Inside the ‘creators’ playground’ of Kuwait’s Kalibr+

The Kuwait-based organization was founded in 2014 by a group of friends. (Supplied)
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Updated 10 September 2020
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Inside the ‘creators’ playground’ of Kuwait’s Kalibr+

DUBAI: Born out of sheer desperation and hunger for an outlet for their creativity, a group of musicians, producers and artists banded together to form Kalibr+ one of the most innovative collectives to come out of the region in recent years.

The Kuwait-based organization is something of an anomaly. Founded in 2014 by a group of friends, it has gained a reputation as a unique brand thanks to its distinctive DIY, underground approach to all its projects. It is a record label hybrid designed for the modern era, a “creators’ playground” that is self-assured in its eccentricities (clearly evident from a quick look at the official Instagram account) and out-of-the-box musical identity.

“Kalibrplus was founded right after I graduated from college as a loose creative platform that eventually became audio-visual based,” Mohammed Abnoaf (aka St. Gold) tells Arab News. “It’s an Arab-born international collective of Internet-based content creators.”




Kalibr+ recently released its latest compilation album. (Supplied)

Those creators currently include Ch4ins4w, dvdv, Scuba Girl/Yung Bubu, Josh Tan (Sirens and Satyrs), DJ Cherry Cola, Ghostclown? and St. Gold. But over the years many others have contributed to the collective’s rise.

Kalibr+ recently released its latest compilation album. “Pipeline” features16 tracks that mesh and mold genres including jungle, noise, metal and techno in ways that, on paper, shouldn’t work but somehow do. The compilation was released digitally and is available to stream online. As always, Kalibr+ is relying mainly on word-of-mouth for marketing.

“It is a strange compilation album for us, because it was also sort of like our 'Apocalypse Now.’ It was in development for a long while but once it was together we realized everyone involved had honed their skills so much that the production was immaculate and sure, the visual representation was solid and so was its messaging, the mastering, the promotion aspect of it… Everything felt tight and more confident,'” says Abnoaf. “We wanted to translate the feeling of us being in the Wild West — in terms of the music industry — and draw it to being in the desert, something that we know very well. It felt colorful, daring, strange, left-field and loose in just the right ways, so it’s a (good) representation of who we are and what we do, while maintaining a good flow.”

And as you’d expect from a creative collective, the album artwork is hugely important too. The retro-style arcade machine on its cover is a shout out to one of the group’s main influences, Abnoaf explains: “We always wanted to give credit to where a lot of our inspiration comes from — video games.”


El Seed launches Tunisian olive oil brand Tacapae with artworks for bottles 

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El Seed launches Tunisian olive oil brand Tacapae with artworks for bottles 

DUBAI: French-Tunisian artist El Seed’s take on Arabic calligraphy (sometimes referred to as ‘calligraffiti’) has embellished favelas in Brazil, marginalized buildings in Cairo, and the Saudi desert. He is known for working with local communities to share messages of human connection, based on quotes from influential writers and philosophers.  

In a departure from his usual large-scale artworks, the artist recently launched his most intimate endeavor to date. The project is called “Tacapae” and consists of olive oil-filled bottles decorated with El Seed’s swirling calligraphy. The name of the brand is inspired by the ancient Greek name of the artist’s hometown, Gabes, in southern Tunisia, from where the olive oil is sourced.  

The most powerful aspect of the ceramic, handmade bottles is the quote El Seed used. (Supplied)

“I didn’t want to call it ‘El Seed Olive Oil’ because I don’t link the oil to myself,” El Seed tells Arab News at his Dubai studio in Alserkal Avenue. “I’m the founder, but the goal is to have a bottle designed by other artists every year. It’s a kind of partnership.”  

El Seed explains that his cousin informed him of a plot of land for sale in Gabes. “And it happened that the olive trees of this land were planted by my great-grandfather,” he says.  

El Seed purchased the land and its trees now provide the oil for Tacapae. A total of 31 bottles (a tribute to the land’s original 31 trees) were personally hand-finished by the artist himself.    

A total of 31 bottles (a tribute to the land’s original 31 trees) were personally hand-finished by the artist himself.  (Supplied)

The most powerful aspect of the ceramic, handmade bottles is the quote El Seed used. Translated into Arabic from a quote by 20th-century US novelist John Dos Passos, it reads: “You can snatch a man from his country but not the country from a man’s heart.”  

Those words have resonated with El Seed his whole life. “Nobody can take away from you all the memories that you carry for a particular place,” he says. “I grew up in France, I live in the US and Canada and I spend some time in the Middle East, but my main focus is in Tunisia. I carry it with me.” 


