Villa Hegra celebrates a year of cultural exchange in the heart of AlUla 

Villa Hegra celebrates a year of cultural exchange in the heart of AlUla 
Villa Hegra will connect two fundamental elements of AlUla's landscape, the urban plot and the oasis. (Supplied)
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Updated 01 August 2024
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Villa Hegra celebrates a year of cultural exchange in the heart of AlUla 

Villa Hegra celebrates a year of cultural exchange in the heart of AlUla 
  • The CEO of the Saudi-French cultural hub discusses its achievements so far and plans for the future 

DUBAI: The Saudi-French cultural institution Villa Hegra — intended as “an incubator for artists and creators” — celebrated the first anniversary of its pre-opening program in July. It has been a year marked by a wide range of cultural activities and concerts, artistic retreats and research programs in the heart of AlUla as part of Villa Hegra’s first pre-opening cycle, which runs until the end of this year.  

Villa Hegra was officially established in an intergovernmental agreement signed on Dec. 4, 2021, by Saudi Arabia’s Minister of Culture Prince Badr bin Abdullah Al-Saud and Jean-Yves Le Drian, then-French minister of foreign affairs, now president of AfAlula (the French Agency for AlUla Development). One of Villa Hegra’s goals is to foster cultural dialogue between Saudi Arabia and France. 




Artists from the Opera National de Paris met with students of the AlUla Music Hub, as part of the Villa’s recent partnership with the opera. (Supplied)

“It is not a private initiative. It is a state-to-state initiative that represents the willingness of two parties to collaborate at the cultural level,” Fériel Fodil, CEO of Villa Hegra, told Arab News’ French edition. “The villa will be a cluster of three assets: the cultural center, where the artist residencies will take place, and which will include a school for tourism and hospitality (Firendi AlUla); an apartment hotel with 80 rooms; and the villa itself.” 

The ultimate aim is to foster dialogue between both international and regional artists, local communities, and the oasis of AlUla. 

“When I think about architects, I go back to their ethos around working with nature rather than against it. When I think about the villa, I want to build humble yet impactful programs (for it),” Fodil said. “Architects in Alula add, complete, and transform. They build around trees to preserve the oasis.” 




American-Saudi artist Sarah Brahim and French artist Ugo Schiavi were the first of Villa Hegra's artists to travel to AlUla in July 2023, as part of the Villa's first preopening cycle. (Supplied)

Villa Hegra will be home to spaces for the performing arts, dancing, research, a digital studio, visual arts exhibitions, and yoga and fitness. It will also host artist residencies. The cultural center and the artist residencies are scheduled to launch towards the end of 2026, following the year-long second cycle of the pre-opening program. The hotel and Firendi AlUla should open in 2027.  

Part of Villa Hegra will also be dedicated to a regeneration of the town’s oasis, and the 10-hectare site itself will connect two fundamental elements of AlUla's landscape: the urban and the natural.  

“We are not (an add-on), we are rooted within the town,” said Fodil. “It is a very dense plot, and then very scattered in the oasis part. That (design) is going back to the heritage of AlUla where you have a winter farm and a ‘rihla’ — or journey — between the winter farm and the summer farm.” 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Villa Hegra has already initiated research into the cultural and socio-economic impact of cultural activations by the Royal Commission for AlUla on the local community. “The cultural center’s main objective is to engage with the community. We are working on the cultural program to reach the villa’s local and international ambition equally,” Fodil said. 

“We are trying to have a number of pre-opening programs — exhibitions for artist residencies, and public outreach activities, around podcasts, publications, and cinema,” she continued. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Villa Hegra (@villahegra)

Naturally, French culture will play a major role. Following a successful concert organized by Villa Hegra at Maraya Concert Hall in January, the Opéra national de Paris will be back in AlUla to perform and to hold further workshops. The villa’s partnership with the Opéra national de Paris is in line with the Kingdom’s cultural ambitions, with the Royal Diriyah Opera House set to open in 2028. 

And over the past year, Villa Hegra has partnered with several leading French institutions to offer unique cultural initiatives, enrich AlUla’s cultural landscape, and facilitate the exchange of knowledge between Saudi Arabia and France. More than 20 French and Saudi artists have been collaborating and sharing knowledge at the villa, and more than 300 children and teenagers from the local community have participated in multidisciplinary workshops. There have also been talks given by experts in the fields of music, cinema, visual arts, architecture and the performing arts. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Villa Hegra (@villahegra)

As part of its second pre-opening cycle, along with the performance from the Opéra national de Paris, the villa will also host a science and arts workshop for children and teenagers, and a week of initiation into moviemaking and the history of cinema. 

The distinctiveness of the villa lies in its duality — Saudi and French, urban and oasis, open to children and adults, and with a local and international outreach. 

