Highlights from Atassi Foundation’s online auction ‘Selections: Contemporary Syrian Art’

In his “Suitcase Memory” series, Hamameh addresses the situation of those forced to flee their homes and homeland during Syria’s brutal ongoing civil war. (Supplied)
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Updated 20 May 2021
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Highlights from Atassi Foundation’s online auction ‘Selections: Contemporary Syrian Art’

  • Selected works from the Atassi Foundation’s online auction, which begins May 25

‘A Suitcase Memory’

Ala’ Hamameh

In his “Suitcase Memory” series, Hamameh addresses the situation of those forced to flee their homes and homeland during Syria’s brutal ongoing civil war, leaving with only what they could fit into their luggage. Hamameh himself is one of them, now living in Germany. In the auction catalogue, Hamameh explains that the vivid colors of his paintings are used not in a bright, optimistic way, but to hint at the violence of war. Hamameh has felt since his childhood that intense color can be overwhelming.

‘Drifting Destinies’

Houda Terjuman

Terjuman’s symbolism-heavy surrealist works tackle issues including displacement and identity. “She uses common items and natural elements … and then juxtaposes them against a particular setting,” the catalogue explains. Given Terjuman’s own background, the themes of her work are no surprise. “The history of my practice is overwhelmingly informed by my status as a hybrid migrant,” she explains. “My father is Syrian, my mother is Swiss and I was born in Morocco. I cherished the status of hybridity which, to me, offers a rich mix of backgrounds, voices, and belongings.”

‘Forced Exile’

Orouba Deeb

Deeb started out as a sculptor and only began drawing and collage after leaving Syria, since when she has “depicted aspects of migration using her own experience as well as stories from others,” according to the auction catalogue. “I express myself through my works — my personality, my emotions, and the feelings that I experience. You see feelings of sadness if my psychological state tends towards sadness, and the same is true if I feel happy,” Deeb says. “My work is an expression of me, in my depths.”

‘Apsidal from Tartous’

Ghassan Jadeed

Oddly, perhaps, one of the most optimistic works at the exhibition was created by an artist still living in Syria. Jadeed was born in Tartous in 1946, and continues to find inspiration and joy in his hometown. “When I draw the city of Tartous, I draw inspiration from a world of intertwined elements, where water, humidity and light mingle with architecture and history; where the reflections in the water are still the same as they have always been,” he says.

‘Woman and Cat’

Saoud Abdallah

Abdallah’s large figural minimalist paintings are inspired by Chinese and Japanese design. “He often uses ground rocks and sand in his work — similar to the elements of a Zen garden,” the catalogue states. “I love to keep the invisible secret,” the Lebanon-based Hasakah-born artist says. “Perhaps it will stimulate my desire to meditate. I cannot see everything at once, so I am always in doubt.”

‘Dinner of Angels’

Hammoud Chantout

“Chantout is known for creating mystical paintings on various themes, including age-old legends or myths; nature as the all-giving mother; and the sense of loss and isolation concerning his homeland,” the auction catalogue says. Chantout spent much of his childhood bedridden by illness, and it was then that his creative imagination first came to the fore. “I used to stare at the wall to see pictures of battles, horses, trees and faces. Every day the scene on the wall changed,” he says. “This was my sole amusement when I was young.”


Pakistan heat wave puts brakes on Aussie couple’s world tour on 102-year-old car

Updated 1 min 18 sec ago
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Pakistan heat wave puts brakes on Aussie couple’s world tour on 102-year-old car

  • Couple were driving vintage Bean car from London to Melbourne to emulate 1927 journey by Australian cyclist 
  • In Pakistan’s Sindh, in grips of heat wave, Kidbys had to abandon driving plans and get car towed to Lahore city

LAHORE: An Australian couple on a quest to drive from London to Melbourne in a 102-year-old car were forced to put the brakes on their journey because of an unlikely obstacle: Pakistan’s heat wave. 
Langley Kidby, 77, and Beverley Kidby, 71, are veteran motor adventurists who have driven through over 80 countries and covered tens of thousands of miles on a journey that aims to emulate legendary Australian cyclist, adventurer and filmmaker Francis Birtles who became the first man in 1927 to drive from London to Melbourne.
The Kidbys were so committed to emulating Birtles they even bought the 1922 Bean car from a museum that the late Australian cyclist drove.
The husband-wife duo began their journey on April 1 and crossed Europe, driving from Turkiye to Iran from where they entered Pakistan through its southwestern Balochistan province. The plan was to drive all the way to Pakistan’s eastern city of Lahore and then travel onwards to India through the Wagah border.
But the scorching temperature in Sukkur in the southern Sindh province threw a spanner in the works.
Temperatures have risen this month above 125.6 degrees Fahrenheit (52 degrees Celsius) in Sindh, the highest reading of the summer and close to the country’s record high amid an ongoing heat wave.
“When we crossed into Pakistan, we had a heatwave here and we had 55 degrees,” Langley told Arab News, explaining that the Bean did not have air conditioning. “And the car got very hot … So, it was a very, very grueling few days, all the way to Sukkur, and then on to Lahore.”
Beyond this point, the heat made it difficult to drive through Sibi city in Balochistan and Sukkur in Sindh and the couple decided to have the car towed from Sukkur to Lahore via a truck from where it will continue the journey onwards to India, Malaysia, Singapore and then finally back to Australia.
‘FANTASTIC PEOPLE’
Mohsin Ikram, the president of the30-year-old Vintage and Classic Car Club of Pakistan (VCCCP) that pays homage to “automobiles of a bygone era,” was the chief coordinator for the Australian couple’s car ride across Pakistan.
Speaking to Arab News, Ikram said his organization was affiliated with the Fédération Internationale des Véhicules Anciens (FIVA), the worldwide federative association of historic automobile clubs.
“So FIVA got in touch with me and said this couple wants to do this journey and Pakistan is on their route,” Ikram told Arab News. “But they are a bit concerned about people advising them not to go.”
Ikram assured the couple they would remain safe on their journey through Pakistan and sure enough, the Kidbys leave Pakistan today, Friday, as happy customers.
“Oh, it’s fantastic, these are some of the friendliest people we’ve ever met,” Beverley said. “That to me is the best part of the trip, meeting the people and finding out how welcoming and lovely they are.”
She said the couple traveled with security and were escorted at different locations by the paramilitary Levies forces, army and police until they arrived in Lahore. 
The couple were also all praise for Pakistani mechanics.
“In several countries, we found mechanics who can fix almost anything at all and because we can’t get spare parts for this car, so they make some spare parts for us,” Langley said. “And we found this in Iran, we found this in Pakistan, very, very smart mechanics.”
Sitting next to her husband as they drove off once again in Lahore, Beverley said she would take a positive message about Pakistan wherever she went in the future. 
“I would like to recommend [to other foreigners] to come here and see for themselves what a wonderful country it is and the people, how friendly they are,” she said.
Ikram urged the government to review its policies on tourism.
“If [the government] can make things easier [and safer] for them,” he said, “we can raise motoring tourism by such a large amount, Pakistan can benefit a lot from this.”