Where We Are Going Today: Armin restaurant in Riyadh

Updated 17 May 2024
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Where We Are Going Today: Armin restaurant in Riyadh

  • Armenian cuisine is a blend of Middle Eastern, Mediterranean and Eastern European influences

RIYADH: Riyadh’s popular Armenian restaurant, Armin, takes visitors on a journey of authentic flavors with its heartwarming, aromatic and herby dishes.

Armenian cuisine is a blend of Middle Eastern, Mediterranean and Eastern European influences with ingredients such as rice, lamb and sumac.

Armin hits the taste nail on the head with a selection of Middle Eastern dishes featuring chicken and lamb kebabs, tabouleh, fattoush, vine leaves, and a popular eggplant dip, muttabal.

The menu provides guests with options aplenty, with vegetarian and omnivorous diners catered for, making it an ideal spot for dining out.

Upon arrival, guests are spoiled with freshly baked pita bread, perfect to plunge into their dipping of choice.

The best appetizer on the menu is the hummus with meat and topped off with crispy pine nuts, making a perfect combination of nutty flavors.

A must-have side dish is the spicy potato, cooked to perfection with a kick of spice and a touch of garlic and coriander.

The star main course is the shish barak, a traditional Armenian dish consisting of dumplings made with a thin dough wrapper and filled with flavorful beef or lamb with onions and a mix of spices.

Shish barak is boiled, unlike Chinese or Japanese dumplings, which are usually pan fried or steamed.

The only downside of the visit is cost — Armin’s prices are on the high side. But given its customer service and delicious food, it is a price worth paying. Although many dishes on Armin’s menu can be found in Middle Eastern restaurants for a fraction of the price, the quality of the ingredients here is unmatched.


 


The story behind Saudi artist Alia Ahmad’s alluring abstracts

Alia Ahmad's 'Alwasm' at the Diriyah Contemporary Art Biennale in Riyadh. (Supplied)
Updated 16 May 2024
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The story behind Saudi artist Alia Ahmad’s alluring abstracts

  • Ahmad is garnering international attention, with two solo exhibitions in Europe  

RIYADH: Hanging at the Diriyah Contemporary Art Biennale in Riyadh is a large canvas titled “Alwasm,” a 2023 painting by Saudi artist Alia Ahmad. It’s an instant showstopper. Guests on the opening night of the event, which runs until May 24, gathered around the painting, which was inspired by Wadi Hanifah in the Najd region of Riyadh, which is where the biennale is being staged. Commissioned for the event, the painting’s alluring warm tones and lively hues capture the titular period between October and December when the weather becomes cooler and there is respite from the arid desert heat.  

Ahmad is on a roll. Since graduating from London’s Royal College of Art with a Master’s in 2020, the 28-year-old Riyadh-based painter has staged several solo exhibitions in her home country and has increasingly garnered international attention for her abstract expressionist canvases that depict the natural and urban landscape of her home country. Ahmad says she considers paintings “social spaces” as well as “blueprints.” 

Alia Ahmad's 'Malga—The Place In Which We Gather,' which sold for $128,786 at auction this year. (Courtesy of Phillips)

“These paintings represent my version of the landscape,” Ahmad tells Arab News. “They include elements that may be references to birds or various color palettes that aren’t necessarily found in the landscape, but that represent how I view it. I’m addicted to incorporating my imagination.” 

The desert landscape, she stresses, “is not necessarily dry or empty. It has so much more.” And that is what she captures in the lush, lyrical brushstrokes of her abstract works, which are filled with references to local culture. “The traditional Arab bedouin dress is filled with color. As are the tents,” she says. “Women here have traditionally embellished their gowns. Where does this sense of vibrant creativity come from? The color and playfulness we imbue our traditional dress and items with comes from the landscape.” 

Ahmad recently staged her first solo exhibition in Europe. “Terhal Gheim (The Voyage of the Clouds)” runs at White Cube in Paris until May 18.  

On March 7 this year she sold her first work at auction at the Phillips 20th Century & Contemporary Art sale in London. Her painting “Malga — The Place in Which We Gather” sold for four times its estimate, bringing in a remarkable £101,600 (roughly SAR475,825). 

Ahmad's works on display in London's Albion Juene Gallery. (Gilbert McCarragher)

And on May 2, another solo exhibition — “Thought to Image” — opened in London at Albion Jeune. Running until June 12, the show presents Ahmad’s alluring abstract landscapes, inspired by the hues of traditional textiles created by Sadu weavers of Bedouin tribes and the Arabic calligraphic script known as khatt. 