Partnerships are essential to the cultural identity of Villa Hegra. Whether through student exchange programs, research, or live events, the objective is to build momentum around art in the region. 

“We are also trying to find partners from the Saudi side, such as Hayy Jameel in Jeddah,” Fodil said. “We are looking for partnerships that have a look and feel of dialogue and have a training component to them, while bringing the best of both French and Saudi expertise.” 


Top Pakistani filmmaker says actors should seek government permission before signing Indian projects 

Top Pakistani filmmaker says actors should seek government permission before signing Indian projects 
Updated 26 April 2025
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Top Pakistani filmmaker says actors should seek government permission before signing Indian projects 

Top Pakistani filmmaker says actors should seek government permission before signing Indian projects 
  • The statement comes after Indian cinema federation banned release of Pakistani actor Fawad Khan’s ‘Abir Gulaal’ following the Pahalgam militant attack
  • Nabeel Qureshi says India has a huge film industry and many Pakistani artists want to work there, but they should not compromise on their self-respect

KARACHI: Pakistani filmmaker Nabeel Qureshi has urged the government to ask Pakistani actors to seek a no-objection certificate (NoC) prior to signing any Indian projects, following the imposition of a ban by the Indian cinema federation on Pakistani actor Fawad Khan’s Bollywood movie ‘Abir Gulaal.’
The romantic comedy marks Khan’s highly anticipated return to the Indian film industry after almost nine years. The movie starring Khan, who is widely famous in India, alongside Indian actor Vaani Kapoor is scheduled to release on May 9.
However, Indian media reported on Friday that the movie will not be released in India after the Federation of Western India Cine Employees (FWICE) asked authorities to ban it, following a militant attack in India-administered Kashmir that killed 26 tourists on April 22.
New Delhi has blamed the attack on Pakistan, an allegation denied by Islamabad. Both India and Pakistan have since unleashed a raft of measures against each other as tensions remain heightened between the two nuclear-armed neighbors.
“It’s a matter of the country’s dignity,” Qureshi told Arab News. “In future, the way India is imposing a blanket ban on Pakistan, our government should also ask actors to seek NoC before signing up for any project there.”
India has a huge film industry and many Pakistani artists want to work there, according to Qureshi. But they should not compromise on their self-respect.
“Our actors should have some integrity not just as artists but also as Pakistanis. [It’s] a country that doesn’t welcome you at all, irrespective of the recent Pahalgam terror attack,” he said.
“There were speculations around the film’s release already, now it’s impossible for the film to release in India.”
India barred Pakistani artists from working in the country after a militant attack in Uri town in Indian-administered Kashmir, which killed 19 Indian soldiers in 2016. Prior to that, Khan starred in Bollywood films ‘Khoobsurat,’ ‘Kapoor & Sons’ and ‘Ae Dil Hai Mushkil.’
The promotion of his movie Abir Gulaal began in Dubai, with the music launch. But two songs from the film, ‘Khudaya Ishq’ and ‘Angreji Rangrasiya,’ have been removed from YouTube India following the Pahalgam attack.
“It was not like this was unexpected. If it had not been the recent tragedy in Pahalgam, it would have been any other reason, big, small, legit or otherwise,” Kamran Jawaid, a Pakistani film critic and journalist, told Arab News.
“Cinema-goers [in Pakistan] will give the film a warm welcome. However, given FWICE’s hard anti-Pakistan stance, the decision to release the film here would only land them in hotter waters in India. Nobody wants to do that.”
Nadeem Mandviwalla, a leading film importer and distributor in Pakistan who also owns a cinema in Karachi, said India’s ban on the movie’s release is “understandable” under the current circumstances.
“Allegedly, Pakistan has also refused to grant permission to the movie,” he said. “Actors will always play a part in projecting peace and love. Given a chance, it’s commendable for both parties to make this attempt.”
Jawaid, on the other hand, said Pakistani actors should have an “active role” in building up the quality of Pakistani productions, given the wafer-thin, prickly relationship between Pakistan and India.
“They should not run after Bollywood collaborations because the audience-base is bigger or that the pay is better,” he said. “The ‘arts transcend borders’ and ‘arts can make a difference’ mantra can only be beneficial if there is unilateral reciprocation in both industries.”


Hazem Harb explores displacement and memory in new Dubai exhibition

Hazem Harb explores displacement and memory in new Dubai exhibition
Updated 26 April 2025
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Hazem Harb explores displacement and memory in new Dubai exhibition

Hazem Harb explores displacement and memory in new Dubai exhibition

DUBAI: In his new exhibition, “Not There, Yet Felt,” at Tabari Artspace in Dubai, the Palestinian artist Hazem Harb is making things personal, both literally and figuratively, exploring the theme of displacement.

“It’s an out-of-body experience. I’m here and I’m not here,” he told Arab News. Harb is feeling torn; while his life and studio are physically based in Dubai, his heart and mind are emotionally attached to his birthplace of Gaza. 

