and grounded in Black lived experience. “The Goat from Grayson” (2008), shown here at David Zwirner, captures his signature blend of poetic realism, rich symbolism and painterly tenderness. The glowing tree, the quiet tension, and the spiritual undertone pull you in. Davis, who passed away tragically young at 32, was not only a brilliant painter but also the founder of The Underground Museum in Los Angeles, a vital space for Black art and community. His work was the subject of a major retrospective at the Hammer Museum in 2020, cementing his legacy as one of the most influential artists of his generation.”

Eric Fischl’s ‘After the Funeral’ (2017)

“Eric Fischl’s paintings often feel like paused movie scenes, loaded with tension, memory, and unspoken drama. I was instantly drawn to these two women, something about the cigarette, the ice cube, the gaze, it felt like I’d stumbled into a Woody Allen film mid-conversation. Fischl captures that strange mix of intimacy and detachment with uncanny precision. A key figure of American figurative painting since the 1980s, his work explores suburban psychology and social dynamics. He is represented by Skarstedt, a gallery known for championing major contemporary artists like David Salle, Cindy Sherman, and George Condo.”




Eric Fischl’s ‘After the Funeral’ (2017)

Sheila Hicks’s ‘Lianes Etoiles’ (2020)

“Sheila Hicks’s ‘Lianes Etoiles’ is pure visual rhythm. Its vibrant threads, soft textures, and sculptural layering instantly drew me in. There is something meditative and sensual about the way the colors pulse across the surface. Hicks, a pioneer of textile art, has redefined fiber as a sculptural and painterly medium for over six decades. This piece feels both contemporary and ancestral, like a coded language of color and craft. It is shown by Alison Jacques, a gallery that consistently champions strong, visionary practices.”

Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii glass amphora (#06)’ (2023) at the booth of Lia Rumma

“Wael Shawky’s amphora sculptures are a masterclass in historical layering and contemporary wit. Representing the Egyptian Pavilion at the last Venice Biennale, his work was among the most celebrated and nearly won the Golden Lion. The video “Drama 1882” retelling of the ’Urabi revolution that was co‑funded through support from Mai Eldib, who organised key patronage, was later acquired by a major institution in the Middle East. These Murano glass forms, draped in ornate textiles, are as subtle as they are rich in reference. Shawky continues to expand the visual language of Arab myth, ritual, and storytelling with quiet force.”




Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii glass amphora (#06)’ (2023) at the booth of Lia Rumma

Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery’s booth

“This striking portrait by Amoako Boafo was exhibited at the Gagosian booth, where the brilliant Rola Wazni, director of Gagosian Paris, walked me through a presentation curated by Francesco Bonami. Boafo, originally from Ghana and based in Vienna, is known for his lush finger-painted figures and bold exploration of Black identity and presence. His textured brushwork and floral detailing here are both tender and defiant. The composition radiates quiet power, dignity, and individuality. Rolla’s sharp eye and grace made the experience even more memorable.”




Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery’s booth

Maurizio Cattelan and Rudofl Stingel at Gagosian Gallery’s booth

“Gagosian’s booth at Art Basel 2025, curated by Francesco Bonami, offered a brilliantly irreverent pairing of Maurizio Cattelan’s ‘No’ (2021) and Rudolf Stingel’s ‘Untitled’ (2012). Cattelan’s kneeling figure in a suit, head covered by a paper bag, delivers a biting satire of modern-day capitalism and mental health collapse — a man caught between denial and trauma, refusing to face symbolic castration or mortality. Stingel’s silvery abstraction provided a haunting, meditative counterpoint, echoing themes of absence and ego. Together, the works reflected on visibility, repression, and the absurd rituals of the art world. The result was a sharp, minimalist statement that lingered long after.”


Artist Dan Pearce explores kinetic energy in Doha artwork

Artist Dan Pearce explores kinetic energy in Doha artwork
Updated 12 July 2025
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Artist Dan Pearce explores kinetic energy in Doha artwork

Artist Dan Pearce explores kinetic energy in Doha artwork
  • Steel sculpture captures water dropping onto a surface
  • Doha peninsula was inspiration, Pearce tells Arab News

DUBAI: Internationally-acclaimed London-based artist Dan Pearce has revealed the inspiration for his work to mark the 20th anniversary of the Four Seasons Hotel Doha, titled “Kinetic Drop.”

Known for commissions from French football icon Paul Pogba, other celebrities and global exhibitions, the artist’s bespoke sculpture is crafted from stainless steel.