“Much of my inspiration comes from textiles,” she explains. “At one point I was obsessed with buying pieces of fabric and making collages.”  

She also used to draw stick-figure cartoons as a child, she adds. Those amateur drawings were works in progress — an aspect Ahmad continues to enjoy in her practice. “I loved the idea of having a drawing in progress to then fill in the blanks of what the character might look like later,” she says.  

Ahmad’s paintings today are an amalgamation of various aspects of her homeland — its rich natural environment from the desert to the lush palm trees and other vegetation, local dress, jewelry and animals. She brings all of them together to depict in colorful abstract forms the richness of Saudi heritage, particularly that of her home region of Najd. 

Her works, as international gallerists and collectors have found, are rife with specific local details that connect in some way with people across the world, even if only by piquing their curiosity about a country that has only recently really opened up to visitors. 

Ultimately, Ahmad’s paintings serve as a unique reference point during a time of monumental social and economic change in the Kingdom, revealing and documenting a moment of both transformation and a desire to retain and promote Saudi’s rich heritage. 

Her imaginary landscapes also include flattened perspectives, nods to her previous training in digital graphics. They reflect the futuristic visages of the modern world coupled with the beauty of the undulating curves of the desert landscape and the colorful attributes of Arabian culture. 

Each painting takes the viewer on a voyage into a vibrant abstract world that echoes aspects of everyday reality. 

As Ahmad puts it: “They are all playful paintings and I make sure that each work and each show I stage retains that aspect of curiosity.” 


Recipes for Success: The St. Regis Red Sea Executive Sous Chef Skotarenko Artem on educating guests and experimentation 

Updated 16 May 2024
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Recipes for Success: The St. Regis Red Sea Executive Sous Chef Skotarenko Artem on educating guests and experimentation 

JEDDAH: The newly-opened The St. Regis Red Sea is home to several restaurants, including Middle Eastern restaurant Nesma, Japanese establishment Gishiki 45, and Tilina — a “floating” restaurant that serves a degustation menu. The resort’s executive sous chef, Skotarenko Artem, from Russia, oversees a team of 75. 

“Discipline is one of the most important things in the kitchen. I can say it’s one of the pillars. But relationships in the kitchen should be based on respect. If you shout at your employees, you can make people scared, but they will never respect you for it,” Artem tells Arab News. “Shouting is a thing of the past in the kitchen.” 

The St. Regis Red Sea Resort’s Tilina offers a degustation menu for its visitors. (Supplied)

Tilina, he says, is a “unique concept for Saudi Arabia.” 

“The degustation menu takes two to three hours. Not everyone can sit for this time and wait for the dishes. So, we try to educate the guests,” he explains. 

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

I guess trying to repeat the dishes of celebrity chefs that I found online, from other parts of the world. And I was really upset with the results because they were below my expectations. That was because of products and seasonality, because every country has different produce and you can’t expect to get the same results in another country. 

What’s your top tip for amateurs? 

Don’t be afraid to experiment. If you find a nice recipe and you want to follow it, most likely you won’t have all the ingredients available at home. So use your imagination and, like this, you can achieve a great result. 

What one ingredient can instantly improve any dish?  

Doesn’t matter where you’re cooking — it can be a restaurant or at home — love is the most important. 

What’s the most common mistake that you find in other restaurants? 

I’m actually not very picky when I go out. But, for me, the most common issue is seasoning. It’s very easy to spoil a dish if you have poor seasoning; it becomes flat and, actually, it is dead. 

What’s your favorite cuisine?  

When I go out, I’m always looking for something unusual and interesting that I’m not familiar with. It helps to keep your mind open. 

What’s your go-to dish if you have to cook something quickly at home?  

I don’t actually cook at home very often. But I’ll always have fresh bread in and a piece of good quality cheese. Along with them, I have all these different kinds of preserves and pickled vegetables. So, if I have to do something quick at home, I’d make a nice Cuban-style sandwich. 

What customer behavior most annoys you?  

Actually, there’s a long list. But what really annoys me is when guests leave the table without valid excuses when the dishes are ready to serve. Because then you need to remake the dish. It’s a disservice to all the other guests in the restaurant. 

What’s your favorite dish to cook?   

Where I’m from, it tends to get very cold. So, I love to make rich soups of all kinds. But they tend to take a lot of time and patience. 

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

Actually, I’m really flexible and adaptable. For me, everything is possible if you’re focused and committed to it. 

