Jeddah-born artist Dana Awartani on making contemporary work that honors the past 

Jeddah-born artist Dana Awartani on making contemporary work that honors the past 
Dana Awartani is of Palestinian heritage. (Supplied)
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Updated 29 March 2024
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Jeddah-born artist Dana Awartani on making contemporary work that honors the past 

Jeddah-born artist Dana Awartani on making contemporary work that honors the past 
  • ‘Traditional arts are dying out,’ says Dana Awartani 

DUBAI: At the Diriyah Art Biennale, Saudi-born artist Dana Awartani, who is of Palestinian heritage, has created a dreamy, otherworldly series of 10 silk fabrics in earthy hues of ochre, reds and greens placed on wooden frames and mounted on the wall as overlapping, semitransparent panels. 

The installation — “Come, Let Me Heal Your Wounds” — was derived from research into Ayurvedic dyeing, which is used to create clothing with alleged healing properties. To create the work, Awartani collaborated with artisans in Kerala, India.  

The artist also identified 355 cultural sites that have been destroyed because of conflict and violence since 2010 in Syria, Tunisia, Libya, Iraq, Egypt, and Yemen. She marked each location with a tear in the silk, creating her own intuitive map of loss. Together with local craftspeople, Awartani then repaired the fabric, mending each hole by hand.  




Dana Awartani, “Come, Let Me Heal Your Wounds” (2020), as presented at the Diriyah Contemporary Art Biennale 2024. (Supplied)

The work hints at the fragility of cultural sites throughout the Middle East and North Africa region, and serves as a plea to safeguard ancient monuments and Arab culture and tradition in general. 

“You have this erasure of history that’s happening in the Levant, in Gaza now, and I felt it was critical to use my traditional arts training and aesthetic language to talk about issues that are relevant to the region,” Awartani tells Arab News. 

Awartani’s work, which covers a variety of mediums — including drawing, painting, textiles, multimedia installations, and film — is inspired by the rich heritage of Islamic art, particularly ‘sacred geometry’; abstraction; and traditional crafts. She combines these influences with contemporary styles to render works imbued with both alluring aesthetic qualities and philosophical depth. Much of her work uses locally sourced materials, as well as vernacular and ancient design styles to present a dialogue between the past and present of Arab culture.  




(Supplied)

“The memories and experiences of the people I collaborate with also become part of the work,” she says, adding that traditional arts “are dying out, people don’t use sacred geometry anymore; people don’t work with their hands anymore.” 

Geometry is at the center of her animated film “Listen to my Words” — also on view in “After Rain.” In it, a gray background is gradually filled by a delicately rendered geometric pattern inspired by jali and mashrabiya — latticed screens used in traditional architecture to regulate light, airflow, and heat. Jalis were also used to shield women from the male gaze.  

The film, Awartani explains, was inspired by the story of Nur Jahan, the wife of a Mughal emperor, who reportedly played a leading role in government in the 17th century from behind a jali, whispering commands to her husband. It is soundtracked by contemporary recitals of Arabic poetry written by women centuries ago — giving them a platform, and resonance, in the present.  




Awartani's 2023 work 'When the Dust of Conflict Settles,' for which she collaborated with stonemasons from Syria. (Supplied)

The incorporation of traditional practices into contemporary artistic discourse is central to Awartani’s art — she is currently pursuing an Ijazah certificate in Islamic illumination. The work she created after earning her master’s degree from The Prince’s Foundation School of Traditional Arts in London focused heavily on sacred geometry; something that is still a major influence (as evidenced by “Listen to my Words”), but less so than it was — a shift she attributes to “recent events in the Middle East, with the ways the current wars have destroyed the heritage and culture of the region. This has really shifted my perspective.”  

Of her earlier work, she says: “When I graduated from the Prince’s School, it was hard to snap out of the training because you’re continuing an art form that has been around for centuries, and there’s a certain level of responsibility that comes with that.  

“There are many people who take something old, like traditional crafts, and innovate without understanding it. Sometimes I find that problematic. For the longest time, I was still trying to hone my skills and learn as much as I could about traditional arts while still using it in a contemporary way through concepts relating to Islamic geometric patterns.” 




