‘Most beautiful building on Earth’ opens in Dubai

Roadside signboards described the museum — just minutes away from the world’s tallest construction, the Burj Khalifa — as the “most beautiful building on Earth” (Dubai Media Office)
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Updated 23 February 2022
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‘Most beautiful building on Earth’ opens in Dubai

  • While its contents are yet to be revealed, it will exhibit design and technology innovations

DUBAI: Dubai opened its Museum of the Future on Tuesday, a spectacular structure it is touting as the world’s most beautiful building.
The museum, a seven-story hollow silver ellipse decorated with Arabic calligraphy of quotes from Dubai’s ruler, Sheikh Mohammed bin Rashid Al-Maktoum, and thousands of meters (yards) of LED lights, takes pride of place on Sheikh Zayed Road, the city’s main highway.

The "most beautiful building on earth" (Dubai Media Office)

While its contents are yet to be revealed, it will exhibit design and technology innovations, taking the visitor on a “journey to the year 2071,” organizers said.

Roadside signboards described the museum — just minutes away from the world’s tallest construction, the Burj Khalifa — as the “most beautiful building on Earth” ahead of its gala opening.

The opening ceremony was featured in New York's Times Square. (Dubai Media Office)

It is the latest addition to the United Arab Emirates’ (UAE) collection of flashy architecture and comes after the $7-billion Expo world fair, featuring a swathe of futuristic designs, opened on Dubai’s outskirts on 30 September.
The UAE’s capital Abu Dhabi is home to a branch of the Louvre, whose license was extended by a decade last year to 2047 at a cost of 165 million euros ($186 million).

The Museum of the Future is now open to members of the public. (Dubai Media Office)

Since French President Emmanuel Macron opened the Louvre Abu Dhabi in late 2017, it attracted some two million visitors in its first two years, before Covid hit.
The wealthy UAE has made no secret of intentions to boost its soft power as a trading and tourism hub and to diversify its economy away from oil.
It has also sought to expand its space sector, sending its first astronaut into space in 2019 and a probe named “Amal” (Hope) into orbit around Mars in 2021 — the first Arab country to pull off such a feat.

 

 


A Ghana toddler sets a world record as the youngest male artist. His mom says he just loves colors

Updated 03 June 2024
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A Ghana toddler sets a world record as the youngest male artist. His mom says he just loves colors

ACCRA, Ghana: Meet Ace-Liam Ankrah, a Ghana toddler who has set the record as the world’s youngest male artist.
His mother, Chantelle Kukua Eghan, says it all started by accident when her son, who at the time was 6 months old, discovered her acrylic paints.
Eghan, an artist and founder of Arts and Cocktails Studio, a bar that that offers painting lessons in Ghana’s capital, Accra, said she was looking for a way to keep her boy busy while working on her own paintings.

Ace-Liam Nana Sam Ankrah, who will turn two in July, shows off his paint tubes at his mother’s art gallery in Accra, Ghana, on May 27, 2024. (AP Photo/Misper Apawu)

“I spread out a canvas on the floor and added paint to it, and then in the process of crawling he ended up spreading all the colors on the canvas,” she said.
And that’s how his first artwork, “The Crawl,” was born, Eghan, 25, told The Associated Press.
After that and with his mother’s prodding, Ace-Liam kept on painting.
Eghan decided to apply for the record last June. In November, Guinness World Records told her that to break a previous record, her son needed to exhibit and sell paintings.

She arranged for Ace-Liam’s first exhibition at the Museum of Science and Technology in Accra in January, where nine out of 10 of his pieces listed were sold. She declined to say for how much the paintings sold.
They were on their way.
Then, Guinness World Records confirmed the record in a statement and last week declared that “at the age of 1 year 152 days, little Ace-Liam Nana Sam Ankrah from Ghana is the world’s youngest male artist.”
Guinness World Records did not immediately respond to an Associated Press query about the previous youngest male artist record holder.
The overall record for the world’s youngest artist is currently held by India’s Arushi Bhatnagar. She had her first exhibition at the age of 11 months and sold her first painting for 5,000 Rupees ($60) in 2003.