RECIPE 
Chef Skotarenko’s cured mackerel, salted laminaria, and dill kefir sauce 

INGREDIENTS 

For the brine: 1L water; 80g sea salt; 30g brown sugar; 1 garlic clove; 10g dill; 30g sunflower oil (or your preferred flavor of oil); 2g black pepper; 2g bay leaves 

INSTRUCTIONS 

1. Place a whole mackerel (300-400g) in the brine and leave overnight. 

2. Place 500g fresh laminaria in a pot of cold water and bring to a boil. Strain the water and repeat the process three times. 

3. Wash the laminaria in cold water, sprinkle with 5g sea salt, and refrigerate overnight. 

4. Slice 500g fresh cucumber. Mix with 50g olive oil, a pinch of salt, and 20g apple cider vinegar. Refrigerate overnight. 

5. Mix 500g kefir (or laban if you prefer) with 30g lemon juice, 5g finely chopped garlic, 5g salt, and 2g white pepper. 

6. Bring a pot of salted water to a boil and add 500g dill. Remove after 10 seconds and place in ice-cold water. Blend the dill with 500g olive oil until smooth, then strain through a fine sieve. 

7. Plate all the ingredients separately and serve. 


Haifaa Al-Mansour hopes to show ‘fire and bravery’ of Saudi women in Nike campaign film

Updated 16 May 2024
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Haifaa Al-Mansour hopes to show ‘fire and bravery’ of Saudi women in Nike campaign film

DUBAI: For Nike’s first Saudi campaign “What If You Can?” the US athletic brand collaborated with acclaimed Saudi filmmaker Haifaa Al-Mansour. 

Shot in Riyadh, the film aims to inspire young girls in the Kingdom to try sporting activities, and Al-Mansour brought a level of craft and authenticity deeply rooted in Saudi culture to the project, as she has done throughout her career. Her groundbreaking debut feature, 2012’s “Wadjda,” which premiered at the Venice Film Festival, was a love letter to the young girls of Saudi Arabia. 

“I really feel a responsibility to try and represent the world I grew up in as authentically as possible to audiences at home and abroad. I want to start conversations at home about issues that are important to us, while at the same time providing a window to our world to people who have never had access to it before,” Al-Mansour tells Arab News. 

“I think it is very important to make a film that shows international audiences what life is really like in Saudi Arabia, as there are very few opportunities for them to see it otherwise. Even with ‘Wadjda,’ I heard from a lot of foreign audiences that were surprised by how strong and sassy Saudi women actually are. There is this perception that we are weak and shy and afraid of the world, and that we are just victims, resigned to the limited, restrictive circumstances of our culture. It is so not true. Saudi women are so tough, feisty, funny, and way more savvy than most people realize. I hope this (Nike campaign) further captures the fire and bravery of women from my country. Telling their stories is the honor and privilege of my life.” 

Her work on the new campaign reminded Al-Mansour just how dramatic the changes in the Kingdom have been over the past decade. 

“It was incredibly difficult to make a film in 2011. People were still very hesitant to embrace any public form of artistic expression,” she says. “Film, especially, was seen as taboo, and the idea of opening theaters had become a red line that most of us thought would never be crossed. Of course, now everything is different. 

“For my first film I couldn’t work with the men in public, so I had to direct from a van,” she continues. “Being allowed to mix with my crew and be fully immersed in this production was amazing. It was also very exciting to have so many enthusiastic young Saudis working on the set. They are the future of the industry, and to see them giving their all was very special for me. We have a long way to go in building local expertise, but the enthusiasm is there. It’s an exciting time to be a Saudi filmmaker.” 

For Al-Mansour, the Nike ad campaign is a natural extension of her work as a filmmaker.   

 “It feels like a dream to shoot a commercial encouraging Saudi women to participate in sport, with an all-female cast, in Saudi Arabia. While I love working in the West, there is a much deeper sense of pride and emotion for me when taking on projects shot in KSA. I feel such a strong connection to this story and these issues, it is very emotional for me,” she says. 

Al-Mansour credits her parents for her creative spirit. “My father was a poet and philosopher who thought far beyond the borders of the tiny town he was from. And my mother is a free spirit. They never listened to people who criticized their way of life, and never limited opportunities for their children. It is incredibly brave to stand up for what you believe in, and neither of them ever backed down,” she says. 

As for her legacy, Al-Mansour hopes to “encourage women to always push boundaries and look for new opportunities. I want to make films that show people adjusting to change and struggling through it the way we all have to. It isn’t easy for anyone. If I hear that this project encouraged someone to go out and try a sport for the first time, not knowing if they would even be able to do it, that would be the most rewarding thing I can imagine.”