Saudi Arabia to debut at Triennale Milano’s International Exhibition with Al-Ahsa pavilion
Updated 19 sec ago
Arab News
DAMMAM: Saudi Arabia’s Ministry of Culture has announced the Kingdom’s inaugural participation at the 24th International Exhibition at the Triennale Milano design museum in Italy later this year, with a pavilion dedicated to the agricultural oasis of Al-Ahsa.
Curated by Lulu Almana and Sara Al-Omran, with Alejandro Stein as creative director, the exhibition is hosted by the Architecture and Design Commission and will be titled “Maghras: A Farm for Experimentation.” It will run from May 13 - Nov. 9.
It will explore the intersection of farming traditions, ecological shifts and cultural memory within a rapidly transforming landscape. The exhibition draws from research, artistic interventions and community-driven programs cultivated at Maghras, a farm and interdisciplinary space in Al-Ahsa.
Al-Ahsa, located in the Eastern Province, has been historically defined by its abundant water sources. It has undergone significant environmental and social transformations, mirroring broader changes in agrarian communities worldwide. The area has been farmed since the third millennium BCE.
The pavilion takes the form of a transplanted maghras — a traditional unit of land defined by four palm trees. Through videos, sound installations and participatory programs, the exhibition invites audiences to engage with Al-Ahsa’s evolving agricultural ecosystems.
In the lead-up to the exhibition, artists, architects, and researchers collaborated with Al-Ahsa’s farming communities, gathering firsthand insights into the region’s shifting landscape. This knowledge exchange was further explored through performances, film screenings and local workshops examining the deep connections between culture and agriculture.
Muhannad Shono: ‘This work is fragile. It is not here forever’
The Saudi artist is the sole representative from the Middle East at this year’s Desert X in California
Updated 27 sec ago
Jasmine Bager
RIYADH: Saudi contemporary artist Muhannad Shono is the sole representative of the Middle East at this year’s Desert X — the site-specific international art exhibition in California’s Coachella Valley — which runs until May 11.
Shono’s piece, entitled “What Remains,” consists of 60 long strips of locally-sourced synthetic fabric infused with native sand.
“The fabric strips, orientated to align with the prevailing winds, follow the contours of the ground, fibrillating just above its surface,” a description of the work on the Desert X website reads. “As the wind direction shifts, the natural process of aeolian transportation that forms dunes is interrupted, causing the fabric to tangle and form chaotic bundles. In this way, the ground itself becomes mutable — a restlessly changing relic or memory.”
DX25 Muhannad Shono 13 - Lance Gerber. (Supplied)
This isn’t the first time Shono has created a large-scale installation in the desert. At Desert X AlUla in 2020, he presented “The Lost Path,” composed of 65,000 black plastic tubes snaking through the Saudi desert — a work exploring themes of transformation, memory and impermanence. And while “What Remains” is an entirely separate piece of art, it also delves into those topics, as has much of Shono’s work over the past decade.
“I’m first-generation Saudi,” Shono tells Arab News. “A year after I was born, I was given the nationality. For half of my life, I didn’t feel Saudi. I’d say Saudi was an authentic space that had specific motifs and cultural narratives that we were very disconnected from as a family. Why? Because we’re immigrants; my father is not Saudi, and my mom is not Saudi.
“But now I think the narrative of what is ‘Saudi’ is changing,” he continues. “And it feels like it’s part of this correction.”
DX25 Muhannad Shono 13 - Lance Gerber. (Supplied)
A feeling of not belonging was apparent in Shono’s early artistic endeavors. He loved comic books and wanted to create his own because he couldn’t find a true representation of himself in them.
“Saudis expect you to produce a figure they can relate to — with Saudi features or skin color — but I didn’t think they could relate to me,” he says. “I was more referencing myself, and what I thought ‘home’ looked like, or the ‘hero’ looked like, so there was a disconnect there.”
That disconnect continues to manifest in his work. “You can see it in Desert X and in a lot of my other projects tapping into materiality. I realized I couldn’t really fully connect with the materiality of the narrative of being Saudi.
“An interesting psychological thing that I haven’t really come to grips with is that I’m more comfortable doing work in Saudi because I’m responding to this natural source material,” he continues. “I’m disrupting — I’m offering divergence, narratives that can spill out from that experience of the work. I’m invested in the narrative of what’s happening (in Saudi). I think it’s the closest I’ve felt to being ‘at home.’ Something that I was missing in the beginning was being connected to the narrative of the place, because if you engage with that narrative, you can call it home.