All Heavenly Bodies Swim Along, Each in its Orbit, Dana Awartani, 2016. (Supplied)

Awartani first became interested in sacred geometry, she says, as a way to “understand the world from a different perspective by seeing harmony in nature and the cosmos through the lens of geometry and numbers.” Sacred geometry is also a way to connect with her heritage.  

“As Arabs, we’re raised around this fine art, we’re surrounded by it in every corner, but we’re not aware of it,” she told Arab News in a 2014 interview. “You can see geometry all around you, like in mosques for example. I was looking for a track to follow — deep down inside I felt a yearning for it. There is an inner and outer beauty telling a story behind every structured piece; there is no randomness when it comes to creating such pieces.” 

It is not only the theoretical side of Awartani’s work that has shifted — the way she creates it has also changed in recent years. 

“It’s a lot more collaborative now, involving different craft communities,” she explains. “Whereas, before, I used to predominantly do paintings and works on paper, now I incorporate the work of traditional craftsmen in my work.”  

In last year’s “When The Dust of Conflict Settles,” for example, she worked with apprentice stonemasons from Syria who have been displaced by the war in their homeland and are living in Jordan.  

“It’s this coming together of various craftspeople to foster an exchange of knowledge that I am really passionate about now,” she says. “This exchange of knowledge and exchange of culture.” 

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Recipes for Success: Chef Dabiz Muñoz offers advice and an advanced recipe for octopus tacos 

Recipes for Success: Chef Dabiz Muñoz offers advice and an advanced  recipe for octopus tacos 
Updated 47 min 37 sec ago
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Recipes for Success: Chef Dabiz Muñoz offers advice and an advanced recipe for octopus tacos 

Recipes for Success: Chef Dabiz Muñoz offers advice and an advanced  recipe for octopus tacos 

DUBAI: Madrid-born chef Dabiz Muñoz, founder of StreetXO Dubai at the One&Only One Za’abeel, is a globally celebrated culinary figure, known for his innovative approach to cooking.  

Muñoz has earned numerous accolades throughout his career. His flagship restaurant, DiverXO, which opened in 2007, holds three Michelin stars (at the time it earned its third, Muñoz became the second-youngest chef to lead a restaurant to this prestigious recognition) for dishes including dumplings with crispy Iberian ear and lobster with Thai curry, showcasing Muñoz’s love of combining diverse ingredients in unconventional ways.  

Muñoz’s fell in love with cooking at a young age, fueled by frequent visits to the renowned Viridiana restaurant in Madrid. It was there that he first encountered Chef Abraham Garcia, whose unique techniques left a lasting impression and helped shape Muñoz’s vision of cuisine as a medium for artistic expression. 

With the dream of opening his own restaurant, Muñoz pursued rigorous training in top kitchens across Spain, London and Tokyo.  

Following DiverXO’s success, Muñoz launched StreetXO in 2012. The Dubai branch opened in 2023 and is the only location outside Spain where diners can experience Muñoz’s cuisine. 

Here, the chef discusses favorite dishes, common kitchen mistakes, and how to nurture culinary curiosity. 

What inspired you to take up cooking as a career? 

I’ve had a passion for cooking for as long as I can remember — it’s something that feels like it’s always been in me. Growing up, I was fascinated by the process of creating meals, watching others in the kitchen, and experimenting myself. Seeing people enjoy the food I made was incredibly rewarding, and that’s when I knew I wanted to turn my love for cooking into a career. 

When you started out, what was the most common mistake you made?  

Rushing. Patience is key in the kitchen. Taking the time to focus on every detail makes all the difference in the final dish. 

What’s your top tip for amateur chefs? 

Feed your curiosity by traveling and expand your knowledge by studying. Cooking is as much about learning as it is about experimenting. Buy lots of books, because they open up a world of techniques, flavors, and cuisines that will inspire you. The more you expose yourself to different ideas, the more creative and confident you’ll become in the kitchen. 

What one ingredient can instantly improve any dish? 

