Museum of Islamic Art exhibition to showcase new works by artists from Qatar and Morocco

Museum of Islamic Art exhibition to showcase new works by artists from Qatar and Morocco
‘Crafting Design Futures’ will feature new works by designers from Qatar and Morocco. (Courtesy of Design Doha 2024)
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Updated 25 August 2024
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Museum of Islamic Art exhibition to showcase new works by artists from Qatar and Morocco

Museum of Islamic Art exhibition to showcase new works by artists from Qatar and Morocco

DUBAI: An exhibition presenting the artistic visions of designers from Qatar and Morocco will open at the Museum of Islamic Art in Doha, Qatar.

“Crafting Design Futures” will open on Nov. 30 as part of the Qatar-Morocco 2024 Year of Culture.

On show will be specially created works by nine designers from Qatar and Morocco,  with characteristics intrinsic to each maker’s homeland and culture.  




Moroccan artist Hmaza Kadiri in his studio. (Courtesy of Design Doha 2024) 

Curated by Gwen Farrelly, the exhibition, which runs until Jan. 7, 2025, will feature new works by designers from Qatar and Morocco created during Design Doha Residency Program 2024 Qatar | Morocco: Crafting Design Futures.

The residency program, staged under the auspices of Design Doha, a biennial event launched in 2024 to creative innovation from the Middle East and North Africa region, aims to foster long-term exchanges of knowledge, craft and design practices. 

“A key objective of the biennial is to establish networks of exchange and collaboration among regional designers, which is where the Design Doha Residency Qatar | Morocco: Crafting Design Futures plays a crucial role,” Farrelly said. “This program explores the connections between contemporary craft practices and innovative design through an exchange between Moroccan and Qatari makers.” 




Majdulin Nassrallah in front of artwork by Sara Ouhaddou. (Courtesy of Design Doha 2024)

Designers based in Qatar include Nada Elkharashi, Reema Abu Hassan, Majdulin Nassrallah and Abdulrahman Al-Muftah, all of whom interpreted traditional Moroccan craft-making skills acquired during the exchange program to design multifunctional installations, products and artistic displays, while also highlighting important cultural narratives.  

Simultaneously, in Morocco,  Amine Asselman, Bouchra Boudoua, Amine El-Gotaibi, Hamza Kadiri  and Sara Ouhaddou focused on earthworks, textiles, wood craftsmanship, ceramic and glass installations and pottery. 

Through the residency artists offered a first-hand experience for participants to learn from expert artisans and craftspeople in each country.

The Moroccan artists participated in a two-week research residency in Qatar at the Liwan Design Studios & Labs and Torba Farm, immersing themselves in the local culture and traditions.

Participants from Qatar, in turn, traveled to Morocco, visiting studios and artisan schools in Rabat, Casablanca, Marrakech and Fes to gain insights and inspiration from the rich Moroccan craft traditions. 
 
The designers from both countries, Al-Obaidly said, “immersed themselves in each other’s craft traditions — ranging from ceramics to textiles — and developed new works that reflect and support the heritage and contemporary practices of their cultures.”  

Abdulrahman Al-Muftah’s work, for example, incorporated wood — a material that is not commonly associated with Qatar.  

“It was so valuable to our ancestors and why I chose to work with this material for the Crafting Design Futures exhibition,” he told Arab News. “Wooden beams were traditionally used to construct roofs, often dictating room dimensions. These beams were never cut to size, becoming a distinct design element in heritage buildings, visible in the protruding ends that symbolize traditional construction practices.” 




Amine El-Gotaibi Studio. (Courtesy of Design Doha 2024)

The piece Al-Muftah created for the exhibition is his own interpretation of woodworking. He was particularly inspired by Moroccan artist Hamza Kadiri’s woodwork, highlighting his artistry native to his North African homeland, which also reflected the important element of cultural exchange through the residency and exhibition. 
 
“In Kadiri’s hands, hardwoods become as malleable as clay, with household furniture items emerging as if they were poured into shape,” he said. “My piece for the Crafting Design Futures exhibition is my interpretation of woodworking, drawing on Kadiri’s innovative techniques to create something uniquely my own.” 