DX25 Muhannad Shono 14 - Lance Gerber. (Supplied)
“When I go to California, I miss the landscape (of Saudi) that I’m contrasting. In California, it’s not juxtaposed against the experience of growing up. I’m still figuring out how to take these feelings and be able to show work overseas, because my backdrop is missing — the backdrop of Saudi.”
His early interest in comic books, he says, was partly down to “being able to create the world, the space, the setting for the story.” That was also a reason he decided to study architecture at university.
“I felt like it was creative problem solving,” he says. “A lot of my projects that I did in college were in ‘world making.’ My graduation project ended up being the creation of a whole city, and how it would grow on a random landscape. I got kind of caught up in the urban planning of it — the streets, and the rivers flowing through it. I never really got to the architectural part of designing a building.”
But that willingness to explore ideas in ways others might not has made Shono one of the Kingdom’s most compelling contemporary artists. “I’ve created my own kind of material palette, or language, or library, that I use,” he says.
In his current work, “The land is holding the narrative on this adventure within the seemingly barren landscape,” he explains. “These land fabrics become this idea of being able to roll up, carry and unroll ideas of belonging: What is home? How do we carry home?”
DX25 Muhannad Shono 13 - Lance Gerber. (Supplied)
Shono and the team who helped him install “What Remains” had to “constantly adapt expectations” based on understanding the land and the environmental conditions, he says. It took them around a month, working seven or eight hours a day, to put it in place — flattening, aligning, and flipping fabric under Shono’s direction. His vision was clear, but he also allowed instinct to guide him.
“This work is fragile,” he says. “It’s an expression that is not here forever… that will change. And my ideas will change, the way I think about stories and concepts through my work. It’s important to change.”
With “What Remains,” he is offering that same opportunity to viewers. He wonders: “What portals will you pass through, through this unrolling of the earth in front of you?”
And change is a vital part of the work itself. “They’re always different,” Shono says of the fabric strips. “At some points, they’re opaque and earth-like — almost like a rock. But when the wind picks up, they become lightweight — like sails — and they animate and come to life. And when the light hits as they move through the sky, they reveal their translucency and there’s this projection of the trees and bushes and nature that they’re almost wrapped around or sailing past.”
Although the “What Remains” seen by Desert X visitors on any particular day will not be the same “What Remains” seen by visitors on any other day, or even any other hour, one part of it, at least, is constant.
“The work is a self-portrait,” Shono says. “Always.”
REVIEW: ‘The Electric State’ — visually dazzling, disastrously dull
Updated 23 min 15 sec ago
Adam Grundey
DUBAI: There’s irony that “The Electric State” — a film that champions people making genuine connections and facing reality rather than getting lost in virtual worlds — was created for the world’s largest streaming platform.
There’s irony, too — though less deliberate — that this $320-million(!) content package is the perfect example of a movie made for our short-attention-span, two-screens-at-a-time world: It looks great. It’s got a star-studded cast. It’s helmed by the Russo Brothers. It’s got retro vibes. It’s got a ton of sci-fi tropes. And it’s instantly forgettable.
It's set in an alternative 1990s in which robots — having become self-aware enough to demand rights —have been defeated in a costly and bloody war and are now banished to the Exclusion Zone. Their defeat was down to Neurocaster Technology, developed by tech mogul Ethan Skate (Stanley Tucci), which allowed humans to upload their minds into drone robots and so go to war without the considerable drawback of being flesh and bone.
That same technology means many humans now spend most of their time hooked up to drone helmets living idyllic virtual lives; humans such as the abusive adoptive father of teen orphan Michelle Green (Millie Bobby Brown), whose parents and much-loved younger brother Chris were killed in a car crash a few years earlier. Except…
Turns out Chris (a bona fide genius, we’re told) wasn’t dead, but in a coma. And his exceptional mind was vital to the creation of Neurocaster. But 13 months later, Chris woke up. And that didn’t fit Skate’s plans, so he just kept him prisoner. But Chris was able to sneak his mind into a robot that finds Michelle and lets her know Chris is alive. She sets out to find him in the dangerous Exclusion Zone, reluctantly aided by a smuggler (Chris Pratt) and his robot friend Herman.
It's a decent set-up for a family-friendly sci-fi romp. But good grief “The Electric State” is —except visually (but, y’know, $320 million…) — dull. Brown does her best with the clunky dialogue, and comes through mostly unscathed. Pratt’s performance is like an AI-rendered Chris Pratt performance (“Do the wisecracking-tough-guy thing. Do the tough-guy-with-a-heart-thing. Do the wisecracking-tough-guy thing again…”). Tucci goes pantomime villain. The robots are kind of cute. But there’s no substance underneath this multi-million-dollar gloss. Then again, if your target audience is People Who Will Be Watching Something Else Too, who needs substance?