Chilis. They’re a wonderful enhancer and seasoning, full of nuances, aromas, and different sensations that can elevate a dish to another level. I’m obsessed with them because they add depth, heat, and complexity, turning even the simplest of dishes into something special. 

When you go out to eat, do you find yourself critiquing the food?  

Obviously because of my profession I have a critical and trained eye, but the truth is that when I go to other restaurants, I pay much more attention to where they excel, rather than where they fall short. 

And what’s the most common issue that you find in other restaurants? 

I care more about the faults in my own restaurants than those of others. 

What’s your favorite cuisine? 

Whenever I go to a restaurant, I always have an open mind and try as many different dishes as possible. This means I’m often surprised — in a positive way. It’s very common for me to order the whole menu. 

What’s your go-to dish if you have to cook something quickly at home?  

Lately, I’ve been making a lot of bikinis (what we call a ham-and-cheese pressed sandwich in Spain), and I’m enjoying them more and more every day. They’re quick, simple, and always satisfying — perfect when I’m short on time but still want something tasty. 

What customer behavior most annoys you? 

Treating others badly is one behavior I dislike. Respect is essential in any environment, and seeing someone disrespect staff or act rudely is something I find frustrating. 

What’s your favorite dish to cook and why?  

I’m passionate about cocido madrileño (chickpea-based stew) and croquetas. Both are very popular Spanish dishes, simple and very tasty, in fact I always have versions of them on the menu in some of our restaurants. 

What’s the most difficult dish for you to get right?  

The more you make a dish, the easier it becomes — it’s really just a matter of time and practice. Even the most complicated recipes can become second nature if you repeat them enough. 

As a head chef, are you a disciplinarian? Or are you more laidback?  

In the kitchens of the XO world, shouting, bad language, and disrespect are forbidden. 
Throughout all the years of my career, this is something that I have learned and internalized. But this doesn’t imply any less discipline or demand from my side. 

Chef Dabiz Munoz’s octopus taco recipe  

Chef Dabiz Munoz’s octopus taco. (Supplied)

Warning: Requires some specialist equipment if recipe is to be followed exactly, including blast chiller, vacuum sealer, and robata (Japanese charcoal grill, similar to a barbeque).  

Ingredients (for final plating): 

Blue corn tortilla 

10g yellow mole  

8g tamarillo emulsion  

50g cooked octopus 

6g parmesan 

10g carrots 

4 unit sorrel 

6g pumpkin seeds 

1 unit lime wedge 

Instructions: 

Tamarillo Emulsion 

Ingredients: 

10kg peeled, aged, tamarillo (must be ripe) 

2g ajillo 

Salt (to taste) 

Pepper (to taste) 

Method: 

Peel the tamarillo and vacuum seal it. 

Once matured, emulsify everything, salt to taste 

Cooked Octopus 

Ingredients: 

40g octopus  

2 onions  

5g garlic 

2 bay leaves  

Method: 

Cook at 85 degrees celsius for three hours or until tender. Cover the octopus with 85 degree water, add two onions, add 50g of garlic, add 10g of bay leaves. Strain and then blast chill. 

Carrots 

Ingredients for the Marinade: 

0% white wine (no alcohol) 10g 

Jerez vinegar 5g 

Mandarin juice 10g 

Olive oil 3g 

Chopped garlic 6g 

Pimenton de la vera 3g 

Salt, cumin, oregano (to taste) 

Red food coloring (to taste) 

Method: 

Reduce the wine and sherry vinegar by half. In a separate pan, fry the garlic in oil until golden, then add the remaining ingredients to the reduction. 

Pickled carrots: 

Peel the carrots and vacuum seal them with the prepared marinade. 

Pumpkin seeds: 

Lightly fry the pumpkin seeds in oil until golden brown, then season with salt to taste. 

Plating 

Grill the octopus on the robata, adding some smoking Sarmiento underneath for extra flavor. 

Brush the octopus with lemon oil for a bright, citrusy finish. 

Warm the tortilla and place it on the dish, seasoning it with yellow mole and a sprinkle of seeds for texture. 

Position the grilled octopus on top of the tortilla, then add four small dots of tamarillo sauce around it. 

Top the octopus with a light layer of cheese. 

