ROME: Saudi artist Sultan bin Fahad has chosen Rhinoceros, an art gallery in Rome’s historic heart, for his first solo show.
The exhibition, “Frequency,” is staged in a 15th-century building recently renovated by French architect Jean Nouvel, and includes six installations featuring light, incense, shadows, music and sounds. Each piece describes a spiritual journey to modernity through many cultures, but one that is firmly linked to Islam.
“Rome chose me and not vice versa. This idea wants to be a bridge between cultures,” Fahad told Arab News from Los Angeles, where he lives. He could not be in Rome for the opening of the exhibition, which is open to visitors until Dec. 10.
“Each of my creations is specific. I wanted to tell a concept that was understood and expressed by the surrounding place,” the artist said. Over the years he collected precious antique pieces from Makkah and Madinah which he found all over the world, including some metallic pieces which had gone missing in 1979. He shot videos and recorded sounds, and used everything in the artwork that describes what he sees as the human journey toward a sacred temple of feelings.
The exhibition includes “Been There,” a piece with four ancient stones inscribed in Arabic interacting with a large plate of luminescent glass. Then comes “If Stone Could Speak,” with white marble works from Makkah. A video is projected showing men and women gathered in prayer.
Another work, “Possession,” shows an image of the hands of men and women trying to get closer to an elusive God, trying to touch the tomb of the Prophet Muhammad (peace be upon him).
“I filmed those people and I was interested to understand why they were doing those gestures. They were trying to reach the divine. I thought it was moving,” Fahad said.
“The Verse of The Throne” contains a projection of a verse from the Holy Qur’an in front of six bowls, with water serving as an element of purification. Then comes “The White Noise,” represented in two immersive rooms, associated by the artist with the prayers of Makkah pilgrims.
Fahad said the exhibition looks to “involve all the senses to create a real experience, going beyond a visual experience for the visitor.”
In this sense, his works represent the place where anthropological concepts were born and became infused by Greek, Latin and Eastern cultures.
In fact, in the Arabian Gulf, humans once measured their existence through the loss of their relatives, creating a cult of the dead, which is reflected in Fahad’s work.
The artist is waiting to see what the future has in store. “I have no plans so far. I am so happy that I could produce something in 2020 due the the difficult time the entire world is experiencing. Let us hope that the situation will evolve for the better,” he said.
‘Rome chose me,’ says Saudi artist on breakthrough Italian exhibition
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‘Rome chose me,’ says Saudi artist on breakthrough Italian exhibition
- “Rome chose me and not vice versa. This idea wants to be a bridge between cultures,” Fahad told Arab News
- He could not be in Rome for the opening of the exhibition, which is open to visitors until Dec. 10
Etihad Airways flying high with classic cartoon caper
DUBAI: An Etihad Airways aircraft has been decorated with classic cartoon characters as part of a collaboration with the film and entertainment giant Warner Bros. World.
The Boeing 787-10 Dreamliner will feature favorite Looney Tunes characters on one side of the aircraft and popular DC super heroes on the other.
Passengers up to 10 years of age traveling on Etihad Airways’ longer flights will receive new Warner Bros. World Kids Packs, which include activities designed to entertain and educate, such as drawing their favorite super heroes and engaging in fun tasks throughout the flight.
Infants will receive a DC super hero-themed soft blanket, while older children will receive items such as a branded backpack, superhero cape, water bottle and activity kit.
The aircraft’s maiden flight will be to London Heathrow on Saturday. It will then rotate service to destinations such as Dublin, Amsterdam, Vienna, Bangkok and Manila.
Antonoaldo Neves, CEO of Etihad Airways, said in a statement: “Building on the strong reputation we have built as a family-friendly airline, we’re thrilled to take our partnership with Warner Bros. World to the next level.
“Our Looney Tunes and DC Super Hero-themed aircraft will take our brands to destinations worldwide, promoting one of Abu Dhabi’s many attractions. We look forward to welcoming more and more visitors inspired to visit our home, Abu Dhabi, and in particular delighting our little VIP guests while they journey with us.”
Saudi artists shine at Sotheby’s summer exhibition
- Selected works from ‘Khamseen: 50 Years of Saudi Visual Arts,’ which runs at Sotheby’s in London from August 12-30 as part of ‘Hafla,’ a celebration of Middle Eastern culture
Mohammed Al-Saleem
‘Untitled’
Al-Saleem was one of the Kingdom’s most significant artists, who has, as the Sotheby’s show brochure notes, “greatly contributed to the growth and evolution of Saudi art in the Kingdom.”
In the 1980s, Al-Saleem developed a style he called “Al-Afakia” (Horizonism), which was “inspired by the gradating skyline of Riyadh from the desert.” This piece from 1986 is a prime example of that style, which balances modernist and traditional aesthetics, and demonstrates why Al-Saleem was widely regarded as the leading abstract artist of his generation in the Kingdom and the wider Gulf region.