Ace-Liam Nana Sam Ankrah plays on a table at his mother’s art gallery iat his mother’s art gallery in Accra, Ghana, on May 27, 2024. (AP Photo/Misper Apawu)

These days, Ace-Liam, who will be 2 years old in July, still loves painting and eagerly accompanies his mom to her studio, where a corner has been set off just for him. He sometimes paints in just five-minute sessions, returning to the same canvas over days of weeks, Eghan says.
On a recent day, he ran excitedly around the studio, with bursts of energy typical for boys his age. But he was also very focused and concentrated for almost an hour while painting — choosing green, yellow and blue for his latest work-in-progress and rubbing the oil colors into the canvas with his tiny fingers.
Eghan says becoming a world record holder has not changed their lives. She won’t sell “The Crawl” but plans on keeping it in the family.
She added that she hopes the media attention around her boy could encourage and inspire other parents to discover and nurture their children’s talents.
“He is painting and growing and playing in the whole process,” she says.
 


From Japan to Saudi Arabia, teamLab Borderless promises immersive experience in Jeddah

Entrapped Nucleus of Life at the museum in Jeddah. (Supplied)
Updated 02 June 2024
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From Japan to Saudi Arabia, teamLab Borderless promises immersive experience in Jeddah

DUBAI: From the heart of Tokyo to Jeddah’s Historic District, teamLab Borderless museum is set to open its doors in Saudi Arabia on June 10.

Arab News spoke to teamLab Borderless founder Toshiyuki Inoko ahead of the opening to learn more about his hopes for the new space.

Flutter of Butterflies Beyond Borders in Layered Ultrasubjective Space-1 will be on show. (Supplied)

Inoko said the newest location in Jeddah, the first outpost in the Middle East, will feature more than 80 artworks.

“Each one of (the) artworks are not independently displayed but they are interrelated and they influence each other … our artwork is fluid and has no borders, hence the name borderless,” Inoko said.

The Jeddah museum features four main sections: Athletics Forest, Future Park, Forest of Lamps and EN TEA HOUSE.

The space boasts immersive artworks. (Supplied)

“Once you enter our doors, you walk through a world that is changing endlessly. As you explore further, you enjoy the process of transformation through the artwork,” he explained.

As for its location, Inoko commented that Jeddah’s past is a key factor in why the city is the ideal location for teamLabs Borderless.

“Jeddah is strongly historical and it is rare to see and touch traces of history and Jeddah is one of those rare places where this happens. We think it's going to be very meaningful for people to create a modern experience in such a strong historical context. We hope to capture the journey between the past and the future,” he said.

Golden Sand 02. (Supplied)

Inoko hopes that visitors will enjoy the immersive aspect of the museum.

“At our museum, you as a visitor have the power to influence the art with your physical body … we are hoping to challenge the notion of beauty by showing how it can be everchanging and we hope it can also influence the way people look at the world,” he said. 

 


Singer CMAT withdraws from Latitude Festival over Gaza

Updated 02 June 2024
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Singer CMAT withdraws from Latitude Festival over Gaza

DUBAI: Irish pop singer Ciara Mary-Alice Thompson, who goes by the artist name CMAT, this week withdrew from the UK’s Latitude Festival in protest against the event’s sponsorship by Barclays Bank.

Campaigners allege that Barclays has increased its investments in arms companies that trade with Israel.

Her decision follows the withdrawal of over 100 artists from The Great Escape festival in Brighton in May, in protest over the bank’s involvement with that festival.

Bands Boycott Barclays (BBB), the organization spearheading the campaign, asserted that the bank was engaged in “laundering its reputation” through its association with  music festivals, a claim that Barclays refutes.

In her statement, Thompson said that she had asked that Latitude find a different sponsor, but it was “made clear” to her that this would not happen.


New book shines light on life — and death — of Abdullah bin Saud Al-Saud 

Updated 31 May 2024
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New book shines light on life — and death — of Abdullah bin Saud Al-Saud 

  • UK historian’s ‘The Imam, the Pasha and the Englishman’ reveals details of meeting between Al-Saud and the Ottoman governor of Egypt 

DUBAI: In April 1818, Ottoman forces under the leadership of Ibrahim Pasha — the eldest son of the Ottoman governor of Egypt, Muhammad Ali Pasha — began to lay siege to Diriyah. The culmination of a seven-year campaign against the Saudis, the siege would result in the defeat of the First Saudi State.   

Saudi forces resisted for six months before Abdullah bin Saud Al-Saud, the fourth and final ruler of the First Saudi State, sued for peace. In exchange for his surrender, he requested that Diriyah be spared. Instead the city was razed to the ground, and he was sent to Constantinople (modern-day Istanbul), where he was executed. 