Garnish with thinly sliced carrots and fresh greens to add color and freshness. 

Finish the dish with a squeeze of lime and a dusting of powder to enhance the flavors. 

 


Future Generation Art Prize unveils 2024 winner

Future Generation Art Prize unveils 2024 winner
Updated 34 min 59 sec ago
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Future Generation Art Prize unveils 2024 winner

Future Generation Art Prize unveils 2024 winner

DUBAI: The Future Generation Art Prize, one of the art world’s most prestigious prizes initiated in Ukraine in 2009, has announced its 2024 winners. Among the recipients are multidisciplinary artists who are associated with the Arab world.

The main $100,000 prize was granted to Dhaka-based artist, Ashfika Rahman. Other “Special Prize” winners include Iraqi-Kurdish artist, Tara Abdullah Mohammed Sharif, Palestinian artist Dina Mimi, Pakistani artist Hira Nabi, Indonesian-born artist Ipeh Nur, and Zhang Xu Zhan, who was born in Taiwan.

Special Prize winners will share a $20,000 pot between them to support the development of their projects.

Ashfika Rahman. (Supplied)

The prize’s 21 shortlisted artists are displaying their works at the PinchukArtCenter in Kyiv until Jan. 19, 2025 amid a recovering domestic art scene following the Russian invasion of Ukraine in 2022.

“A lot of artists are still actively present. Obviously, many artists in the beginning of the war have escaped but many also stayed,” artistic director of PinchukArtCenter and jury member, Björn Geldhof, told Arab News. “What is important is that from the very start of the war, artists were looking for ways to engage, and when I say ‘engage’, I don’t only mean through art, but how can they be functional in a situation like this? How can they serve their country?”

Ashfika Rahman. (Supplied)

The prize’s participants this year are exploring a thoughtful range of topics, expressed through immersive installations. According to a press release, what is “recurring through the exhibition is the exploration of local histories and mythologies to overcome historical trauma and the long-lasting effects of wars, as well as the process of liberation from the oppression of colonial influence.”

What sets the Future Generation Art Prize apart from others in the field is its focus on championing up-and-coming artists who are 35 years old or younger from around the world.

The curators of the exhibition. (Supplied)

One of the main issues facing emerging artists is a lack of access to curators, galleries and museum professionals to help boost their careers and encourage their artistic practice, according to Geldhof.  

“We want to really speak to an emerging generation with the strong belief that they kind of imagine the future,” he said. “They are dealing with concerns differently than the middle generation, so to speak. . . They imagine, in a very different way, how the world can look like.”


Hia Hub: Day 1 sees industry experts explore growth opportunities in Saudi Arabia

Hia Hub: Day 1 sees industry experts explore growth opportunities in Saudi Arabia
Updated 30 October 2024
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Hia Hub: Day 1 sees industry experts explore growth opportunities in Saudi Arabia

Hia Hub: Day 1 sees industry experts explore growth opportunities in Saudi Arabia
  • Patrick Chalhoub kicked off the discussion by highlighting the significant differences in the Saudi consumer landscape compared to other markets
  • Mazroua Almazroua contributed to the discussion by exploring how integrated luxury experiences can be designed to appeal to Saudi consumers

RIYADH: Hia Hub, Saudi Arabia’s fashion, beauty and lifestyle conference, returned for its fourth edition in Riyadh’s JAX District with the opening day on Wednesday featuring panel talks on the growth of market opportunities in the Kingdom.

One such panel discussion, titled “Capitalizing on KSA and Beyond: Unveiling Market Opportunities in Saudi Arabia,”  was moderated by journalist Ritu Upadhyay. The session brought together industry leaders including Burak Cakmak, CEO of the Saudi Fashion Commission, Patrick Chalhoub, Group President of the Chalhoub Group, and Mazroua Almazroua, Chief Marketing and Experience Officer at King Abdullah Financial District (KAFD).

The conversation focused on the unique attributes of the Saudi market and the potential for growth in various sectors.