“(This work) banishes form and landscape, reimagining the distant dunes of the desert horizon through contained slabs of color, which emerge as if struggling against one another across the surface of the image,” the brochure states. “Its layering and shading suggest a search for subtle accords and variations similar to that with which a composer achieves musical harmony, creating an astonishing sense of energy and dynamism.”
Abduljabbar Al-Yahya
‘Flask’
Another pioneer of Saudi modern art, Al-Yahya’s first solo exhibition was held in 1971, before his “stylistic tendencies” transitioned into what Sotheby’s calls “his recognizable oeuvre, characterized by its ability to convey the beauty and complexity of his country’s landscape, culture and people. In this piece, created in 2000, the brochure states, “Al Yahya depicts a female figure against a kaleidoscopic form that her figure merges into, further bordered by a golden background. Recalling the spirit and silt of Saudi Arabia’s landscape, Al Yahya’s canvases are habitats of earthy hues and architectural flatness, balanced against a figurative abstraction derived from his time in Europe. Ultimately foregrounding these explorations was Al Yahya’s focus on the notion of belonging, to both nature and humanity.”
Al-Yahya himself once said of his work: “I followed the theme ‘art for life.’ Art is not only a hobby or entertainment. I strongly believe that I have a message I must achieve … (delivering) an idea bringing hope to the human being … I know my humanity through art.”
Abdulhalim Radwi
‘Untitled’
The late artist (who was also a prolific sculptor and poet) studied in Rome in the 1960s, where he began to take an interest in abstraction. But, as Sotheby’s notes, “though he was absorbed by Western artistic discourses, Radwi never strayed far from local heritage and traditions, and instead invoked his own narrative of the Arab world through cubism and expressionism which set himself apart from his contemporaries. This work was created in 1989 and is, the brochure states, “exemplary of Radwi’s later paintings” and an “attempt to reconcile modernity and artistic authenticity.”
It continues: “‘Untitled’ is kaleidoscopic in its composition, with a scene that is imbued with the effervescent bustling energy — the vivacity of popular life — in the old towns of his beloved Saudi Arabia. The vibrancy of the city is depicted through a futurist scene blending traditional Ottoman architecture with contemporary influences. Radwi borrows the swift strokes and striking hues of Cezanne and Van Gogh, and similarly imbues his canvas with an effervescent, almost cosmic, energy. The very essence of his works lies not in their physicality but in the emotions they trigger.”
Abdulrahman Al-Soliman
‘Untitled’
The Al-Ahsa-born artist’s works, Sotheby’s says, “convey a deep appreciation for Saudi Arabia’s culture and heritage.” He was particularly concerned with the “erasure of heritage that exists on a personal and collective plane.” This specific “rare cubist” work, created in 1980, was “produced amid a transitional period in Saudi” and can be “set against a backdrop of social shifts, as Saudi society steered towards a more conservative societal trajectory,” the brochure states. “There is a delicacy depicted through the simplicity of Al-Soliman’s subtle use of lines, colors, shadows that convey a certain peacefulness. Furthermore, the subject bears testimony to the artist’s love of his country, a place he calls home. One can engage in a graceful nostalgia delivered through this early cubist work.”
Mohammed Al-Resayes
‘Architectural Element 5’
After finishing high school in Riyadh in the Seventies, Al-Resayes traveled to Cairo to learn more about art. There, Sotheby’s says, his practice focused on “attempting to integrate the brushstroke techniques of Impressionism with the contracted, reassembled space of Cubism, depicting sceneries reminiscent of his rural background.” In the Nineties, having returned to the Kingdom, Al-Resayes “became involved with the emergent expressionist movement of the Saudi pioneers who preceded him,” and became president of the art department at the King Saud University. The 1982 series “Architectural Elements,” to which this work — depicting three vertical forms that could be interpreted as three figures crouching slightly — belongs, revolved, according to Sotheby’s “around exile, pain and misery.”
Arwa Alneami
‘Spring Camel’
Alneami’s practice, Sotheby’s says, “interrogates themes of acceptance and inclusion within Saudi society” and “reflects her own experiences as a female artist, (having) struggled to integrate in the regional contemporary arts environment.” She can be regarded as something of a trailblazer, having been the first woman to photograph inside the Prophet’s Mosque in Madinah (a project exhibited in the British Museum). This piece from 2012, Alneami told the Royal Arts Magazine, is an “homage to the best friend of the desert. Not to that cliché subject ‘camels for tourism,’ but to that loyal companion of humans … Camels as celebration, colorfully festive, welcoming the Springtime, eternal symbols of the endless journey, travelers and travel, silent, hardworking, melancholic and trustful. Again, an artistic subject based on the souvenirs of the past.”
Saudi-based Dutch photographer Aljohara Jeje showcases work in UK’s ‘The Gallery’ public art series
DUBAI: The Saudi-based Dutch photographer discusses her image that is part of the latest ‘season’ of public artworks from UK-based platform The Gallery, which runs until August 12.