The show, on view until May 27, is lined with a series of aluminium self-portraits, based on silhouettes of the artist’s head and upper chest. Instead of seeing detailed facial features, the silhouettes are black, filled with images of colorful walls of Harb’s family home, which was destroyed as a result of the continuing Israeli assault. Such details of the walls, which were photographed by Harb’s nephew and a photojournalist in Gaza, took him by surprise. “I had no idea we had shades of blue, pink and yellow in the house,” he said. “There are so many layers and memories in that house.” 

Above this series of self-portraits, a central neon artwork reads “Hope Is Power,” yet ‘power’ is flickering, indicating uncertainty and a loss of normalcy in daily life. Another instance of disturbance can be sensed in a large self-portrait, printed on paper and hanging on the wall, where the end parts of the paper are intensely crumpled. Exploring the multi-layered idea of peeling, there is also a group of calming, hand-made collage works, where wall peelings resemble figurative shapes. 

Unlike his solo exhibition last year, in which there was a heady showcase of violently passionate work, entering Harb’s new show has a lighter, romantic feel, thanks to the gentle and romantic hues and language used. “Your Skin Is My Homeland,” a wall text reads. In the back room of the gallery, Harb is also presenting figurative paintings he made 20 years ago, resembling the flowing forms he experimented with for his new exhibition. 

Despite the uncertainty felt by the artist, there is a glimmer of hope. One piece that shows this is a large work, where a body (made of medical gauze) stands still, carrying emotional wounds yet rising from the ashes. “The show is a statement. I felt a responsibility,” he said. “The whole world, not just Palestine, is in a very critical time, and I was thinking about the role of art in a sensitive, genocidal time. Art is a way to say something and is a part of history, an archive for the future.” 


Zuhair Murad styles Blake Lively, Nicole Scherzinger

Zuhair Murad styles Blake Lively, Nicole Scherzinger
Updated 26 April 2025
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Zuhair Murad styles Blake Lively, Nicole Scherzinger

Zuhair Murad styles Blake Lively, Nicole Scherzinger

DUBAI: Lebanese celebrity designer Zuhair Murad made a statement at the 2025 Time 100 Gala this week, with American actress Blake Lively, as well as singer and songwriter Nicole Scherzinger, showcasing his creations on the red carpet.

Lively, who attended the event with her husband Ryan Reynolds, wore a pink taffeta off-the-shoulder gown featuring a corseted bodice and a train detail from Murad’s ready-to-wear spring 2025 collection.

She accessorized her look with emerald earrings, cuffs and jade rings from US jewelry designer Lorraine Schwartz.

Lively, who posed on the red carpet with Reynolds and her mother Willie Elain McAlpin, was honored at the event.

She took to the stage to speak about violence against women and paid tribute to her mother, who was seated alongside Reynolds.

Scherzinger, meanwhile, chose a black off-the-shoulder sequin gown from Murad’s ready-to-wear pre-fall 2025 collection.

The 2025 Time 100 Gala was held at Jazz at Lincoln Center in New York City, celebrating Time’s annual list of the 100 most influential people worldwide.

The evening brought together a wide range of leaders, entertainers, athletes and innovators recognized for their contributions across different fields.

The event was hosted by rapper Snoop Dogg, who walked the red carpet with his son and gave special mentions on stage to honorees such as gymnast Simone Biles, Eagles quarterback Jalen Hurts, actress Demi Moore, chemistry Nobel Prize laureate Demis Hassabis and makeup mogul Bobbi Brown.

Other notable honorees in attendance included Scarlett Johansson, Serena Williams and Kristen Bell.

Musical performances were given by fellow honorees Ed Sheeran and Myles Smith.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Hisham Gamal (@hishamgamal)

Murad has been recognized for his detailed craftsmanship in haute couture and bridal fashion.

Since founding his brand in 1997, he has gained international attention. His creations have been worn by celebrities such as Jennifer Lopez, Beyonce, Priyanka Chopra Jonas, Taylor Swift, Celine Dion, Sofia Vergara, Kristen Stewart and Johansson on major red carpets.

He is one of a handful of Arab designers on the official Paris Fashion Week and Paris Haute Couture Week calendars.

Murad made headlines this week for dressing Egyptian actress Laila Ahmed Zaher on her wedding day.

She wore a fitted, high-neck gown with long sleeves, adorned with intricate lace embroidery throughout. The form-fitting silhouette was paired with a detachable voluminous tulle overskirt.


UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’

UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’
Updated 25 April 2025
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UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’

UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’
  • Third installment of popular franchise will be released in November

DUBAI: The UAE has landed a starring role in the upcoming Hollywood film “Now You See Me: Now You Don’t,” with scenes filmed in the capital city Abu Dhabi.