En route, he passed through Cairo, where he met his triumphant foe, Muhammad Ali Pasha, for the first and only time. Their meeting was witnessed by an Englishman called John Bowes Wright, a well-connected, politically attuned traveler. It is Wright’s previously unpublished account of their meeting that the historian Michael Crawford has drawn on for his book “The Imam, the Pasha and the Englishman,” which was released by Arabian Publishing earlier this month.  

Engraving of Abdullah bin Saud by Louis Haghe published in 1834. (Supplied)

“I’ve always been interested in the fate of Imam Abdullah because he seemed to have been written out of a lot of the history, despite having been a champion of his people, his religion, and his country,” says Crawford.  

Bowes Wright’s account of the meeting takes the form of a letter to his oldest friend and regular correspondent, Joseph Lamb, a Newcastle coal merchant. “There was a slight melancholy in his countenance but mixed with a firmness and dignity suited to his situation beyond anything I had ever witnessed,” wrote Bowes Wright of Abdullah bin Saud. “His dark visage was rather long and careworn; he wore a red shawl wrapped round his head, and a loose brown and white camlet robe, and in every respect appeared, as he was, a perfect Chief of the Desert.” 

Not only does the letter provide a first-hand account of Abdullah bin Saud’s courage and composure, it enables a comparison with the narrative provided by Abd Al-Rahman Al-Jabarti, a renowned Egyptian historian who also recorded the meeting between the two rivals. While Bowes Wright’s letter reveals an acceptance of the reasoning of his Ottoman hosts, Al-Jabarti was more sympathetic to Abdullah bin Saud. 

Early 20th century photograph of the Prophet's Mosque in Madinah. (Supplied)

Why was Bowes Wright present at the meeting? Arguably as a publicity stunt, Crawford suggests.  

“I think Muhammad Ali thought, ‘Well, this is my big moment. The enemy I’ve been fighting for seven years has been defeated. I’m going to have my meeting with him. I want this publicized in Europe.’ There weren’t any journalists in those days, so I think he just said to the British representative (in Cairo), ‘Bring anybody along — any senior travelers who you might have staying — and they can witness the meeting.” 

Central to the meeting was the question of treasures taken from the Prophet Muhammad’s tomb in Madinah in 1807, prior to Abdullah bin Saud’s reign. The Ottomans, particularly Sultan Mahmud II, wanted to know where the missing treasure was. Some of it, including emeralds, other jewels, and volumes of the Holy Qur’an, were returned by Abdullah bin Saud. The location of the rest remains a mystery. 

The ruins of Diriyah, the first Saudi capital, viewed from the track to Riyadh in the early 20th century. (Supplied)

“Of course, ‘theft’ depends on who you believe owned them,” says Crawford. “The Ottomans obviously felt that they owned most of them, and the Saudis believed that they were there to serve religion and, if jihad needed funding, or the people needed money to just survive, then they could draw on those. And the interesting thing is that Al-Jabarti actually agreed with them — which is pretty remarkable really.” 

Crawford, who was partly brought up in the Middle East and served for the UK government in Saudi Arabia between 1986 and 1990, wrote the book to shed light on a lesser-known period of the Kingdom’s history. He also wanted to draw attention to Abdullah bin Saud himself, whose execution has always troubled him.  

“He was basically a soldier,” says Crawford. “His father (Saud bin Abdulaziz Al-Saud) was much more of a politician — one of those great men of the Middle East renowned for their generosity and extravagance. Everybody loved him and admired him and so on, but he was an extremely tough and authoritarian figure. I think Abdullah was perhaps less well-rounded; more of a soldier, much less of a politician. He perhaps didn’t understand how to keep the tribes on side and I think his strategy was probably wrong. He withdrew too quickly back into Najd and I don’t think he had the same kind of hold over people that his father had. But he was brave and he absolutely did his best.” 

Muhammad Ali Pasha by Auguste Couder. (Supplied)

Could the outcome have been different? Could the First Saudi State have survived?  

