Bringing the rich legacy of Nigeria’s famed Mbari Club to Art Dubai
Mbari Club was founded by a group of artists in Nigeria
It aimed to support new artists in the country after its independence
Updated 20 March 2019
LONDON: Eight leading modernist artists working across Africa and Europe from the 1960s to the present day are being showcased by London’s Tafeta Gallery at Art Dubai — the Middle East’s largest art fair, which kicked off on Wednesday and will wrap up on Saturday.
They include Ibrahim El-Salahi, the first African artist to have a retrospective at the Tate Modern in London, and Bruce Onobrakpeya, whose works are in the collections of the Vatican Museum in Rome, the National Gallery in Nairobi, and the Smithsonian National Museum of African Art in Washington, among other prestigious places.
All eight artists were affiliated with the Mbari Club for artists and writers in Ibadan, Nigeria and its regional chapters.
Established in 1961, the club was founded by a diverse group of artists, writers, musicians, actors and intellectuals.
Arab News met up with Ayo Adeyinka, founder and owner of Tafeta, to learn more about how the club nurtured talent.
“The aim was to create an artistic space for artists to flourish post-Independence. The artists I’m bringing to Dubai showed at Mbari in the 1960s, 70s and 80s. They are very well established now, but back then they were fresh-faced starters trying to find their feet and create their own artistic language.
“The legacy of the club, which was pan-Aftican, is that it gave artists a platform to engage internationally,” he said.
Adeyinka has a background in finance and was a keen collector of art before deciding to make his passion his career. “I found the arts a lot more engaging and fulfilling and knowing a bit about business always helps in the creative space,” he explained.
He has showed successfully at Art Dubai over three seasons and is especially pleased that he has attracted Emirati buyers.
Speaking of the event, he said: “It’s super well organized and the only fair I go to where a free lunch is served to the exhibitors! You feel looked after which is a bonus.”
Asked about the art scene on the African continent, he pointed to Nigeria as brimming with talent and singled out its booming youth population as an important factor — media reports indicate that more than half of its population is under the age of 35.
“That’s a lot of young, creative energy which is drawing on the deep-rooted traditions of the country’s artists, writers and musicians,” he said.
RIYADH: The mobile phone business is both highly profitable and very competitive.
There are plenty of independent stores and kiosks in the crowded marketplace selling accessories.
Abdullah Suliman is the 24-year-old Saudi entrepreneur behind online store Bastahh, which sells more than 500 products for cell phones from various international brands.
Items offered on the website include mobile and computer accessories, games, chargers, power banks, cases, covers, and headphones, all at competitive prices.
The store’s prices start from SR4 ($1.06), and Bastahh offers phone covers and cases that have been discontinued and which the company claims cannot be found elsewhere.
Suliman first started his business in 2017 but closed it down due to financial issues. He started up again two years ago, and his all-Saudi team prides itself on serving the community with a quick delivery of items.
“The market is profitable, but the competition is high. Therefore, you need someone patient to get into it,” he said.
Graffiti: Shift22 celebrates once suppressed art form in Riyadh
The festival is held at the abandoned hospital, holding true to the vintage graffiti fashion
Updated 20 October 2022
RIYADH: The walls of Irqah Hospital’s compound, thought among young Riyadh locals to be haunted, has been transformed into a canvas for local and international graffiti artists.
Once suppressed, the art is now celebrated as the Kingdom'd Visual Arts Commission presents its inaugural annual street art festival, Shift22.
The festival showcases commissioned and existing works from over 30 Saudi and international graffiti artists, focusing on murals, sound and video installations, and unconventional sculptures built by repurposing the abandoned hospital’s discarded materials.
Visual Arts Commission's CEO Dina Amin said: “Shift22 is part of the commission’s efforts to celebrate and encourage local and international visual artists by providing platforms for creative exchange and dialogue. This festival is an example of the many exciting visual arts opportunities that are a result of the growing local art scene.”
Saudi artist Deyaa Rambo’s piece is inspired by the transformation of the country and its modern reality. “Harwala,” an Arabic word for jogging, reflects a culture that is only moving forward with intention.
“As a culture, we carry the past and present with us, to walk towards the future … The idea talks about how culture is moving forward towards development, but not at an incomprehensible speed: It’s a calculated speed,” Rambo told Arab News.
Coming from an artistic family, he credits his passion to the environment he was raised in. In the early 2000s, when graffiti first began surfacing within the region as a legitimate art form, he discovered the underground scene.
“Meeting other graffiti artists, I got inspired and realized I need to develop as an artist myself,” Rambo said
After creating a small community of like-minded individuals, importing spray cans, taking part in small projects, and the occasional bit of street vandalism, they opened up the first graffiti store in the Kingdom: DHAD.
Locally, the DHAD family has collaborated with schools, institutes, exhibitions, galleries, and companies such as Mercedes and HP to design inspiring, unique interiors and exteriors.
Globally, the community’s work was recognized and showcased in exhibitions and events across the Gulf and beyond, including Tunisia, Morocco, Malaysia, Germany, and France.