The goal is the exhibition goes beyond the beauty and innovation of the works on show to reflect the mission of Qatar’s Years of Culture to transcend borders and culture through creativity. 

“Crafting Design Futures demonstrates the transformative impact of finding inspiration through shared experiences that draw on the wisdom of our ancestors, our lifestyles, and our deep-rooted connections with our societies, landscapes and environment — all of which collectively shape our unique perspectives, creative endeavors and shared narratives,” Al-Obaidly said. “Designing opportunities for creatives to engage in programs that have the capacity for such deep experiences is crucial to nurturing talents within the MENA region.” 


Iconic works on show ahead of Sotheby’s auction in Riyadh

Iconic works on show ahead of Sotheby’s auction in Riyadh
‘Then What??’ by Louay Kayyali. (Sotheby's)
Updated 02 February 2025
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Iconic works on show ahead of Sotheby’s auction in Riyadh

Iconic works on show ahead of Sotheby’s auction in Riyadh

RIYADH: On Feb. 8, Sotheby’s will host “Origins,” which it is billing as “the first international auction in Saudi Arabia’s history.” Key pieces from the auction are on display in the accompanying exhibition at Diriyah’s Bujairi Terrace that is free and open to the public.

Ashkan Baghestani — senior vice president and head of contemporary day sale, contemporary art, New York & Middle East — told Arab News of the importance of offering a diverse array of lots, from sculptures to paintings. 

"In terms of fine art, I think it was important for us to show the wide breath of the fields we represent at Sotheby’s,” he said, adding “in the last three years, every time I have been coming I have been seeing more international artists and curators, events, integrated with Arab culture.”

René Magritte is famed for his intriguing images combining everyday objects in whimsical and thought-provoking contexts. “L’État de veille” belongs to a series of dreamlike gouaches featuring several emblematic motifs. (Sotheby's)

While curating the auction and exhibit, Baghestani sought to bring the "greatest Arab and Saudi artists to an international audience … don’t forget, we don’t only cater toward the local audience and Saudi audience … a lot of our clients are looking at the sale."

Baghestani also broke down the different types of auctions to be held: Online, day and evening sales. 

"The evening sale auction is probably the highest caliber in terms of quality, featuring the most expensive, museum-quality, and rarest works. However, in terms of volume, it is usually the smallest."

“O' God, Honour Them and Do Not Honor an Enemy Over Them” by Saudi artist Mohammed Al-Saleem. (Sotheby's)

One of the pieces set to be auctioned is by Saudi artist Mohammed Al-Saleem (1939-1997), a key contributor to the evolution of the Kingdom’s art scene.

His painting, titled “O' God, Honour Them and Do Not Honor an Enemy Over Them” is inspired by the gradating skyline of Riyadh from the desert, with both the skyline and calligraphy blended into mosaic-like designs.

The auction will also include works from icons such as Rene Magritte and Andy Warhol, and regional art pioneers including Etel Adnan.

 


Dubai Fashion Week’s opening night hosts diverse designs

Dubai Fashion Week’s opening night hosts diverse designs
Updated 02 February 2025
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Dubai Fashion Week’s opening night hosts diverse designs

Dubai Fashion Week’s opening night hosts diverse designs

DUBAI: Set to run until Feb. 6, the opening night of Dubai Fashion Week saw designers show off their Autumn/Winter 2025-26 collections in the city on Saturday.  

The opening night’s line-up included an ode to Paris by Manel, founded by Dubai-based designer Manel Aboudaoud; a tribute to batik craftsmanship by Indonesian brand Toton; and a nod to Moscow and the Silk Road by Dubai-based Filipino designer Angelo Estera.  

From flowing gowns to structured silhouettes, Iraqi designer Zaki presented a collection marked by subdued, elegant hues. Zaki — who has dressed celebrities including Kris Jenner, Ciara and Tyra Banks — created a number of ombre gowns for her latest line, which also included metallic evening wear amid nude-colored looks. Rouching was seen in many of the figure-hugging gowns, with a creamy beige menswear look turning heads on the runway.

