‘The Camel Through the Ages’ exhibition opens at Ithra 

‘The Camel Through the Ages’ exhibition opens at Ithra 
Abdulrahman Al-Soliman's 'The Camel is not a Ship.' (Supplied)
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Updated 13 September 2024
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‘The Camel Through the Ages’ exhibition opens at Ithra 

‘The Camel Through the Ages’ exhibition opens at Ithra 
  • New exhibition ties in with Ministry of Culture’s Year of the Camel 

DHAHRAN: The King Abdulaziz Center for World Culture (Ithra) is currently hosting “The Camel Through the Ages” exhibition at its Dhahran headquarters in collaboration with the Riyadh-based Layan Cultural Foundation. The show runs until Nov. 1 in a year designated by the Ministry of Culture as the Year of the Camel. 

“Camels have long occupied a special place in the societies of the Arabian Peninsula, including the kingdom of Saudi Arabia; they were a means of transportation across vast distances, crossing mountains, valleys, and deserts, similar to ship movements within the sea waves,” Ithra said in a statement.  

In an emotional keynote speech at the opening of the exhibition, LCF founder, Prince Faissal bin Abdullah bin Mohammed, expressed the significance of the camel to the Kingdom’s cultural heritage and as a symbol of strength and resilience. 




Prince Faissal bin Abdullah at the opening of 'The Camel Through the Ages.' (Supplied)

Ghada Al-Tobaishi, executive director of the LCF said: “We are very pleased to cooperate with Ithra (on this) exhibition. This academic and cultural project aims to enrich the knowledge of many important facts of cultural heritage of past eras.” 

Last year, the LCF published a two-volume Arabic-language book about camels, in cooperation with the King Abdulaziz Public Library. That was the inspiration for the current exhibition at Ithra. Some of the works were commissioned specifically for the exhibition, while others were part of the book. The show is curated by Kumail Muhammed Almusaly with the help of Maryam Al-Dossary. 

“We, at Ithra, reached out to Layan Cultural Foundation to collaborate on an exhibit specifically for the Year of the Camel,” Almusaly told Arab News. “And it fits very well with the intent of this gallery, which focuses on the history of Saudi Arabia. 




Digital mosaics created at the Layan Cultural Foundation for 'The Camel Through the Ages.' (Supplied)

“We came up with five themes in order to create a journey in which the visitor could flow freely between the artworks — it is not a linear journey,” he added. 

The five themes are: the camel as an iconic symbol of the Arabian identity; the camel as a meditative or spiritual connection — especially through Qur’anic verses; the camel as a source of pride in camel races and as part of the family; camels as part of oral or folk history; and camels as a companion, in times of rest and travel.  

The first thing visitors see on entering the exhibition space is a collection of paintings, including a 2013 work by Saudi artist Abdulrahman Al-Soliman entitled “The Camel is not a Ship.” 




'The Camel Through the Ages,' the two-volume book that was the inspiration for the exhibition. (Supplied)

“This is a statement by a pioneering artist,” Almusaly said. “(It’s) a piece that ‘corrects’ our perception toward camels. He is using text over the painting, which states that the camel is ‘not the ship of the desert.’ He wants to convert that perception back to the reality that the camel is a creature — it is not an object.” 

This section of the exhibition also includes digital mosaics created by the LCF, alongside works from international and local artists. “There is a part where we switch to how Western artists have looked at Eastern culture — how they are examining the camel and Arabic culture from their perspective,” Almusaly explained. 

After the paintings, the show moves on to sculptures of various styles and sizes, to photographs, to old coins and a few traditional garments. Arabic calligraphy is a part of many of the pieces. 

According to Almusaly, the LCF has been instrumental in “maintaining culture, maintaining history and preserving culture through these materials,” bringing in experts to examine each object and in order to elevate our overall understanding of the camel. 

The exhibition provides an opportunity to examine the camel through the eyes of various artists, and through a visual language that is steeped in Saudi identity, highlighting the vital role the camel has played in the Kingdom’s cultural and economic progress throughout history. 


Sculpting stories: An exhibition of bronze artistry

Sculpting stories: An exhibition of bronze artistry
Updated 12 February 2025
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Sculpting stories: An exhibition of bronze artistry

Sculpting stories: An exhibition of bronze artistry
  • Exhibit showcased Iraqi culture in Riyadh
  • Art should reflect the myriad experiences of life, says sculptor

RIYADH: Three artists have brought an exhibition of bronze sculptures showcasing the history and culture of Iraq to Riyadh.