“DHAD is basically all about the lifestyle of graffiti, (providing) tools, spray cans for artists, This is when the community was first created in Saudi Arabia,” Rambo said.
Deriving his inspiration from fantastical elements, his piece reimagines a modern Saudi as an anonymous figure trotting forward in a traditional thobe and shemagh.
According to Rambo, the responsibility of spreading awareness about the art form lies ultimately with local artists, not just in dedicated spaces, but true to traditional graffiti style: Publicly.
“That’s our mission, because graffiti globally was fought against, that it sends a negative message. Graffiti art isn’t restricted to exhibitions or museums to see the art. It’s in the streets — it’s for everyone.”
Contributing Saudi artist Zeinab Al-Mahoozi began her journey in 2011, credited to her curiosity, using stencil techniques to create dynamic and captivating artworks. She made a promise to herself that if she succeeded in her first attempt at the method, she would dedicate a whole exhibition to her street artworks.
Her mural is a whimsical self-portrait, showing herself setting a bird free into a corner of the universe.
“Graffiti art is known as an illegal art form, but to be supported as graffiti artists from government sectors — either the Ministry of Culture, or media, or others — that’s something we really needed. We’re very happy about it, and we’re very lucky,” she said.
While Shift22 is dedicated to platforming local talent, it also creates cultural exchange opportunities as it hosts various artists from around the world to contribute to the festival.
Europe-based Australian artist James Reka, like many graffiti artists, was first introduced to the underground scene through skateboarding and hiphop culture. His 20 years of experience started off with traditional letterform graffiti, which later developed into characters and figures.
“I’m honored to be invited to come to Saudi Arabia to be able to leave my own message behind … It’s nice to be acknowledged that it is something special, it is an art form,” he told Arab News.
Adhering to his signature style, Reka’s work is abstract, but carries a message of unity. A closer look at the mural would show colorful hands all reaching for each other, embedding the idea that love and community are at the heart of graffiti culture.
“(I’m honored) to also be able to paint and meet with a lot of local artists and share common knowledge about art, creativity, life in general — we’re all children of this earth. It’s a small world sometimes, even though I came from the other side of the world, we have a lot of things in common,” Reka said.
The festival is held at the abandoned hospital, holding true to the vintage graffiti fashion of marking underground and deserted spaces.
The open-air exhibition was curated by the New York-based artistic agency Creative Philosophy, dedicating the theme to geometric patterns to parallel the hospital’s architecture.
In addition to featured works by renowned and upcoming artists, such as Saudi REXCHOUK and Turkish-American Refik Anadol, the festival will hold a series of workshops, seminars, and activities highlighting the various elements of street art.
The festival will run until Oct. 30 alongside live music, streetwear shops, street food, breakdancing, and skateboarding.
Art forms combine in Madinah to showcase Saudi talent
Talaqi art exhibition aims to bridge the gap between artistic movements while showcasing local Saudi talents
Updated 20 October 2022
RIYADH: Realism, cubism, and abstraction are among the many different labels assigned to painters to describe their artistic form of expression.
But in Madinah, the Talaqi art exhibition aims to bridge the gap between artistic movements while showcasing local Saudi talents.
The second edition of the event, recently launched at Madinah Art Center, features the works of 16 Saudi artists, eight of whom are publicly exhibiting for the first time.
Each edition of the exhibition features a non-repetitive concept from a new set of artists.
Co-founder of Talaqi and the Thalothya arts project, Manar Ghazzawi, told Arab News: “We are excited to announce that after the success we’ve seen with the previous two editions, from the third onwards each exhibit will feature a single concept expressed uniquely by each participating painter.”
Ghazzawi was among those displaying at Talaqi’s second edition. She described her artwork as a tale of a long-term state of isolation evident in herself in the past and present as two separate people — both comforting the other.
She said: “An embodiment of my being one of the people who tend to isolate, in addition to the fact that all the details in the painting have psychological connotations.”
To prevent the meaning of artwork being lost in translation, Talaqi has affiliated with Thalothya, which hosts intellectual discussions and trends in modern and contemporary art discourse.
Co-founder Meshal Al-Hujaili, said: “Thalothya is an art community based in Madinah that promotes a culture of interpretive dialogue that transcends our own preconceived notions and limitations.”
Al-Hujaili said Thalothya was the result of a seven-year journey that he and Ghazzawi had partaken in.
“We did exhibitions … went to experienced artists and hosted them to ask them for their opinions and constructive criticism of what we produced,” Ghazzawi added.
“Throughout our experimentation phase, we learned to filter the good and bad in order to elevate the engagement level of artists from the community within the city itself,” Al-Hujaili added.
The co-founders identified a lack of dialogue-centric local art communities in Madinah.
Al-Hujaili said: “Most art communities available that we noticed have people come into a space and paint or create artwork each on their own canvas.
“So, we’ve created Thalothya to normalize intellectual, dialogue-setting gatherings in the Kingdom and endorse it in the Saudi art culture.