Recipes for Success: Chef Mustafa Diab offers advice and a tasty lamb mansaf recipe
Updated 25 min 51 sec ago
Shyama Krishna Kumar
DUBAI: Jordan-born Mustafa Diab is the executive chef at AlUla’s Cloud7 Hotel & Residences.
Diab dedicated a significant portion of his 20-year career to the Four Seasons Hotel, an experience that exposed him to a wide range of cuisines. He has also successfully launched numerous restaurant branches.
Here, he talks to Arab News about his love for good beef and his preferred management style.
When you started out, what was your most common mistake?
I like to challenge myself. So, when I started my career, I would take everything on my shoulders, on my own. Not because I didn’t want anyone to share with me, but because I wanted to prove to myself that I could take it. Later on, though, I realized that collaboration and delegation are the keys to success.
Charchood restuarant. (Supplied)
What’s your top tip for amateurs?
Master the basics. And be patient with the process. Don’t rush. You have to understand the ingredients — whether they match or not. That is the most important thing. Then after that, you have to fix the flavors and pay great attention to the seasoning. Taste as you go. Also, stay curious. Experiment and don’t be afraid of mistakes.
What one ingredient can instantly improve any dish?
Salt. We have so many kinds of salt, but you need to know exactly when to use which kind of salts. If I want to do homemade pickling, I use sea salt — rough sea salt, not fine sea salt. To finish off a platter of protein — fish, meat, lamb, or chicken — I prefer flaky salt. Recently, I sourced Himalayan sea-salt bricks, and I can even present my beef dishes on top of it — when it’s hot, it takes flavor from the stone itself. Wow! And I got some smaller bricks that I can grate on my meat dishes.
When you go out to eat, do you find yourself critiquing the food?
It’s hard not to notice the details when you work in the same industry, but I try my best to approach it with an open mind. As long as there is consistency, quality and good presentation, then it’s fine.
What’s your favorite cuisine?
I’m a very simple person. I just grab very simple stuff — comfortable, tasty, nicely presented with a good quality. That’s enough for me. For example, a well-seasoned piece of chicken, or a well-seasoned piece of fish with green vegetables, and I’ll be happy.
What’s your go-to dish if you have to cook something quickly at home?
I just grab a piece of pita bread. I slice an avocado — I love avocado — with some chopped onion, chopped coriander, chopped tomato, a drizzle of olive oil, with a squeeze of lemon juice, and that will be amazing for me.
What customer behavior most annoys you?
Nothing will annoy me. But let’s call it a challenge when they dismiss or don’t appreciate the effort that went into a dish. Because, you know, every dish we cook, we cook with love — it has potential, it has thought behind it, it has so many ideas in there. So, if the dish was well presented and there was nothing wrong with it, and the guest’s feedback is that it’s not good, that’s a challenge for me. If there’s something wrong with a dish, we all accept that. But when there is nothing wrong, that’s a challenge for me.
What’s your favorite dish to cook and why?
All cuts of beef. Especially the toughest cuts. If you don’t eat beef, don’t be a chef. If you like your beef when it’s done more than medium-well, think about it, please. To feel it and to appreciate the way the farmers bred this beef, you should eat it medium-well, not well-done. When you eat it well done, there’s no difference between Black Angus and Wagyu.
As a head chef, what are you like?
I try to treat people the way I want to be treated, so I treat my staff with respect. That’s a common language wherever you go in the world. When you respect your staff, they will, for sure, pay that respect back. Sometimes I’m firm when it comes to the quality and consistency, because when you cook, you should pay full attention to what you are doing. But I’m calm in the kitchen. I’m not shouting and screaming.
RECIPE
Chef Mustafa’s lamb mansaf
INGREDIENTS:
350g lamb on the bone; 1000g water; 10g black lime; 2g cardamom; 2g bay leaves; 1g black peppercorn; 30g salt; 150g short grain rice; 10g halved almonds; 10g pine nuts; 5g parsley (chopped); 30g ghee; 20g samen balady (local ghee); 1g turmeric
For the yoghurt sauce (mansaf laban): 600g laban; 200g labneh; 200g dry yoghurt (jameed)
INSTRUCTIONS:
1. Wash the lamb under running water with salt for 10 minutes. Ensure all the blood is out of the lamb.
2. Boil with the bay leaves, cardamom, black lime and black peppercorn until 80 percent cooked.
3. Take the lamb meat out of the stock and put aside. Put the yoghurt sauce ingredients in a pan and mix on a simmering heat until boiling. Add the lamb to the yoghurt sauce and continue to cook on low heat.