“Given how extended Ottoman supply lines and logistics were, if he’d managed to keep the major tribes on side then I think he could have stalled the Ottomans at Qasim, or even before Qasim,” Crawford suggests. “But he didn’t manage to keep them on side and, of course, many of the tribes were rather flattered by Muhammad Ali’s attentions. They were given shawls and cloaks and swords and all the gifts that he needed to give. It’s all recorded in Egyptian documents. If (Abdullah bin Saud) had been a bigger personality, or more generous, or had a greater grip on people’s imaginations, as his father did, maybe the state would have survived for longer. But ultimately, the Egyptian machine had much bigger resources and Muhammad Ali and Ibrahim, as a combination, were fairly brutal.” 

The Al-Saud Palace in Diriyah - photo taken in 1937. (Supplied)

Crawford’s interest in the Kingdom’s history began when studying at Oxford under the British-Lebanese historian Albert Hourani. “Nobody wrote about it,” he says. “Everybody wrote about the Levant. It was all about Cairo and Damascus and Baghdad and the great metropolises, and no one wrote about Saudi Arabia. Indeed, there was a rather sniffy attitude to the history of the Arabian Peninsula: ‘There’s not much there, there’s no material.’ And actually, that’s not true. There is a phenomenal amount of material, just no one had really focused on it apart from George Rentz and (Harry St John Bridger) Philby, whose books were completely unreadable.” 

If nothing else, Crawford hopes his book will encourage a deeper understanding of the Kingdom’s history.  

“I do think it’s important that people should have some sort of grasp of where the country has come from. I’ve been writing Saudi history since 1982 — somewhat specialized, I admit — but this was a chance to try and bring some of it alive.” 


Saudi artists on show in UAE gallery exhibition 

Updated 31 May 2024
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Saudi artists on show in UAE gallery exhibition 

DUBAI: Here are five highlights from ‘Gracefulness of Daily Life’ at Ziddoun Bossuyt in Dubai.  

Halla Bint Khalid 

This non-selling group show, which runs until June 8, consists of work by artists coming out of Gharem Studio in Riyadh, a non-profit organization founded by one of the Kingdom’s most celebrated artists, Abdulnasser Gharem, and co-owned by Halla Bint Khalid, also an artist. According to the show brochure, Bint Khalid uses her work to “pose questions, encourage self-awareness and challenge limiting societal norms.” This drawing, “Domestication,” comes from her series “In the Fine Print,” which, the brochure states, “attempts to shine a light on daily issues that have been normalized by the patriarchal narrative (and that) ultimately dehumanize, oppress, and limit every member of the family.”  

Sumayah Fallatah 

The Alkhobar-born, Riyadh-based photographer uses her work to explore “themes such as race and its representation in the Arab world. She also delves into her cultural identity as a third-generation Saudi Arabian-Nigerian, examining her family’s migration history and the integration of Saudi culture with their Nigerian identity.” The series to which these images belong, “Say Mon Dawo II”(Till We Return II) “reconstructs a long history of Hausa migration to Saudi Arabia due to colonial impact and the desire to protect their Islamic identity” and “embodies characters from various phases of the migratory assimilation.” 

Abdulnasser Gharem 

As well as being the founder of his eponymous studio, Gharem is also co-founder of the seminal social enterprise Edge of Arabia. Much of his work is informed by his time as an army officer, and he often uses rubber stamps of the kind used for administrative paperwork around the world as a tool, as in this piece, “Caged Humanity,” created in 2022. In the press release for this show, Gharem expresses his hope that it will prove “studios are places through which you discover the intelligence of cities. Artists strive to rationalize the world of their daily lives, constantly looking towards the future through imaginative eyes.” 

Aljan Gharem 

Abdulnasser’s younger brother has also attracted international acclaim. The installation pictured here, “Paradise Has Many Gates,” won the Jameel Prize in 2021, and was exhibited at the Vancouver Biennale in 2018. It is a mosque made of steel tubes and chicken wires. As such, it “immediately provokes anxiety,” the brochure states, “as it (recalls) the architecture of border fences and detention centers.” It continues: “For Gharem it is a broader metaphor for Islamophobia and the prison of identity — hundreds of thousands of Muslims are imprisoned for their beliefs worldwide — and for the dangers of religious ideology.”  

Haitham Alsharif 

The Riyadh-born photographer’s work focuses on “documenting the social shift in Saudi Arabia and observing the new changes and conversations that are held in his community.” His series “The Social Shift,” from which this image — “Jawaher” — is taken, is “based on ethnographic observations and conversations with individuals and communities … telling stories about subjects changing in Saudi Arabia, including … self-representation and expression, lifestyle, occupation, and more.”