“I would love to see throughout the Kingdom Thalothya as a blueprint community in every city.”
Ancient carvings discovered at iconic Iraq monument bulldozed by Daesh
Now, US and Iraqi archaeologists working to reconstruct the site have unearthed extraordinary 2,700-year-old rock carvings among the ruins
The carvings were likely taken from Sennacherib's palace and used as construction material for the gate
Updated 19 October 2022
MOSUL, Iraq: When Daesh group fighters bulldozed the ancient monumental Mashki gate in the Iraqi city of Mosul in 2016, it was part of the extremists’ systematic destruction of cultural heritage.
Now, US and Iraqi archaeologists working to reconstruct the site have unearthed extraordinary 2,700-year-old rock carvings among the ruins.
They include eight finely made marble bas-relief carvings depicting war scenes from the rule of the Assyrian kings in the ancient city of Nineveh, a local Iraqi official said Wednesday.
Discovered last week, the detailed carvings show a soldier drawing back a bow in preparation to fire an arrow, as well as finely chiselled vine leaves and palms.
The grey stone carvings date to the rule of King Sennacherib, in power from 705-681 BC, according to a statement from the Iraqi Council of Antiquities and Heritage.
Sennacherib was responsible for expanding Nineveh as the Assyrians’ imperial capital and largest city — siting on a major crossroads between the Mediterranean and the Iranian plateau — including constructing a magnificent palace.
Fadel Mohammed Khodr, head of the Iraqi archaeological team working to restore the site, said the carvings were likely taken from Sennacherib’s palace and used as construction material for the gate.
“We believe that these carvings were moved from the palace of Sennacherib and reused by the grandson of the king, to renovate the gate of Mashki and to enlarge the guard room,” Khodr said.
When they were used in the gate, the area of the carvings poking out above ground was erased.
“Only the part buried underground has retained its carvings,” Khodr added.
ALIPH, the Swiss-based International Alliance for the Protection of Heritage in Conflict Areas, said the Mashki gate had been an “exceptional building.”
Daesh targeted the fortified gate, which had been restored in the 1970s, because it was an “iconic part of Mosul’s skyline, a symbol of the city’s long history,” it added.
ALIPH is supporting the reconstruction of the Mashki Gate by a team of archaeologists from Iraq’s Mosul University alongside US experts from the University of Pennsylvania.
The restoration project, which is being carried out in collaboration with Iraqi antiquities authorities, aims to turn the damaged monument into an educational center on Nineveh’s history.
Iraq was the birthplace of some of the world’s earliest cities.
It was also home to Sumerians and Babylonians, and to among humankind’s first examples of writing.
But in the past decades, Iraq has been the target of artifacts smuggling. Looters decimated the country’s ancient past, including after the 2003 US-led invasion.
Then, from 2014 and 2017, the Daesh group demolished pre-Islamic treasures with bulldozers, pickaxes and explosives. They also used smuggling to finance their operations.
Iraqi forces supported by an international coalition recaptured Mosul, the extremists’ former bastion, in 2017.
Corsican acapella group captivates audience in Jeddah
The idea behind their performance was to share a moment around a rare and typical style of music and songs without instruments
Updated 10 October 2022
JEDDAH: Several dignitaries, consuls general and high-profile Saudi individuals attended the French Consulate’s Corsican acapella music event to promote peace and serenity.
Performers Tavagna, consisting of seven singers, sang about their childhood, surrounded by nature in Corsica, and their roots, families and friends. The concert also boasted a theatrical dimension.
The idea behind their performance was to share a moment around a rare and typical style of music and songs without instruments.
Founded in 1966, Tavagna’s goal is to promote their culture across the world. The concert aimed at letting the world discover their artistic universe.
Consul General of France Catherine Corm-Kammoun received the guests and said that the consulate is committed to highlighting French culture to promote cultural diversity.
Speaking to Arab News, she added: “We love to share our music from the French culture with a Saudi audience to promote mutual understanding and culture of peace and cohesion.
“In the future we would like to contribute more to cultural events and cooperate with institutions for cultural exchange in Jeddah.”
Cultural Attache Charles-Henri Gros said: “Music is an easy way to bridge cultural divides and learn more about cultural diversity.
“We introduced very typical French songs, particularly in one of our local languages, Corsican, for which we invited the main Corsican group of singers, mostly due to their historical background and the evolution of the members throughout the different generations.”
He added that the singers had created their own deep and melodious sound, and were now recognized for their distinctive energy and exceptional live performances.
Chairman of the board adviser and Jeddah branch manager at the Saudi Arabian Society for Culture and Arts Mohammed Al-Subaih said: “It was an amazing and unique experience. The concert felt very much alive, and the lyrics of the songs captivated the audience.
“The common factor in this acapella event is that we have similar music in our Saudi culture. Under Vision 2030, we are looking forward to strengthening the role of art and culture and understanding between countries.”
Tavagna also performed in front of a massive crowd at the University of Business and Technology of Jeddah on Monday night.