4. Wash the rice and allow to soak for 20 minutes.
5. Strain the rice. Place the ghee in a pot on a low heat. Add the rice, salt and turmeric. Add boiling water, and allow to cook on low heat for 10 minutes.
Saudi artist Rana Alsaggaf: ‘I hope my work inspires people to explore these places’
The Saudi artist’s sketches of landmarks from her homeland are on display at the Islamic Arts Biennale
Updated 20 March 2025
Nada Hameed
JEDDAH: Rana Alsaggaf has carved her own space in the Saudi art scene with her intricate sketches of landmarks from across the Kingdom. With a background in interior design and master’s degrees in entrepreneurship and innovation as well as international art and culture management, her practice is deeply rooted in both technical knowledge and a passion for heritage.
Rana Alsaggaf. (Supplied)
Recently, she had the honor of showcasing her work at the second Islamic Art Biennale in Jeddah, an experience she describes as both meaningful and humbling.
“It’s an opportunity to present my work in a space that celebrates the intersection of faith, culture, and artistic expression,” she told Arab News.
Alsaggaf is showcasing “Sacred Journeys” at the biennale, which runs until May 25. It is a collection of works that visually narrate the journey from Jeddah to Makkah, a path traveled by millions of pilgrims. It was installed at the Jeddah Airport Pilgrims Gateway, a setting that naturally resonated with the work.
'Bab Al-Salam Gate.' (Supplied)
“This route is more than just a road, it is a transition into a sacred experience,” Alsaggaf explained. “By sketching its key landmarks, I wanted to highlight the gateways that pilgrims pass through on their way to Makkah. I hope my work inspires people to explore these places and to connect with their history in a way that feels tangible and relevant today.”
Alsaggaf’s artistic process always begins with firsthand exploration. She visits the sites, sketches on location whenever possible, and refines her compositions by focusing on perspective, architectural details, and the emotions these places evoke. Research also plays a key role in her work; she digs into the history of each landmark, uncovering stories that add depth to the experience.
To enhance this connection, with each artwork she includes a card sharing insights about the location. By keeping her color palette minimal, she ensures the focus remains on the form, history, and character of each landmark.
'Historic city wall of Jeddah' by Rana Alsaggaf. (Supplied)
Alsaggaf chose to highlight the pilgrimage gates because of their historical and functional significance, as well as their strong connection to the Islamic Art Biennale’s location.
“These gates mark important entry points for travelers and pilgrims, making them both symbolic and relevant. Each one represents a threshold, a moment of arrival and transition on the journey to Makkah,” she said.
Through her art, Alsaggaf hopes to spark curiosity and inspire people to visit these sites, experiencing their significance firsthand. “I want my sketches to create a sense of connection,” she stated. To enhance this connection, she draws from an eye-level perspective, making viewers feel as though they are standing right in front of the landmarks. Her illustrations act as a bridge between the past and present, preserving the spiritual and cultural heritage of the Hajj.
“These places are not just remnants of the past; they continue to welcome travelers and pilgrims every day. Through my art, I want to ensure they remain part of our cultural dialogue,” Alsaggaf said.
While her work is rooted in direct observation, Alsaggaf takes care to research each site’s historical context. However, rather than reconstructing what no longer exists, she prefers to depict landmarks as they stand today, emphasizing their continued presence and relevance.
“The biggest challenge is capturing the depth of the experience in a way that feels immediate and real. I wanted my sketches to reflect the emotional weight of the journey while staying true to the landmarks’ current state,” she explained. “Balancing simplicity with meaning was key.”
Jeddah’s Rawasheen, the intricately carved wooden balconies found on historic buildings, have been a recurring theme in Alsaggaf’s work. Beyond their striking appearance, they represent the layered history of Jeddah as a gateway for travelers and pilgrims.
“For me, they are windows into the soul of the city, reflecting both its past and its living heritage,” she said.
These ornate facades are a symbol of craftsmanship, cultural exchange, and architectural identity — elements that Alsaggaf is passionate about preserving through her sketches.
'The Pilgrim's Gateway' by Rana Alsaggaf. (Supplied)
Alsaggaf uses her Instagram page, Wings Over Saudi, to share her art — which includes paintings as well as sketches — with a wider audience. The name was inspired by a legendary Jeddah folktale involving seagulls, and reflects her artistic vision of movement, exploration, and perspective.