“I titled this sculpture ‘Kinetic Drop’ because it captures that precise moment when a water droplet collides with a surface, that split second when kinetic energy disperses in all directions,” Pearce told Arab News recently.

“With all my work, I aim to trigger one of three responses: to make viewers think ‘how did he do that?’ to inspire them to touch the artwork, or to encourage movement around the piece for different perspectives,” he added.

The artist, who was born in Australia, is known for his pop culture-inspired work and often turns to DC Comics, musicians and street art for source material.

Taking inspiration from the hotel and its surroundings in Doha may have been a welcome departure for the artist. “The sculpture is mounted on a map of Qatar.

“Geographically, Qatar is also surrounded by water as a peninsula while Four Seasons Doha is situated on the Arabian Gulf where I could see endless views of the shimmering waters from our room — this was also part of the inspiration behind the piece,” he explained.

As for the location of the artwork, the artist said it “could create a sense of urgency and exclusivity, encouraging visitors and guests to interact and connect with it on a social level and experience it before it’s gone.”

Pearce’s work has captured the attention of celebrities and worldwide brands, with commissioned pieces for boxing champion Anthony Joshua, Grammy nominee Rag’n’Bone Man, and hip-hop star 50 Cent, to name a few.

Ensuring his work can be understood across cultures is something that was particularly important to Pearce in the run-up to his showcase in Doha.

“With the concept of the sculpture being water, this makes it universally significant across all cultures. Water represents life, renewal, and connection which are key elements that can transcend cultural boundaries,” he said.


Superman fans claim film is critical of Israel

Superman fans claim film is critical of Israel
Updated 12 July 2025
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Superman fans claim film is critical of Israel

Superman fans claim film is critical of Israel

DUBAI: James Gunn’s new “Superman” film is drawing attention online for what many viewers interpret as a pointed political message. 

A scene showing a heavily armed military force attacking civilians across a border, where children’s lives are at risk, has sparked comparisons to the Israel-Gaza war.

While neither Gunn nor the cast have stated the film references Israel or Palestine, early audiences have drawn their own conclusions, suggesting the conflict serves as an allegorical backdrop.

One user wrote on X: “Y’all were not kidding about how anti-Israel and pro-Palestine that superman movie was, and they were not slick with it AT ALL,” while another said: “Superman was so openly anti-Israel and god it was so good.” 

Another user said: “Not going to lie I really like the anti-Israel sentiment from superman and now I know James Gunn is always standing on business.” 

Though the film never names specific nations, Gunn has said in interviews that it tackles themes of “politics” and “morality,” and positions Superman as an immigrant, comments that have also sparked backlash from some US conservatives.

The film is a reboot of the DC franchise and marks the beginning of Gunn’s new DC Universe. It stars David Corenswet as Clark Kent/Superman and Rachel Brosnahan as Lois Lane. The cast also includes Nicholas Hoult as Lex Luthor and Isabela Merced as Hawkgirl.

The movie was released in Saudi Arabia on July 10. 


Syrian Rami Al-Ali makes Paris haute couture history with debut collection

Syrian Rami Al-Ali makes Paris haute couture history with debut collection
Updated 11 July 2025
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Syrian Rami Al-Ali makes Paris haute couture history with debut collection

Syrian Rami Al-Ali makes Paris haute couture history with debut collection

DUBAI: Syrian designer Rami Al-Ali made history this week as the first couturier from his country to take part in the official Paris calendar, choking back tears at the end of his show of exquisitely tailored pieces.

Working within a palette of soft neutrals, icy pastels and muted metallics, the designer explored volume, texture and structure with a distinct architectural approach.

There were structured silhouettes featuring sharp tailoring and asymmetric cuts, softened by draped elements or delicate embellishments. 

 

 

Floor-grazing gowns crafted from layers of organza and chiffon created a sense of fluidity, with subtle transparency lending an ethereal quality. Hand embroidery, pleated tulle and intricate smocking added depth and visual interest across the collection.

Several looks featured woven or lattice-like details, both in full panels and as accents, emphasizing artisanal technique. 

Other standout designs played with sculptural forms; one gown unfurled into fan-like pleats, while another used cascading layers.

Al-Ali’s inclusion in the Paris calendar marks a major milestone, signaling his entry into fashion’s most elite circle. To qualify for the official haute couture, or “high fashion,” designation, fashion houses meet rigorous standards, and the title is legally protected under French law.

It is a “historical milestone, celebrating a lifelong devotion to craftsmanship, culture, and creative expression, rooted in heritage and elevated by vision,” the fashion house posted on Instagram when it was first announced that Al-Ali would join the calendar.