The production, which will be released in November, wrapped up a 13-day shoot at several of the capital’s landmark locations, according to the Creative Media Authority on Thursday. 

The film, which is packed with high-stakes heist scenes, was shot at destinations including the Louvre Abu Dhabi, Sheikh Zayed Bridge, the Liwa Desert, Ferrari World Abu Dhabi, CLYMB, Yas Marina Circuit, W Abu Dhabi — Yas Island, and various city streets.

The third installment of the popular franchise, directed by US filmmaker Ruben Fleischer, brings back Jesse Eisenberg, Woody Harrelson, Dave Franco, and Morgan Freeman in their previous roles, joined by an ensemble cast that includes Justice Smith, Dominic Sessa, Ariana Greenblatt, and Rosamund Pike.


Saudi historical highlights on display at Abu Dhabi Book Fair 

Saudi historical highlights on display at Abu Dhabi Book Fair 
Updated 25 April 2025
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Saudi historical highlights on display at Abu Dhabi Book Fair 

Saudi historical highlights on display at Abu Dhabi Book Fair 
  • Selections from London-based rare-book dealer Peter Harrington’s offering at the UAE fair, April 26 to May 5 

‘The Holy Mosque at Makkah’ 

With a foreword by former Saudi Minister of Finance Sheikh Mohammed Abalkhail and images by the award-winning African photojournalist Mohamed Amin, this “sumptuous production” tracks the quarter century of restoration of the Sacred Mosque and Holy Kaaba in Makkah in the mid-20th century. “The text contains a historical description of the Holy Kaaba, Masjid al-Haram, a summary of recent construction in the Saudi era, and architectural notes, with the rest of the volume dedicated to Amin’s photographs, presenting detailed views of the diverse and extensive developments,” the book dealer’s notes state. Amin was “the first photographer to be given access to document the Hajj and among the first to photograph sections of the Holy Mosques of Makkah and Madinah. Over three years during the 1970s, he travelled by camel, helicopter, car and on foot to Madinah, Arafat, and Makkah.” 

Confidential reports from the First and Third Arab Petroleum congresses 

The historical global significance of the first Arab Petroleum Congress in 1959 cannot be understated. It was here that the idea of an oil-producing organization (an idea that eventually turned into OPEC) was introduced. “During proceedings, the influential oil journalist Wanda Jablonski introduced Saudi Arabia’s Abdullah Tariki to Venezuela’s Juan Pablo Perez Alfonzo, both of whom were upset by recent price cuts. They rallied delegates to sign the secret Maadi Pact, suggesting a Petroleum Consultation Commission to coordinate producer responses. This laid the groundwork for the 1960 Baghdad Conference, at which OPEC was officially formed,” the book dealer’s notes state. This grouping of documents contains in-house reports from Aramco on that congress, and the Third Arab Petroleum Congress in Dec. 1961, as well as other Aramco-produced materials from 1956-1961. 

Photographic archive and reports from the recommissioning of the Hejaz Railway 

The book dealer describes this collection as “a unique archive relating to the earliest post-war attempt to reconstruct the Hejaz railway and link Damascus with Madinah.” The last train to travel the full length of the railway was reportedly in 1925, after which “the line south of Mudawwara was washed away, and the conflicts that led to the creation of Saudi Arabia in 1932 dampened collective efforts at reconstruction.” The archive includes previously unpublished photos and original reports issued by the International Resources Engineering and Exploration Group, which was awarded to contract to design the project in 1956. “Coverage is particularly detailed for central and northern Saudi Arabia, especially the area around Mada’in Salih and Khur Himar,” the dealer states, and includes images of the party meeting with local officials including the rulers of AlUla and Tabuk. 

A collection of magic lantern slides by Harry St John Bridger Philby & Alec Horace Edward Litton Holt 

The British intelligence officer Philby — who served as an advisor to Saudi Arabia’s founder, King Abdulaziz Ibn Saud — and the engineer and explorer Holt travelled 600 miles together in 1922 through the desert via Al-Jawf province in Saudi Arabia “at the height of increasing tensions between Ibn Saud and the Hashemites.” These 23 slides were, the book dealer believes, likely used to illustrate the presentation the pair gave about their journey before the Royal Geographic Society in the UK on Feb. 12, 1923. “The collection shows Holt and Philby in Arab dress; Ford cars and aeroplanes at Jidd, desert scenes, a Ford condenser, and ploughing for landing fields, among others.” 

Aramco educational PR pack 

In an attempt to attract US students and graduates in the Sixties and Seventies, Aramco produced several collections of promotional material that included posters much like this one, which it distributed to schools and universities in the States. “The lively posters explore the history of Saudi Arabia and the company’s operations, each illustrated with photographs of historical figures (including T. E. Lawrence), company personnel and oil wells, and Saudi architecture,” the book dealer states.