Misk Art Week showcases artists from Saudi Arabia and international community

Afra Aldhaheri’s “End of A School Braid” (2021), part of the Misk Art Grant exhibition “Under Construction” at Misk Art Week 2021. (Omar Al-Tamimi)
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Updated 03 December 2021
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Misk Art Week showcases artists from Saudi Arabia and international community

  • For its fifth year, Misk Art Institute’s annual event features several exhibitions exploring the nature of identity

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

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

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

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

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

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

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

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

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




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

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

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




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

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

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

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

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

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




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

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

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

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

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

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




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

 


Hia Hub: Day 2 sees industry leaders discuss evolution of skin care, market opportunities

Updated 31 October 2024
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Hia Hub: Day 2 sees industry leaders discuss evolution of skin care, market opportunities

  • Patrick Chalhoub: Many consumers, particularly men, are not fully engaged in skin care routines
  • Session underscored a collective commitment to enhancing skin care knowledge and practices in the Middle East

RIYADH: Hia Hub, Saudi Arabia’s fashion, beauty and lifestyle conference, is set to run until Nov. 3 and Thursday’s lineup of talks featured a session called “The Current Landscape of Beauty and the Evolution of Skin Care” that saw panelists discuss the desire to grow the skin care segment of the regional beauty industry.

Moderated by Lynn Al-Khatib, vice president of communications at luxury goods retailer and distributor Chalhoub Group, the session featured the likes of Patrick Chalhoub, group president of the Chalhoub Group; Franck Marilly, chairman of Shiseido EMEA; Hasmik Panossian, regional general manager of Sephora Middle East; Laurent Duffier, managing director of L’Oreal Middle East; and Henk van der Mark, vice president of retail, commercial and business development at Estee Lauder Companies EMEA.

Patrick Chalhoub spoke of the responsibility that comes with being a market leader, saying: “As a market leader in the GCC (Gulf Cooperation Council) and Saudi Arabia, we carry a significant responsibility to grow the beauty market.”

Notably, while fragrances dominate the market, skin care usage lags behind at only 10 percent, compared to 35 percent globally and 50 percent in Asia.

This, according to the panelists, indicates a substantial opportunity for growth.

Chalhoub highlighted the potential growth area, saying: “Many consumers, particularly men, are not fully engaged in skin care routines, often using just one or two products daily.”

Marilly added to the discussion, reflecting on the cultural differences in skin care practices.

He said: “In Asia, skin care accounts for 50 percent of a $35 billion market. While the Middle East represents a smaller segment, we have ambitious goals.”

Marilly also underscored the importance of education, saying that “utilizing advanced technologies like skin analysis and DNA testing can greatly enhance consumer knowledge.”

The importance of technology was mirrored in the contribution of Duffier, who said that L’Oreal “harnesses scientific formulas and cutting-edge technology to deliver exceptional results,” while referencing tools that analyze skin to suggest appropriate treatments.

He added: “The rising interest in cosmetic procedures among younger demographics indicates a strong demand for effective solutions.”

The importance of education and raising awareness about the power of skin care came up again and again.

Van der Mark said: “In Europe and Asia skin care is deeply embedded in cultural practices. In contrast, the Middle East shows a gap in skin care education and usage.”

He pointed out that with 60 percent of the population under 30 in the Middle East, North Africa and Pakistan, according to the International Monetary Fund, there was a significant potential to engage younger consumers who prioritized health and wellness.

Panossian spoke of the importance of understanding customer needs, adding: “With over 3,000 Sephora stores globally, we gather valuable feedback on products and ingredients … consumers are increasingly focused on ingredients, so we prioritize transparency and authenticity in our communications.”

The session underscored a collective commitment to enhancing skin care knowledge and practices in the Middle East, with industry leaders agreeing on the need for collaboration, education, and innovation to drive growth in the market.

As the beauty landscape continues to evolve, these efforts will be essential in shaping a more informed and engaged consumer base.


AlUla, Ferrandi Paris team up to open culinary training college

Updated 31 October 2024
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AlUla, Ferrandi Paris team up to open culinary training college

  • Ferrandi Paris AlUla Campus will open later this year, with an inaugural intake of 100 students

ALULA: The Royal Commission for AlUla has partnered with Ferrandi Paris to establish a culinary arts, tourism and hospitality training college in the city.

Announced on Thursday at the Future Investment Initiative in Riyadh, the Ferrandi Paris AlUla Campus will open later this year, with an inaugural intake of 100 students.

It will offer three-year diploma programs in culinary arts, hospitality and tourism, taught by professionals from the Saudi Arabia-based Colleges of Excellence and following the Ferrandi Paris curriculum.

Open to high school graduates from AlUla and across the Kingdom, the program aims to equip students with vital skills to support the city’s growth as a global tourism and investment destination.

The partnership is in line with both the RCU’s broader goals of upskilling the AlUla community in sectors such as culture, heritage and tourism and Saudi Vision 2030, the commission said.

Ferrandi Paris is a prestigious culinary institution with more than a century of expertise in hospitality training. It said it would bring its hallmark high standards to the new college, enhancing AlUla’s educational and vocational offerings and fostering stronger Saudi-French cooperation.