Originally from Damascus, Al-Ali honed his fashion skills in Dubai and Beirut before founding his label, Rami Al-Ali Couture, in 2001.

His creations have been worn by a variety of celebrities, including Amal Clooney, Eva Longoria, Jennifer Lopez, and Jessica Chastain.

Al-Ali’s work has been praised for seamlessly blending his Middle Eastern heritage with Western sensibilities. He is known for designing flowing silhouettes adorned with intricate, playful embellishments — creations that are both timeless and runway-worthy.

Al-Ali was one of a handful of Arab designers on the official haute couture calendar. The lineup also included Lebanese designers Georges Hobeika, Elie Saab and Zuhair Murad, as well as Saudi couturier Mohammed Ashi.  


An anthem for unspoken love: Zeyne discusses her latest release, ‘Hilwa’ 

An anthem for unspoken love: Zeyne discusses her latest release, ‘Hilwa’ 
Updated 11 July 2025
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An anthem for unspoken love: Zeyne discusses her latest release, ‘Hilwa’ 

An anthem for unspoken love: Zeyne discusses her latest release, ‘Hilwa’ 
  • The Palestinian-Jordanian artist on her new single, released by MDLBEAST Records 

DHAHRAN: Palestinian-Jordanian artist Zeyne is here for her close-up — and she’s bringing the inspirational women in her family along. 

Zeyne’s latest single “Hilwa” dropped this week and the artwork — shot by Zaid Allozi — shows three women interlocked by their braided hair. 

“The image shows three generations — me, my mother, and my grandmother — all connected by one continuous braid. It’s a symbol of inheritance; the quiet strength and love passed from one woman to the next,” Zeyne tells Arab News. “The braid holds the kind of love that isn’t always spoken, but is deeply felt and remembered.” 

The 27-year-old is using her music to reclaim narrative, identity and joy — singing of Arab womanhood in its most defiant, soulful and cinematic form. 

“We shot (the artwork) in a handmade mudbrick house in the Jordan Valley, built using traditional Levantine methods. These homes — found across Palestine, Jordan, Syria, and Lebanon — aren’t just sustainable, they carry memory. They connect us to land, to lineage, and to something deeper,” Zeyne says.  

“Hilwa” is an uplifting anthem released via Saudi-based MDLBEAST Records, in partnership with Zeyne’s own label, Scarab Records.  

Zeyne performing at Offlimits Festival in Abu Dhabi in April. (Omar Rezgani)

“When we saw the vision Zeyne and her team had, it was a no brainer, we were ready to jump right in and help amplify what was already there and build together towards a sustainable, long-running, global project stemming from the heart of the MENA region,” Talal Albahiti, COO and head of talent at MDLBEAST, tells Arab News. “MDLBEAST Records always champions the upcoming hard workers and visionaries, and Zeyne exemplifies these qualities perfectly.”  

Following Zeyne’s 2024 hit “Asli Ana,” which reimagined Arab rhythmic traditions through a futuristic lens, “Hilwa” pays homage to her mother and grandmother, whose love and wisdom deeply shaped her sense of identity. “While ‘Asli Ana’ was about resistance, ‘Hilwa’ is softer,” she says.  

Through Zeyne’s reflective lyrics and emotional vocal delivery, “Hilwa” explores how beauty and self-worth are inherited — not just genetically, but through stories, memories, and values passed down by generations of Arab women. “You’re so beautiful and no one can say otherwise,” she sings at one point. 

Zeyne in the studio during the recording sessions for 'Hilwa.' (Zaid Allozi)

Born Zein Sajdi in Amman in 1997, Zeyne was raised in a household where music and culture were key. Her father was a record collector, her mother led a dabke troupe, and her sister trained as a classical pianist. Zeyne began performing aged five and was already writing her own lyrics in her teens. 

She studied sociology and media communications at the University of Sussex in the UK, but the COVID-19 pandemic redirected her path. Returning to Amman in 2020, she turned her full attention to music — writing, recording and developing her distinct sound. 

Since the release of her 2021 debut single, “Minni Ana,” Zeyne has carved a singular lane in Arab pop — merging traditional Arabic sounds with modern, genre-defying production. Since then, she has released several acclaimed singles, collaborated with artists including Palestinian singer-songwriter Saint Levant, and written for fellow Jordanian-Palestinian musician Issam Alnajjar, Lebanese-Canadian singer-songwriter Massari, and the acclaimed Chilean-Palestinian star Elyanna.  