I was born and raised in the Netherlands. When I was a teenager, my father asked me what I wanted to study and I, his only daughter, said “Art.” He almost choked on his food. He told me I should study something decent, so I studied product design. I also started to travel.
On trips, I wanted to take beautiful photographs — not just snapshots and souvenirs. What I like about photography, which is freeing, is the light, the technique, and the end product.
Art is communication. It is not limited to languages or national borders, it’s an international language. My photography always revolves around social issues and I would say that it normally engages deeply with history, culture, traditions and contemporary challenges.
This image comes from a series called “Performance,” which is about silencing women. What I have found common across the world is that, in general, we women are told not to speak our minds and express ourselves.
In the image, the pearl that you see between the woman’s lips is a symbol of a woman’s worth. Pearls are cultivated over time and they become treasures. They are shiny and beautiful. The worst part of silencing women is that you are taking away what makes them women.
With the veil, there is this idea of covering something. It has nothing to do with Islam (in this image) but, of course, it can give an association with Islam. If you look at the woman, her eyes are also covered. If you take away a woman’s ability to think and to talk, then all that is left is a performance. We are giving a performance, because that is not who we are.
It’s a very aesthetic image with very directed, dramatic lighting. I hope that when people see it, they stand still for a moment and start questioning it: Why can’t the woman talk? Why does she have the pearl? I also hope that people will find their own interpretation.
Sofia Boutella unveils poster for ‘The Killer’s Game’
- Boutella plays the role of the protagonist’s love interest
- Cast includes Dave Bautista, Terry Crews, Ben Kingsley
DUBAI: French Algerian actress Sofia Boutella took to social media recently to share the poster for her latest film “The Killer’s Game,” and revealed that it would hit theaters on Sept. 13.
Set against a bold red background, the poster features her alongside the ensemble cast, including Dave Bautista, Terry Crews, Scott Adkins, Marko Zaror, Pom Klementieff and Ben Kingsley.
Bautista stands at the center of the image, surrounded by his co-stars, each holding various weapons including knives, swords and axes. The tagline “Winning is all in the execution” appears at the bottom.
Directed by JJ Perry and based on the novel by Jay R. Bonansinga, the screenplay was written by Rand Ravich and James Coyne.
Diagnosed with a terminal illness, hit man Joe Flood (Bautista) decides to take a hit out on himself. However — and here is where the comedy kicks in — the hospital made a mistake and Flood is not dying at all. And now he has to escape a steady stream of hit men who will not be called off.
Boutella plays the role of the protagonist’s love interest, who gets caught up in the mayhem.
Boutella this week also shared the trailer of the director’s cut of her film “Rebel Moon,” directed by Zack Snyder.
Both “Rebel Moon – Chapter One: Chalice of Blood” and “Rebel Moon – Chapter Two: Curse of Forgiveness” will be released on Netflix on Aug. 2, Boutella wrote on Instagram.
The cuts are the extended and more intense versions of the initial releases. The new drops will include entirely new scenes, alternate takes, and a different sequence of events.
Boutella plays the role of Kora, a mysterious stranger living on a peaceful moon settlement threatened by the armies of the tyrannical Regent Balisarius. Kora, a former soldier of the Imperium, becomes the settlement’s best hope for survival.
She is tasked with finding and assembling a group of warriors — outsiders, insurgents, peasants, and orphans of war — to make a stand against the oppressive forces of the Motherworld.
Her journey delves into themes of redemption and revenge as she leads this diverse group to defend their home.
REVIEW: Book censor falls victim to the malady of imagination in Kuwaiti novel
JEDDAH: Getting lost in a good story is an occupational hazard and a crime in “The Book Censor’s Library,” a dystopian political satire with elements of magic realism. The story follows an unnamed narrator whose life unravels after he reluctantly begins working for an all-powerful government.
With a spellbinding and smooth translation from Arabic by Ranya Abdelrahman and Sawad Hussain, Kuwaiti literary icon Bouthayna Al-Essa’s novel warns against the loss of originality and personal freedoms in its depiction of the transformation of a man into a reader and his inevitable fall down the rabbit hole of books and imagination.
Set in the near future “in a place that would be pointless to name, since it resembles every other place,” the novel follows the book censor in the New World as he combs through manuscripts, looking for any offending word or idea that would render a book unfit to publish.He is a “guardian of surfaces,” and his task is to ensure that books that carry depth and ideas should be identified and removed from the shelves because “one curious person who picked up a volume and read a few lines could poison the entire society.”
In a swift turn of events, the protagonist himself is swept away by classics like “Zorba the Greek,” “Alice in Wonderland,” and “1984,” his dreams and waking hours engulfed in the siren song of good storytelling.
As the world around him slowly regains color, he falls into the throes of an existential crisis, torn between doing his duty as a simple cog in the machine and the secret society of “Cancers” attempting to restore books to their former glory and preserve the collective memory of humanity.
Drawing from the power of timeless stories, El-Essa’s Orwellian tale delves into the terrifying heart of darkness to remind us that “cancer cells are the only ones that thrive in a dying body.”