From Feb. 3 to 12, the Mahd Alfnon Gallery, located in the Al-Mousa Center in Riyadh and owned by the visual artist and sculptor Mahdia Al-Taleb, hosted the exhibition, titled “7x3 Experiences in Iraqi Sculpture.”

It featured the sculptures of three prominent Iraqi artists — Redha Farhan, Haythem Hassan and Najm Al-Qaysi — who each presented seven bronze sculptures. 

The exhibition showcased the innovative and expressive aspects of contemporary Iraqi sculpture, uncovering the cultural narratives that influence their art.

Each artist brought a distinctive perspective to their work, reflecting both personal and shared experiences. 

Redha Farhan, from Baghdad, combines animal forms with human figures in his striking sculptures. 

His sculptures depict ducks, giraffes and camels, intricately woven into narratives that highlight his meticulous attention to detail. 

“My work is deeply rooted in Iraq’s rich history, inspired by ancient artifacts and the stories they tell,” Farhan told Arab News. 

The textured bronze pieces evoke authenticity and emotional depth, inviting viewers to connect with his homeland. 

The second artist, Haythem Hassan, adds another layer of depth to the exhibition with his playful yet meaningful sculptures. 

Graduating with a diploma in sculpture from the Institute of Fine Arts in Baghdad, Hassan’s work includes elements such as flowers, birds and imaginative figures that highlight a blend of imagination and reality. 

“Art should reflect the myriad experiences of life; it’s a dialogue between the work and the viewer,” he said. “Through my sculptures, I aim to provoke emotions and encourage viewers to reflect on their own journeys.” 

This focus on connection and interpretation is key to Hassan’s artistic philosophy, aimed at sparking conversations about the human experience.

Najm Al-Qaysi, known for his creative use of both bronze and stainless steel, displayed lively sculptures that incorporate balloon-like shapes. 

This playful quality, combined with bronze’s heaviness, results in pieces that feel both solid and light.

“I want my work to challenge perceptions of reality,” Al-Qaysi said. “By blending playful colors and forms, I invite viewers to experience a sense of wonder and introspection.” 

He believes that sculpture should evoke strong feelings, encouraging audiences to engage emotionally with each piece.

Al-Taleb, inspired by the connections among artists in the digital age, said: “The idea emerged through social media channels. 

“Since artists around the world have had constant communication through these mediums, it feels as if the world has become a small village.” 

She emphasized the importance of showcasing Iraqi art in creating new links between cultures.

“This exhibition is about connection,” she said. “It honors the strength of our cultural heritage while fostering dialogue about the challenges and triumphs we navigate as artists.” 

Al-Taleb saw the event as a chance to improve the appreciation of sculpture as a prominent art form in Saudi Arabia and beyond.

The exhibition offered a chance for artists to interact with their audience, improving the understanding of their work.

“Art should not exist in a vacuum; it is part of a larger narrative,” Farhan added, emphasizing the exhibition’s goal of community engagement.

Through their creative expressions in bronze, the artists told stories of resilience, creativity and discovery. As the exhibition concluded, it inspired a deeper appreciation of Iraqi sculpture.


Loli Bahia, Mona Tougaard walk at Tory Burch’s Fall/Winter 2025 show in New York  

Loli Bahia, Mona Tougaard walk at Tory Burch’s Fall/Winter 2025 show in New York  
Updated 12 February 2025
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Loli Bahia, Mona Tougaard walk at Tory Burch’s Fall/Winter 2025 show in New York  

Loli Bahia, Mona Tougaard walk at Tory Burch’s Fall/Winter 2025 show in New York  

DUBAI: Regional models Loli Bahia and Mona Tougaard took center stage at the Tory Burch Fall/Winter 2025 show during New York Fashion Week, walking the runway in layered, textured ensembles.

Bahia, who is French Algerian, wore a navy pullover sweater with an oversized white collar, paired with brown trousers featuring a panel running down the sides. The sweater’s sleeves were rolled back to reveal a lighter lining, and a small gold pin fastened the collar. She carried a structured black leather bag with a long strap and wore polished brown leather shoes. 

