Saudi contemporary artist Sultan bin Fahad: ‘My medium is storytelling’ 

Saudi contemporary artist Sultan bin Fahad: ‘My medium is storytelling’ 
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Updated 05 September 2024
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Saudi contemporary artist Sultan bin Fahad: ‘My medium is storytelling’ 

Saudi contemporary artist Sultan bin Fahad: ‘My medium is storytelling’ 

DUBAI: The Riyadh-born, New York-based contemporary artist Sultan bin Fahad has been creating artworks since childhood. But, he says, he didn’t know that’s what he was doing for a long time.  

“I always felt like I had a certain creativity in me,” he tells Arab News. “I was making what I called ‘things.’ But it was a hobby, you know? I thought it was like interior design — decorating my room. I didn’t know it could be considered art.” 

At the time, bin Fahad was focused on building a career in the navy and on taekwondo. He had realistic hopes of competing in the 1992 Olympics in Barcelona, he says. But a series of injuries put paid to both of those dreams, and left him wondering what to do next.  

He ended up studying business in San Francisco, where his accommodation was close to an art academy.  

“I’d pass by and see their work; that was the first time I was exposed to modern and contemporary art. And I realized, ‘Oh. So whatever I’ve been doing is probably considered some sort of art.’” He laughs. “That’s how I became aware of my ability to create artworks.” 

He has become known particularly for his intricate and colorful beaded works, often created by artisans from the Hausa tribe in Nigeria.  

“They have an interesting story,” he says. “They are Muslims, they study the Qur’an. But they kept the language of their tribe. They know all about Saudi. You can actually find descendants of the same tribe in Jeddah and Makkah. Back in the day, they travelled or went for Hajj and they never left. They stayed there for three or four generations.”  

Beyond the physical side of his work, however, he says the most important thing is that each piece tells a story.  

“I always say my medium is storytelling. I hate it when you show someone something and they say, ‘OK, what am I looking at?’ That means you definitely failed to show any emotion in your work. Like, I still make abstract paintings, and there is basically nothing to say about them. But people forget that there is an emotion when you look at something: you might feel happy, you might feel sad, you might be attracted to the colors. But if you look at any piece and you don’t get any idea in the first 10 seconds, then I failed.” 

Here, bin Fahad talks us through some of his most significant works. 

‘Delights III’ 

This series, “Delights,” came about during COVID lockdowns. I collect a lot of found objects, because they inspire me. I’d found these small gift boxes that used to have candy or nuts in. They come with different phrases on them, like, “May your day be filled with happiness and joy.” And there’s always a picture of shaking hands. The handshake is a universal gesture. And during COVID, we didn’t have that. People didn’t shake hands. Some people didn’t even see anyone. It was a dark time. So I thought, “OK, what if we had something in people’s homes, to give joy and a little hope?” First of all, I did a series of beaded works, and they were shown in an online art fair. Then this friend of mine who is a carpet maker had the idea of making carpets designed by artists from the GCC. And they chose me to represent Saudi. So, I designed this carpet. It’s this whole concept of hopeful, beautiful work that you can see every day and can give you good energy. It’s not an artwork; it’s part of the house. It’s living with you. 




‘Delights III’ 

 

‘Desert Kite’ 

This was created for Desert X AlUla. AlUla is so beautiful. You can’t compete with it. So I wanted something that would basically separate you from the environment; something with walls, so you don’t know what’s around you and you can basically listen to the environment — to silence. 

I have this fascination with history and heritage. There are these very interesting structures around the north west of Saudi and the south of Jordan: desert kites. The first time they discovered them was, I think, during World War Two. They were flying over them. You only can see them from above. And I wondered what their purpose was. Some people say that they’re prehistoric animal traps from thousands of years ago, so my intention was to create something telling that story, so that little blue-green object inside? That’s like the bait — food or water. That makes the animal go inside. Then they’re trapped. And inside the sculpture (on the walls) are a lot of mythical animals: the Medusa, the eagle, the Sphinx — and they’re all trapped in there too. And inside you can sit and actually listen to silence, which is very unusual in a place that is open like that. It’s very interesting. 

One thing I really liked with this work was people’s interpretation of it. A lot of people said it looked like a keyhole — so it was the key to another culture or civilization; or it was the key between the sky and the Earth. I liked how people became their own curator. I’m happy to have people interpret my work the way they see it — as long as they get something out of it.  