Four Abu Dhabi restaurants retain Michelin stars in 2025 guide

The ceremony was held at the Emirates Palace Mandarin Oriental. (Arab News)
Updated 31 October 2024
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Four Abu Dhabi restaurants retain Michelin stars in 2025 guide

ABU DHABI : Four restaurants in Abu Dhabi on Thursday retained their previously awarded Michelin star in the guide’s third edition for the Emirati city.

The third edition of the ceremony celebrated the city’s vibrant culinary scene.

The ceremony, which was held at the Emirates Palace Mandarin Oriental, did not see any new stars awarded to the city’s restaurants.  

Instead, 99 Sushi Bar, Talea by Antonio Guida, Erth and Hakkasan all retained their Michelin stars.

Michelin star award criteria ranks the quality of ingredients, harmony of flavor, consistency over time and across the menu as well as the chef's personality in cooking.

Meanwhile, the new restaurants added to the Michelin Abu Dhabi guide were Bord’O by Nicolas Isnard, Broadway, Em Sherif Sea Caf, Mika and Ryba. These eateries are highlighted by Michelin, but not awarded stars.

The Michelin Guide Service Award was given to Mika, a restaurant in Abu Dhabi’s Yas Island that blends Middle Eastern influences with a Mediterranean touch.

Bib Gourmand distinctions are awarded to restaurants that serve excellent food with moderate prices. The newly selected restaurants in this edition were Mika and Ryba.

Beirut Sur Mer, Almayass, Otoro, Tazal and Al-Mrzab retained their Bib Gourmand status.

 The Opening of The Year Award was given to Ryba, a seafood restaurant located in Mina, Abu Dhabi. Chef Faisal Mohamed Al-Harmoodi said his goal was to share Emirati food with the world as he accepted the accolade on stage.

The Michelin Young Chef Award was given to Yasmina Hayek from Em Sherif Sea Cafe, a fine dining Mediterranean and Lebanese restaurant in Al Maryah Island.

“Abu Dhabi offers a diverse dining scene that caters both to luxury travelers and food enthusiasts,” said Michelin’s Vice President of the Middle East and North Africa Harkesh Jaggi.


Bruna Biancardi explores Saudi Arabia ahead of Hia Hub appearance

Updated 31 October 2024
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Bruna Biancardi explores Saudi Arabia ahead of Hia Hub appearance

DUBAI: Brazilian influencer and model Bruna Biancardi arrived in Riyadh to attend the fourth edition of Hia Hub, Saudi Arabia’s conference on fashion, beauty, and lifestyle.

The model, who is soccer superstar Neymar's partner, shared an Instagram story to remind fans of her special appearance at the event on Nov. 3.

She also gave fans a sneak peek of her time in Riyadh, sharing an Instagram Story post from her dinner at Japanese eatery Myazu with her 11.7 million Instagram followers.

The model and footballer also seemed to spent time on Saudi Arabia’s Red Sea coastline, with Biancardi sharing images from a resort in the area.

Hia Hub, Saudi Arabia’s fashion, beauty and lifestyle conference, returned for its fourth edition in Riyadh’s JAX District and will run until Nov. 3.


Review: Apple TV’s ‘Before’ is a showcase for Billy Crystal

Jacobi Jupe and Billy Crystal in 'Before' - Apple TV+
Updated 31 October 2024
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Review: Apple TV’s ‘Before’ is a showcase for Billy Crystal

  • Creepy drama gives the famed comic a chance to show his serious side

LONDON: There are many unsettling things about Apple’s new psychological drama “Before”, but first among them is the sight of star Billy Crystal playing it absolutely straight — and not, as you might suspect, in a way that would enable the iconic funnyman to play it so seriously that it’s almost funny.

Here, Crystal is child psychologist Eli Adler, a gifted doctor struggling to come to terms with the recent suicide of his wife, Lynn. Not many laughs there, you’ll agree. While Eli is dealing with visions of Lynn, and recurring nightmares of hurling himself into an empty swimming pool, he finds a troubled young boy who won’t speak, scratching his hands bloody attempting to break into Eli’s house.

Eli’s colleague Gail (Sakina Jaffrey) has been trying to convince him to take on a new case — one of a troubled young boy who won’t speak and is plagued by horrifying visions. Before you can say “contrived coincidence,” we learn the two boys are, in fact, one and the same. What are the chances?

As Eli begins to investigate what led Noah (Jacobi Jupe) to stop speaking and start drawing creepy pictures of an abandoned barn — the same barn Eli finds in a picture among his wife’s things — the as-yet-unrevealed link between the two begins to solidify. With two episodes broadcast (of the 10 scheduled), the story behind whatever brought Eli and Noah together looks set to be eked out across the limited series, but writer/creator Sarah Thorp doesn’t hold out on audiences too much. So while there’s still a lot of hinting at seemingly unconnected elements — Noah’s visions of water leaking into his reality, his unnerving tendency to lapse into 17th-century Dutch, the often-sinister nature of Eli’s visions of Lynn — there’s enough dangled threads weaving together all of the above that viewers can feel like figuring out the mystery is achievable.

And, wonderfully, the cherry on the top is Crystal, demonstrating a gift for drama that few of his numerous roles ever hinted at. Eli is believably grief-stricken, world-weary and simply exhausted at the strangeness of what’s going on around him. Whatever the mystery at the heart of “Before” ends up being, the real gem here is the discovery of how effective a serious Billy Crystal can be.