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.” 


Where We Are Going Today: Ajinet Mariam  in Riyadh

Updated 30 May 2024
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Where We Are Going Today: Ajinet Mariam  in Riyadh

Ajinet Mariam is a peaceful bistro serving the best of Lebanese cuisine.

It has two branches in Saudi Arabia — in U-Walk Jeddah and Park Avenue Mall in Riyadh.  

The bakery is well-known for its delicious pies made with a special fresh dough. They have beef pesto curry served with pita bread, bakhla salad, as well as sujuk sausage mix. They also offer kofta pie with cheese and batata mahrousa, or potato pie with mozzarella cheese.    

They also serve refreshing juices such as orange and pomegranate. 

Kale salad, mixed-cheese mashrouha, kashkaval cheese mashrouha, and Mariam Moutabal are other favourites.  

They serve delicious hot mezze dishes such as manti, sujuk, and pesto ras asfour. There are plenty of vegan options at the restaurant.    

They also have kashta bel kashta, a cream-based delicacy, and karabig fingers — pistachio shortbread fingers served with a light meringue dip and topped with fine crushed pistachios and scented rose-petal jam. 

All of the branches are large, with both indoor and outdoor areas and a terrific Lebanese music vibe. Prices are reasonable. 

The restaurants are open from 6 p.m. to 1 a.m. 

You can order from the restaurant online through the Chefz app: their Instagram is @ajinetmariam.
 


Sara Al-Madani teases ‘plot twists’ in Season 2 of ‘Real Housewives of Dubai’

Updated 30 May 2024
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Sara Al-Madani teases ‘plot twists’ in Season 2 of ‘Real Housewives of Dubai’

DUBAI: Emirati entrepreneur Sara Al-Madani is ready for an explosive second season of “Real Housewives of Dubai,” premiering in the region on OSN+ on June 3.

“If people thought Season 1 was crazy, I mean, Season 2 is insane. It’s fun. It’s beautiful. It’s deep. There’s a lot of plot twists. Expect the unexpected,” said Al-Madani in a recent interview with Arab News.

“After doing Season 1, you kind of embody that experience more and get more comfortable with it. Because imagine you’re sitting in a location with 40 people (and) cameras in every corner. It is not something that you can easily ignore. In Season 2, we understood how to do things better. We are more comfortable, you see the personalities louder and you get to know people better because we just embodied the whole experience,” she continued.

Season 1 will see Al-Madani reunite with her Season 1 co-stars Chanel Ayan, Caroline Brooks, Lesa Milan and Caroline Stanbury, with new housewife Taleen Marie joining the group.

About Marie, Al-Madani said: “I love that the circle is getting bigger. But at the same time, I feel like I didn’t get to know her very well yet because she is Brooks’ close friend. So, I feel like we didn’t have enough time to get to know each other on a personal level.

“I mean, it was interesting, but also because it is a new person. And that person wants to prove their position in the group. So sometimes they overdo things. And the truth is, as a woman, I see you, I honor you, I feel you. You don’t need to go far with anything. So, she’s a very nice girl,” she added.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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When asked about her biggest learnings from Season 1, Al-Madani said: “You just have to have strict boundaries. Don’t allow people to cross your red lines and disrespect you in any way.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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She also had a message for her fans looking forward to Season 2.

“I just want to tell all my family that supports me out there that you don’t have to worry. I’m still maintaining my character and my authenticity. Sometimes it gets hard because some of the girls really push you out of character with situations you’re in and all that. But I’ve done the inner work. So, it is not easy to get me in a space beyond who I am. I’m very authentic,” Al-Madani said.

“But at the same time, I want to tell everybody that as nice and sweet as I am, I also don’t let people mess with me and you’re going to see that this season to a lot. People have this wrong idea about nice people. They’re like, ‘Oh, she’s spiritual. She’s all about healing, love and light. She’s never going to react. We’re going to push her buttons and she’s going to be fine with it.’ No, we’re not. We create no issues, but we take we take none either. We don’t let people mess with us, too. We have a dark side, but we know when to unleash it.”