Iraqi designer Zeena Zaki presented a collection marked by subdued, elegant hues. (Supplied)

Meanwhile, Toton Januar collaborated with batik artisans from Tuban and Cirebon, Indonesia, for a collection that combined traditional artistry with upcycled fabrics and innovative use of materials such as paper clay.

Toton Januar collaborated with batik artisans from Tuban and Cirebon, Indonesia. (Supplied)

Aboudaoud made a winning debut at Dubai Fashion Week with the “Paris Day to Night” collection, a tribute to her Parisian upbringing and Arab roots. The collection combined elegant tailoring, luxurious fabrics, and versatile designs that can transition from day to night. The colour palette drew inspiration from Parisian winters, blending earthy tones with opulent hues. Textured velvet, jacquard, Chantilly lace, and satin were employed across the collection to create a refined, yet wearable line.  

Manel Aboudaoud made a winning debut at Dubai Fashion Week with the “Paris Day to Night” collection. (Supplied)

For his part, Estera fused traditional Russian elements with Eastern influences in a show inspired by the ancient trade routes connecting the East and West.  The Autumn/Winter 2025-26 collection featured a rich colour palette of red, black, and gold, representing luck, mystery, and cultural prosperity, according to the show notes.   

Angelo Estera fused traditional Russian elements with Eastern influences. (Supplied)

 


1-54 Contemporary African Art Fair returns to Marrakech for sixth edition

1-54 Contemporary African Art Fair returns to Marrakech for sixth edition
Updated 01 February 2025
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1-54 Contemporary African Art Fair returns to Marrakech for sixth edition

1-54 Contemporary African Art Fair returns to Marrakech for sixth edition
  • 30 exhibitors include galleries from Africa, Europe, India and for the first time, the Gulf

MARRAKECH: The sixth edition of the 1-54 Contemporary African Art Fair has returned to the opulent La Mamounia Hotel bringing together collectors and art aficionados from across Africa, the Middle East and Europe.

The smallest of the 1-54 fairs — which are also held in London and New York — the Marrakech edition, which opened on Jan. 30, presents a more intimate, upscale experience.

There is a great focus on establishing connections between the Marrakech art scene and greater Africa and its diaspora, the Middle East and Europe.

1-54 Marrakech 2025. (Courtesy Mohamed Lakhda)

Running until Feb. 2, the event is being held at both the La Mamounia Hotel and multidisciplinary art space DaDa, located within the famous bustling Jemaa El-Fnaa square and marketplace in the city’s Medina quarter.

The latter highlights predominantly art concepts from across Morocco whereas within the lavish halls of La Mamounia, both international and Moroccan galleries present works by local African and international artists.

“In this edition, there is a very good balance between African, international and local Moroccan galleries,” fair director and founder Touria El Glaoui, the daughter of the late celebrated Moroccan modernist painter Hassan El Glaoui, told Arab News.

1-54 Marrakech 2025. (Courtesy Mohamed Lakhda)

“This year presents 14 galleries from Africa … in addition to a gallery from Kuwait City, Tokyo, two galleries from Milan, and the Kalhath Foundation from Mumbai, India, presenting Moroccan artist Amina Benbouchta.”

Newcomers this year include Milan-based C+N Gallery CANEPANERI; space Un from Tokyo, Japan; and GALERIE FARAH FAKHRI from Abidjan, Cote d’Ivoire.

Also represented for the first time will be Galerie Medina from Bamako, Mali; Hunna Art from Kuwait City, Kuwait; Le Violon Bleu Gallery from Sidi Bou Said in Tunis, Tunisia; and Rabat-based Abla Ababou Galerie.

1-54 Marrakech 2025. (Courtesy Mohamed Lakhda)

On view at Le Violon Bleu from Tunisia are also paintings by Hassan El Glaoui. The display marks the first time the artist’s works are exhibited at the fair. 

The Gulf is represented this year through the debuting Hunna Art from Kuwait City.

In addition, a talk, titled “AlUla a New Laboratory for Contemporary Art,” will be delivered by French curator Arnaud Morand who has staged exhibitions and residencies for several years in the ancient Saudi Arabia desert region.