Meanwhile, Tougaard — who has Danish, Turkish, Somali and Ethiopian ancestry — wore a rich navy look, featuring a shaggy-textured coat draped over matching velvet pants. 

Bahia wore a navy pullover sweater with an oversized white collar, paired with brown trousers featuring a panel running down the sides. (Supplied)

A structured scarf was wrapped around her shoulders, secured with a gold pin. The look was completed with glossy pointed-toe shoes and she carried a slouchy black leather handbag with soft folds and a long strap.

Tory Burch’s latest collection played with the familiar, offering a “twisted” take on classic sportswear, according to show notes. 

Pieces that might traditionally be considered wardrobe staples — such as cardigans, sweatpants and blazers — were reimagined. Banker shirts flared at the cuffs, cardigan sleeves were slashed and pinned at the shoulder, and shirt dresses followed a spiral construction, giving them a sculptural drape. 

Tougaard wore a rich navy look, featuring a shaggy-textured coat draped over matching velvet pants. (Supplied)

“A wardrobe collected over time, where each piece becomes irreplaceable: the perfect blazer, a favorite dress, a worn-in sweatshirt,” Burch said in a released statement.

The fabrics reflected the collection’s focus on deconstruction and transformation. Corduroy shaped cut-out dresses, needle-punched wool resembled fleece, and Japanese brushed jersey refined sweatpants and rugby tops.

Footwear incorporated details like heels, zippers and seams that appeared asymmetrical. The Twisted Pump from Spring/Summer 2025 returned in a distorted T-strap and slingback sandal.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by TORY BURCH (@toryburch)

For the jewelry, the designer introduced a hint of ’70s glamour. Shoulder-dusting chain earrings, oversized crystal flower brooches, and gold-tone sunglasses brought a vintage sensibility to the collection. Notably, the whimsical animal-inspired jewelry seen in recent seasons continued. 

The show took place at the Museum of Modern Art, and was attended by guests including Amanda Seyfried, Jodie Turner-Smith and Alexandra Daddario, who shared a bench with singer-songwriter Ciara and media icon Martha Stewart. 

The event was set to a soundtrack curated by Wladimir Schall. 


Jan Zuiderveld blends AI and creativity in interactive installation in Qatar

Jan Zuiderveld blends AI and creativity in interactive installation in Qatar
Updated 12 February 2025
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Jan Zuiderveld blends AI and creativity in interactive installation in Qatar

Jan Zuiderveld blends AI and creativity in interactive installation in Qatar

DOHA: Dutch artist Jan Zuiderveld has repurposed a standard office photocopier into an interactive AI-powered tool for his installation “Machine-Aided Creativity,” currently on display at Qatar’s “Ai or Nay? Artificial vs. Intelligent” exhibition at the Media Majlis Museum. 

The exhibition, running until May 15, 2025, explores the relationship between artificial intelligence, creativity, and identity through more than 20 works by regional and international artists.

With Zuiderveld’s installation, visitors can sketch on paper, insert their drawings into the machine, and press a red button to watch as it prints vibrant, intricate AI-generated images.

Jan Zuiderveld has repurposed a standard office photocopier into an interactive AI-powered tool for his installation “Machine-Aided Creativity.” (Supplied)

Initially, Zuiderveld presented the drawings on a computer, but he found the response underwhelming. “A lot of people were not as impressed as I thought they would be,” he told Arab News. 

“People often don’t find what happens on a computer screen special anymore. Because it is a computer, you are used to it. It does special things, magic things,” he said. 

This realization led Zuiderveld to rethink his approach. “I wanted to take machine learning algorithms out of the computer and embody them physically, so they feel more tangible for people,” he said.

He deliberately chose a photocopier as the interface for its familiarity. “I wanted to create something intuitive, where people don’t need instructions. It allows them to focus on the interaction itself,” he said. 

The artist also believes that the installation fosters social engagement as participants share their creations. “It works really well at events—people play with it, share their outputs, and it becomes a nice social lubricant,” he added. 

Zuiderveld spent months refining the installation so it could operate entirely offline, with all algorithms running locally on the machine. “That was the most significant update,” he noted, adding that real-time interactivity remains central to his work despite the challenges. 

“For me, the most enjoyable part is watching people interact with the machine. It always brings in elements of surprise and new ways of thinking,” he said.