Chalhoub kicked off the discussion by highlighting the significant differences in the Saudi consumer landscape compared to other markets, stating: “What’s different first is the size of the population. We have a much bigger and wider demographic.” He emphasized that wealth in Saudi Arabia is not confined to a small elite but is increasingly found within a growing middle class. This demographic shift presents a wealth of opportunities for businesses, especially as consumer preferences evolve, he said.

“Understanding the local consumer is crucial,” he added, underscoring the need for brands to engage meaningfully with this diverse market.

Chalhoub also pointed out the cultural aspects that distinguish Saudi consumers, noting: “In Saudi Arabia, there is a stronger cultural attachment to luxury. Consumers are looking for creative, personalized, and exclusive products.”

This cultural context influences purchasing behaviors, with consumers placing a high value on the story behind luxury goods. However, he cautioned that the luxury market in Saudi Arabia remains relatively small, indicating room for growth.

“We have to change the environment and adapt,” he remarked, suggesting that brands must innovate to capture the market's potential.

Almazroua contributed to the discussion by exploring how integrated luxury experiences can be designed to appeal to Saudi consumers. He shared insights on the importance of understanding local preferences, stating, “Over 70 percent of Saudis travel specifically for fine dining and unique experiences.”

He emphasized that events blending cultural elements with luxury offerings have proven successful. For instance, a KAFD initiative to host Michelin-star chefs has garnered significant interest. “We sold out every weekend,” Almazroua noted, indicating the strong demand for high-quality, culturally resonant experiences.

Cakmak further expanded on the opportunities for local designers as Saudi Arabia's lifestyle destinations evolve, remarking: “There is a burgeoning local design scene that has often been overlooked. We need to celebrate Saudi creativity.”

The discussion at Hia Hub illuminated the vast potential for brands in Saudi Arabia. As the market continues to evolve, understanding the unique characteristics of the Saudi consumer will be key to capitalizing on emerging opportunities. The integration of cultural insights, innovative experiences, and a focus on local talent will shape the future of luxury in the Kingdom. As Cakmak aptly put it, “We have a chance to create something unique that reflects our identity while engaging with global trends.”

Taking place from Oct. 30 to Nov. 3, Hia Hub will feature discussions, masterclasses, workshops, interactive exhibitions and live performances.


‘Hellbound’ resonates with Saudi audiences amid global K-drama boom

‘Hellbound’ resonates with Saudi audiences amid global K-drama boom
Updated 30 October 2024
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‘Hellbound’ resonates with Saudi audiences amid global K-drama boom

‘Hellbound’ resonates with Saudi audiences amid global K-drama boom

DUBAI: South Korean director Yeon Sang-ho’s chilling supernatural series “Hellbound” has become a topic of fascination in Saudi Arabia, where it remained on the country’s Top 10 Netflix list for three consecutive weeks.

This success underscores the growing popularity of K-dramas in the Kingdom, reflecting the universal appeal of stories that explore complex themes of morality, fear and power.

Sang-ho spoke to Arab News Japan about his inspiration, vision, and the factors behind “Hellbound’s” resonance with international audiences, including Saudi viewers.

At its core, “Hellbound” is a dark fantasy thriller set in the then future year of 2022. In the show, supernatural beings suddenly appear out of nowhere to condemn people to Hell.

Sang-ho explained that his inspiration came from humanity’s deeply ingrained fear of random misfortune.

“Unexpected misfortune is something that we as humans face very commonly,” he said. “There is no real reason or cause for such misfortune, which is why we can never get used to it and which is why we are afraid of it. That kind of fear towards unexpected misfortune was the origin of this story.”

The theme resonates with a shared human contemplation of fate and existential questions, making “Hellbound’s” grim universe both haunting and thought-provoking.

The show delves into intricate moral conflicts, including a harrowing scene in which parents witness a decree for their newborn.

Sang-ho explained his intention to explore the fragility and nobility of human emotions by forcing characters into these impossible situations. The narrative juxtaposition of human vulnerability with the strength of parental love adds emotional depth to “Hellbound” that many viewers find deeply moving.

The series also explores how ideological power struggles can fracture societies — a theme that holds particular relevance globally.

Sang-ho revealed that “Hellbound” is “closer to an ideological catastrophe rather than a physical one.”