1-54 Marrakech 2025. (Courtesy Mohamed Lakhda)

Also from the Gulf will be a special performance titled “Le Miroir (Acte I)” by renowned artist Miles Greenberg, to be staged at the historic El-Badi Palace, commissioned by ICD Brookfield Place Arts Program in Dubai.

Since its launch in Morocco in 2018, 1-54 has grown into a global event bringing collectors, major art institutions and artists from across the world to Morocco.

The fair, as El Glaoui noted, is also building on Marrakech’s rich cultural and art scene which has been expanding over the years. Of note this year is the reopening of the Museum of African Contemporary Art Al-Maaden alongside numerous exhibitions and museum shows and performances.

“Marrakech has a strategic geographic location serving as a meeting point for audiences from the Middle East, Africa and the rest of the world,” said El Glaoui.

“Morocco has a vibrant art scene that has significantly grown over the years. I think between its auction houses, museums, private foundations and the various galleries we have in each city, it has become an important international contender for modern and contemporary art.”


Nadhim Zahawi reflects on his journey from Baghdad to Britain at Dubai literature festival

Nadhim Zahawi reflects on his journey from Baghdad to Britain at Dubai literature festival
Updated 31 January 2025
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Nadhim Zahawi reflects on his journey from Baghdad to Britain at Dubai literature festival

Nadhim Zahawi reflects on his journey from Baghdad to Britain at Dubai literature festival
  • Zahawi, who is a chemical engineer by background, recounted to the audience how he fled Iraq for the UK at the age of 11
  • Zahawi’s father fled to the UK first, and a few months later, Zahawi, his mother and sister joined him there, seeking refuge

DUBAI: Iraqi-born British former politician Nadhim Zahawi took the stage on Friday for a conversation moderated by Faisal J. Abbas, editor-in-chief of Arab News, during the 17th Emirates Airline Festival of Literature at the InterContinental Dubai Festival City.
The talk, “Nadhim Zahawi: The Boy From Baghdad,” shared its name with his book, in which Zahawi reflected on his journey from Baghdad to Britain, his career in business and politics, and the challenges of identity and belonging.
Zahawi, who is a chemical engineer by background, recounted to the audience how he fled Iraq for the UK at the age of 11, after his family was forced to escape their home under threat from Saddam Hussein’s regime.
He said: “At that age, you remember quite vividly, especially traumatic events … I really remember, one Sunday lunch at my aunt’s home, whose husband broke the news to my father that they’re going to come and get him tomorrow morning. Literally all he had was hours to get out of the country.”
“He packed a small bag, he wrote on the wall in our home: ‘My name is Hareth Al-Zahawi’ and a verse from the Qur’an, and that one day he will come back and see his home,” he recalled.
“We went to the airport with him; myself, my older sister and my mother. I remember vividly, the Baghdad International Airport … had a viewing platform, where in the late ’70s you would see the aircraft. There weren’t these sophisticated arms that come out. You had to walk to the plane and they put the steps up. We watched him go up the steps and we had to sort of pretend to say goodbye as if he was going on holiday because you don’t know who is watching you at the airport.”