Cartier exhibition brings regional celebrities to Dubai

Cartier exhibition brings regional celebrities to Dubai
Updated 11 February 2025
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Cartier exhibition brings regional celebrities to Dubai

Cartier exhibition brings regional celebrities to Dubai

DUBAI: French luxury label Cartier this week hosted its “A Journey of Wonders” high jewelry exhibition in Dubai, drawing a star-studded lineup of regional celebrities. 

Among the attendees were Egyptian Montenegrin actress Tara Emad, Tunisian actor Dhafer L’Abidine, TV presenter Raya Abirached and entrepreneur and host Anas Bukhash. Each guest showcased Cartier’s signature pieces.

Emad wore pieces from the Trinity Collection, featuring a mix of pink, yellow and white gold. Her ensemble included Trinity earrings with black lacquer and diamonds, a matching Trinity necklace and bracelet, and a Trinity ring incorporating the same materials.

The actress, who recently debuted a new short haircut on Instagram to her three million followers, paired her jewelry with a tailored black pantsuit by Lebanese designer Elie Saab. The ensemble featured a structured blazer with sharp lapels and intricate gold stitching along the edges and pockets.

Abirached wore a black Magda Butrym midi-length dress. (Supplied)

Abirached wore a black Magda Butrym midi-length dress featuring a strapless, structured bodice and an asymmetrical draped detail at the waist. She accessorized with Cartier’s Grain de Café collection, known for its intricate detailing. Her jewelry included Grain de Café earrings, a necklace and a ring, all crafted in yellow and white gold and set with diamonds. She completed the look with black open-toe heels adorned with floral embellishments. 

Meanwhile, L’Abidine, who sported a black suit, chose a refined selection of classic Cartier designs, wearing a Santos de Cartier watch in steel paired with a Love bracelet in white gold. 

L’Abidine sported a black suit. (Supplied)

Bukhash, on the other hand, opted for a mix of the brand’s signature pieces, including a Santos Dumont watch in yellow gold, a Juste un Clou bracelet in white gold, and a Love ring in white gold. 

Bukhash opted for a mix of the brand’s signature pieces. (Supplied)

These stars, who also serve as ambassadors for the brand, have previously collaborated with Cartier and attended its events.

In 2023, Emad, L’Abidine and Bukhash walked in the brand’s runway show in Dubai. 

That same year, in April, Emad starred in a Cartier campaign alongside L’Abidine, Tunisian-Egyptian actress Hend Sabri and Egyptian actor Ahmed Malek.


Review: Hulu’s ‘Muslim Matchmaker’ has heart, but not enough spark

Review: Hulu’s ‘Muslim Matchmaker’ has heart, but not enough spark
Updated 11 February 2025
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Review: Hulu’s ‘Muslim Matchmaker’ has heart, but not enough spark

Review: Hulu’s ‘Muslim Matchmaker’ has heart, but not enough spark

TORONTO: “Muslim Matchmaker” premiered on Hulu this week. The series is directed and produced by Smriti Mundhra (of Netflix’s “Indian Matchmaking” fame).

But this time around it’s not Sima Aunty and her outrageous comments, but rather two older sister types – Hoda Abrahim and Yasmin Elhady – who are helping eight Muslim Americans find love.

The premise of their matchmaking business is the “Rules of Three: Three dates, three months, and three hundred questions.” In an era of dating apps and superficial swipes, the duo urges couples to approach their search for love with intention. They emphasize the importance of giving the relationship time and space to grow while asking the right questions.

The eight-episode show provides a fresh perspective on Muslim Americans as they navigate both their Muslim and cultural identities in the West. It offers captivating discussions on topics like cultural expectations when dating an older woman, the appropriate timeline to “date,” and finding a partner with an equal “halal-to-haram ratio.” These discussions are sure to resonate with many. And perhaps, offer a glimpse into a Muslim world that’s rarely seen in mainstream Western media.

The show comes with good intentions. For one, it acknowledges dating app fatigue. It offers a refreshing take with matchmakers who approach singles’ choices without judgment or sacrilegious remarks about “wanting too much” (looking at you, Sima Aunty).

But that’s also probably the biggest failing of the show. Dating shows thrive on drama – and there’s none here.

Tension doesn't surface until episode four. A Bengali-American woman is older than the man she’s dating, and cultural norms deem this unacceptable. We’re left on a cliffhanger, wondering how the Bengali-American man will disclose the relationship to his family.

It shouldn’t take that long to get us hooked.