He added: “If season one focused on how the civilians dealt with the ideological catastrophe, in season two, we get to see how certain unusual characters manipulate this incomprehensible ideological catastrophe as a chance to push their philosophy. In the midst of this ideological chaos, various different power groups push their own philosophies to normalize the world and fight against each other to prove oneself.”

Sang-ho shared insights into the creative process behind “Hellbound’s” iconic executors — grotesque beings designed to evoke humanity’s darkest emotions.

“The design started from the basic human form,” he explained, describing how the creatures symbolize humanity’s inherent aggressiveness and the tendency of majorities to overpower minorities.

This choice reflects a visceral fear that extends beyond cultures and borders, touching on universal themes of judgment and condemnation.

Saudi Arabia’s recent wave of enthusiasm for “Hellbound” is part of a larger trend as K-dramas gain traction worldwide.

“It’s amazing that global fans step over that barrier to really enjoy Korean content,” Sang-ho said, emphasizing the importance of creating relatable stories for audiences of diverse backgrounds.

With “Hellbound,” Sang-ho has struck a universal chord, resonating with audiences in Saudi Arabia and beyond.


New York’s Met collaborates with Mideast homeware label Sedar on art-inspired furnishings 

New York’s Met collaborates with Mideast homeware label Sedar on art-inspired furnishings 
The Artist_s Garden at Saint-Clair by Henri-Edmond Cross_Wallpaper Art The Met x Sedar Global
Updated 30 October 2024
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New York’s Met collaborates with Mideast homeware label Sedar on art-inspired furnishings 

New York’s Met collaborates with Mideast homeware label Sedar on art-inspired furnishings 

DUBAI: New York’s Metropolitan Museum of Art and the Middle Eastern interiors brand Sedar Global are collaborating on a new range of soft furnishings featuring works of art in the former’s collection, with the first launch celebrating nature-themed creations.

Nahel Selo, creative director at Sedar Global Interiors, spoke to Arab News recently about the collection and what he envisions the most popular prints will be — including whether there are plans to feature Arab artists.

The Great Wave by Katsushika Hokusai as wallpaper. (The Met x Sedar Global)

The works of artists including French impressionist Claude Monet, Dutch painter Vincent Van Gogh, Japanese printmaker Katsushika Hokusai and Austrian painter Gustav Klimt have been translated into fabric form.

They will be used for wallpaper, curtains, upholstery and pillows to “(make) fine art accessible in a way that fits seamlessly into the home,” Selo said.

According to Sedar, the initial release “celebrates nature and new life through elements like land, sea, and air” and Selo explained the decision to launch with this collection.

Roses by Vincent van Gogh in the form of a roller blind. (The Met x Sedar Global)

“Nature has a universal appeal, and we felt that it’s something people can connect with on a deeper level, especially in our region where the landscape is diverse yet often harsh … plus, nature-themed designs are versatile; they complement both contemporary and traditional interiors,” he said.

While the target market includes individual homeowners and interior designers working on larger projects, Selo predicts that the “sea-inspired pieces might steal the show.

Red Poppies Charles Demuth on pillows.(The Met x Sedar Global)

“There’s something about the fluidity and tranquility of the ocean that speaks to people, especially in coastal areas.”

Future seasonal introductions will be thematic in nature, drawing on the 1.5 million works in The Met’s collection, which spans 5,000 years of art from around the globe.

When it comes to Middle Eastern creatives, Selo says the team at Sedar, which translates the artworks into pattern-form and soft furnishings before they are approved by The Met, is “looking into it.

“It would be a beautiful way to celebrate our regional culture. We’re exploring ways to bring in local artistry and add that unique Middle Eastern touch to future capsule collection releases,” he noted.

Grasshopper and Iris by Katsushika Hokusai as wallpaper. (The Met x Sedar Global)

When it comes to his own home, the creative designer is not one to shy away from bold uses of color and print.

“My home is slightly more bold and industrial. So I’d probably go for a (Wassily) Kandinsky on a wallpaper feature behind my sofa.

“Kandinsky’s geometry styles add depth and a statement talking point to a space,” he said, referring to the abstractionist Russian painter who died in 1944.