Zeyne performing at Offlimits Festival in Abu Dhabi in April. (Marwan Abouzeid and Zahra Hasby)

With more than 46 million streams across various platforms, Zeyne’s music has become a touchstone for Arab youth globally, offering a sound that is intimate, cinematic and emotionally resonant. Her boundary-pushing sound and evocative vocals have established her as one of the region’s most important cultural voices.  

Earlier this year, she launched a three-stop regional mini tour, “The Golden-Hour Run,” that included a landmark performance at the OffLimits Festival in the UAE and stadium appearances as a special guest on Ed Sheeran’s Mathematics Tour in Qatar and Bahrain, where she performed to over 65,000 people.  

She became the first female artist from the Levant to appear on the globally renowned music platform COLORS with her song “Ma Bansak,” and a viral performance in collaboration with Bottega Veneta blurred the lines between fashion, music, and Palestinian resistance. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by zeyne | زين (@zeyne)

But Zeyne’s influence stretches far beyond music.  

As an EQUAL Arabia ambassador, she lit up Times Square in New York City, solidifying her status as an emerging symbol of contemporary Arab identity and woman empowerment. Her inclusion in the DAZED Global 100 further cemented her status as a fearless voice reshaping representation and storytelling in and beyond the region. 

“Hilwa” captures all of that—vulnerability, defiance, and a deep sense of generational continuity. On Instagram, she wrote that the song stems from an assembly line of greatness, and is “a love letter to all the women in my life — my mother, my grandmother and even my younger self — you are beautiful, and no words can say otherwise.” 

This summer, Zeyne brings that message to the stage. She will perform in London on July 19 and 20, Paris on July 22, and Jerash on July 28, before heading to Saudi Arabia for back-to-back concerts in Riyadh on Aug. 7 and Jeddah on Aug. 8. 


REVIEW: James Gunn’s ‘Superman’ — a fun, heartfelt take on the Man of Steel

REVIEW: James Gunn’s ‘Superman’ — a fun, heartfelt take on the Man of Steel
Updated 11 July 2025
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REVIEW: James Gunn’s ‘Superman’ — a fun, heartfelt take on the Man of Steel

REVIEW: James Gunn’s ‘Superman’ — a fun, heartfelt take on the Man of Steel

DUBAI: James Gunn’s “Superman” marks a confident debut for the newly rebooted DC Universe, now firmly under the helm of the “Guardians of the Galaxy” director. Rather than chase the shadow of past gloom-ridden DC iterations, Gunn leans into sincerity, fun, and a touch of chaos to deliver a film that feels refreshingly light and cheerful. It’s heartfelt — though heavy-handed at times — and also makes room for some timely social commentary. In short, it’s a comic book movie that remembers it’s based on a comic book.

Set in a world where Superman is already known but still finding his place, the film follows Clark Kent as he juggles his day job at the Daily Planet newspaper with his not-so-secret life saving the world. Things take a turn when Lex Luthor — now a tech mogul with an envy problem — makes a move to privatize security and put Superman out of commission. Meanwhile, Superman is caught between being a symbol of hope and a political lightning rod, as he personally stops a country from invading its neighbor. 

David Corenswet takes on the red cape with a straight-edged wonder and charm that feels closer to Christopher Reeve than Henry Cavill. Rachel Brosnahan’s Lois Lane, meanwhile, is the sharpest person in the room and knows it. Their chemistry is palpable, with an early interview scene between the two setting the tone for the rest of the film. For a film that boasts some high-octane action scenes, the tension this pair create in a tiny living room is unrivalled.  

Gunn’s signature mix of sentiment and snark is all over the place, even if pared back compared to his Marvel days. And there’s a constant undercurrent of real-world commentary: Nicholas Hoult’s Lex Luthor is a psychopathic tech tycoon with a god complex (guess who?). And while it never turns preachy, the film doesn’t shy away from allusions to Gaza, Ukraine, or the refugee crisis.

Superman, after all, is an immigrant. And while Gunn doesn’t waste the metaphor, it’s impossible not to feel uneasy when the real-world suffering beamed straight into our social media feeds every day is portrayed alongside cartoon-ish fight scenes. 

Ultimately, Gunn’s “Superman” is an entertaining two hours at the cinema. Is it “Guardians of the Galaxy”-level good? No. Does it need to be? No. Instead, it’s a slightly messy, surprisingly political, and undeniably fun return to a hero who believes in doing the right thing, no matter the cost. And after years of emo DC, that might be just what the doctor ordered.