“It represents the way I approach my art, not just as static images, but as invitations to discover Saudi’s landscapes, cities, and cultural landmarks,” she explained.
Her collection of paintings titled “Reflections of Jeddah” is a tribute to the coastal city’s historic streets. Created in her studio within Jeddah’s heritage district, the series captures the play of light, shadow, and intricate designs that define its acclaimed architecture.
“Through these works, I aim to preserve Jeddah’s historic charm while celebrating its enduring cultural significance,” she said.
Another series, “Sketchbook Journey,” highlights the wider Kingdom’s diverse architecture, from grand mosques to ancient alleyways.
“Each piece in this series honors Saudi Arabia’s architectural legacy, preserving its beauty for future generations while encouraging a deeper appreciation for the artistry and heritage that define the Kingdom,” she said.
Alsaggaf sees endless opportunities to continue exploring and documenting her homeland.
“There are so many incredible landmarks still to capture,” she said. “I want to keep sketching, discovering, and sharing the beauty of these places with others.”
High-end design with luxury service: The Jeddah Edition
Updated 20 March 2025
Afshan Aziz
JEDDAH: With its sleek, contemporary design that combines modern luxury with understated elegance, it’s no surprise that the Jeddah Edition won Best Hotel Design at last month’s Saudi Commercial Interior Design Awards.
The high-ceilinged lobby is gorgeous — its orange acrylic sphere, created by Vincent Leroy, really pops against the sunset and created such a perfect vibe as I walked in.
The high-ceilinged lobby features an orange acrylic sphere created by Vincent Leroy. (Supplied)
The welcome was as impressive as the surroundings, with Saudi coffee and dates served before I’d even checked in. The check-in process was smooth and efficient, setting the tone for a relaxed and enjoyable stay, throughout which the staff were always friendly and quick to respond to any requests, ensuring visitors feel well taken care of.
My spacious deluxe room, thoughtfully laid out, instantly made me feel at home. The beige-and-white color scheme, balanced by the perfect lighting, created a calm and comfortable environment, while the bathroom’s freestanding tub and signature Le Labo toiletries added a touch of luxury.
In the evening, I headed down to the Lobby Bar to grab a light snack. The atmosphere was lively — there’s a snooker table and a selection of games for guests to enjoy — but cozy too, with blankets and shawls draped over the comfortable sofas. I sampled some of the delicious snacks, including vegetable spring rolls and zucchini chips paired with a brinjal sauce dip, before heading out for a stroll around the nearby art promenade.
The beige-and-white color scheme, balanced by the perfect lighting, created a calm and comfortable environment. (Supplied)
While there are many excellent dining options within the hotel, its location near the Jeddah Yacht Club and Marina provides easy access to a variety of great spots, ideal for foodies.
As night fell, I made my way to the poolside lounge on the Edition’s roof terrace. This quickly became one of my favorite spots, with its panoramic views of the marina and the Formula 1 racetrack.
In the morning, I indulged myself with a relaxing massage at the hotel’s Aromatic Spa, an experience which began with a refreshing cup of lemon mint tea with a few drops of chamomile. The spa facilities were immaculate, with separate changing rooms and bathrooms. For couples, there’s a special treatment room that includes a private balcony.
The food at the hotel was excellent. At the Maritime restaurant, which serves a contemporary French-Asian menu, there are breakfast and lunch buffets, while for dinner, the à la carte menu offers a selection of dishes designed for sharing. I was particularly impressed by the monkey bread, shrimp dumplings with lemongrass beurre blanc and caviar, lamb shank, and perfectly cooked beef short ribs. The restaurant’s terrace, framed by pink bougainvillea and 150-year-old olive trees, and with views of the Red Sea, provided an exceptional setting for dining.
After eating, I headed to The Den, a cozy lounge perfect for those looking to unwind with a cigar or enjoy a light drink. With tufted teal velvet banquettes and a classic ambiance, The Den is an intimate setting that contrasts beautifully with the lively energy of the rest of the hotel.
There were several other amenities I made use of, including a well-equipped gym and the rooftop pool. Sadly, the latter, while an excellent spot to relax under the warm Jeddah sun, isn’t really large enough for anyone wanting to get some proper swimming in.
That was a minor gripe, however, and overall my stay at The Edition was an experience I would be happy to repeat. If you’re looking for a relaxing, luxurious stay in Jeddah, it’s hard to beat.