Just before the flight took off, Zahawi recalled, an army truck sped up to the plane, and he and his family feared that his father would be taken off the flight and arrested. However, the soldiers escorted someone else instead. Zahawi later learned from his father that the person removed was seated directly in front of him.
Zahawi’s father fled to the UK first, and a few months later, Zahawi, his mother and sister joined him there, seeking refuge. He shared how these formative experiences shaped his perspective and ambitions.
He then spoke about how refugees are not necessarily a burden on society and why he refuses to call himself a political refugee.
“I sometimes feel uncomfortable when I am introduced as a refugee to the United Kingdom. What I try to say is that we are actually first-generation immigrants to the UK,” he said.
He added that this label makes him feel like an “imposter” because most people’s vision or stereotype of a refugee is someone who may have come from a less privileged background than he did.
Transitioning to his professional journey, Zahawi discussed his ventures in international business. He also provided insights into his political career, shedding light on the policies and individuals that have significantly impacted the UK’s landscape.
Zahawi said that he got into politics by accident, as he had almost no political interest growing up. “I wanted to become a show jumper,” he said, recalling how he once tried to convince his father to invest in a riding school. His father dismissed the idea, telling him, “Well, you go into university, make your own money, and then you can go to a riding school.”
It was not until his first week at University College London that an unexpected encounter shifted his perspective. At the Freshers’ Fair, he was confronted by a Socialist Workers Party member handing out magazines. “I promise you that all I did was politely say, ‘No, thank you’ — not because I didn’t respect socialism, but because I wasn’t interested in politics … He was so aggressive, saying, ‘People of your color, you should be ashamed of yourself.’”
Instead of reacting with anger, Zahawi decided to explore his viewpoint.
“I remember in 1979 or 1980, my mother saying to me: ‘Son, a grocer’s daughter has just become prime minister. You can do anything in this country.’ And she was right,” he added.
Throughout the talk, themes of identity and belonging were prominent, as Zahawi reflected on navigating life between two cultures and the evolution of his adoptive homeland, Britain.
He praised the UK’s political system for offering opportunities regardless of background, contrasting it with the US.
“I can’t name any other country that has got to this level of achievement. In America, politicians will choose particular districts where they have a large ethnic group that may be beneficial to their background,” he said.
Zahawi highlighted his own experience as an example, recalling how he was selected as a Conservative candidate despite coming from an immigrant background. “I was selected in Stratford-on-Avon in a room full of Conservative members, pretty much white. The seat is 97 percent white, affluent middle-class, farming community. This is the birth and resting place of William Shakespeare, yet they selected Nadhim Zahawi, a boy from Baghdad, as their champion, their candidate.”
He emphasized how his political success reflected the country’s openness to diversity. “They voted him in the 2010 election, and then voted him back four times after that with increased majorities. That is a country that, in my view, is truly colorblind,” Zahawi said.
He also discussed identity: “I think in many ways I am a proud Brit of Kurdish background. I am very proud of my Kurdish roots. But, ultimately, the country that has defined my life, that has given me my opportunity in life, is the United Kingdom,” he said.


Saudi-helmed Ashi Studio unveils sculptural silhouettes, intricate embroidery at Paris Haute Couture Week

Saudi-helmed Ashi Studio unveils sculptural silhouettes, intricate embroidery at Paris Haute Couture Week
Updated 31 January 2025
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Saudi-helmed Ashi Studio unveils sculptural silhouettes, intricate embroidery at Paris Haute Couture Week

Saudi-helmed Ashi Studio unveils sculptural silhouettes, intricate embroidery at Paris Haute Couture Week
  • Couturier’s designs been worn by Queen Rania of Jordan, Beyonce
  • First designer from region to join Federation de la Haute Couture

DUBAI: Paris-based label Ashi Studio, founded by Saudi Arabia designer Mohammed Ashi, presented its Spring/Summer 2025 couture collection on Thursday during Paris Haute Couture Week, featuring sculptural silhouettes, intricate embroidery, and detailed craftsmanship.

The collection has a range of designs that incorporate voluminous structures, textural contrasts and embellishments.

Look 14. (Instagram)

Several looks emphasize architectural shapes, including a voluminous ivory skirt paired with an embroidered cropped jacket in shades of blue, adorned with floral beading and gold detailing.

Other designs include structured corseted gowns with sheer lace panels and sculpted sleeves.

Look 13. (Instagram)

The collection also features darker tones, with black and gold embroidery on form-fitting dresses. Strapless gowns include intricate hand embroidery with landscape motifs.

Metallic fringe elements and shimmering embellishments contribute to the textural variation within the lineup.

Look 9. (Instagram)

Alongside heavily adorned pieces, the collection includes streamlined silhouettes, such as a deep burgundy velvet strapless gown and a turquoise column dress with matching gloves.

Ashi became the first couturier from the region to join the Federation de la Haute Couture in Paris as a guest member in 2023.

The couturier’s designs have been worn by celebrities including Beyonce, Lady Gaga, Jennifer Hudson, Kylie Minogue, Penelope Cruz, Deepika Padukone, Sonam Kapoor, and Queen Rania of Jordan.