‘Delights III’ 

‘Window’ 

This was for my project “The Red Palace.” It’s one of my dearest projects. It made me comfortable with what I’m doing. This was my first real installation work, and my first time really doing something conceptual — almost like theater. And it was my first project with the Hausa artisans. And it’s dear to me because it’s a building I was really inspired by — I always used to walk past it as a kid and I always loved it. It defined architecture in Riyadh and it’s central to the history of Saudi Arabia, whether as a royal palace or as a government building. Everything from the Forties or Fifties to the Nineties was run from that palace.  

The whole idea started with Diriyah Season. They wanted to do an exhibition, and I had this idea of doing a performance called “The Royal Dinner.” During that time, King Saud had three chefs, and they’d have a set menu. People think that, in Saudi Arabia at that time, it was all Bedouin. But no, we had sophistication. But nobody talks about it, and it’s not in in books. So I wanted to recreate this royal banquet to celebrate those behind the scenes; the labor that people don’t know about. I submitted this idea to the Ministry of Culture, and they approved it. So then I went and visited the palace, and I was like, “OK, this is much bigger than my idea, why don’t we expand it?” So we did a lot more, including “Window,” which has actually now been acquired by the Guggenheim Abu Dhabi. It’s another dear work to me, because each window was reclaimed from a region of the Kingdom. And it’s backlit, so it shows you how beautiful it would feel to be in those houses with those windows. And it unifies all the regions into one. Like a lot of my work, it’s also nostalgic. When you see those windows, you think back: “Oh, I remember the time when we were kids and playing here and there.”  




‘Window’ 

‘Trust’ 

These chairs were thrones for my “Red Palace” project. When I was looking into doing some beaded work — I wanted to do something in Africa, generally — I didn’t know how to get a contact. I saw I had an Instagram follower from Nigeria. I had no idea who she was. I just DM’d her, and asked if she knew anyone who could make beading work in Nigeria. She said she didn’t, but she could look into it. And she found someone. I showed them what I wanted to do — this was for “The Red Palace” — and while I was doing that, she messaged me and said: ‘Can I ask you a question? Why did you trust me to do this?’ I said, ‘Well, if you want something done, you have to trust someone.” Otherwise I’d have to have travelled myself, you know? When I told the curator this story, she said, “We have to call that piece ‘Trust.’” Because that’s what it was based on. This collaborative work we did, with workmanship like this, they don’t know how to create something new; they just work on what they know — they bead chairs traditionally. I needed to see if they could do it the way I wanted it to be. But that first collaboration led to a lot of other pieces, because they were open to the idea of doing it in a different form. That’s where the trust came from.  




'Trust'

‘Masallaci’ 

This work is very dear to me. It’s a giving-back-to-the-community work. It’s a beautiful story. During the time when I was doing “The Red Palace” and “Trust,” the Hausa people that were working with me, they work in a village next to Abuja in Nigeria. When they have work, they travel there from their villages and they rent part of the place they’re working in for accommodation. I asked them where they prayed. It kind of made me feel like responsible, like I needed to support the community that was working for me. So, I asked them to decorate part of the place they were working in as a mosque — in their own way, their own traditions, their own language; the writing you see is the Hausa language, not Arabic — in exchange for me renting the space for them, to pray and live and work, for a whole year. Everything inside the mosque is beaded, except the floor. Even the furniture. And they sent a turban for me — you can see it in the picture, a little white turban. The imam of the mosque in Nigeria wears this turban, so this was their gift for me. It’s one of my favorite works. And it was really a collaboration; they designed it themselves, I just gave them the idea. 

‘Laser’ 

This project was called “GWPOW” — which stands for Gulf War Prisoners of War. It’s about the Gulf War, but it’s also relevant to what’s happening now in Gaza. It’s about how life is stolen from kids who become soldiers when they’re supposed to be playing and living. They don’t take the decision, somebody else does.  

I was 19 during the first Gulf War. I wanted to volunteer but I couldn’t, because of my injuries — I’d just had my second knee surgery. So I ended up volunteering as a translator. I went and saw the prisoners of war. Some of them were younger than me. They were, like, 16. They didn’t know what they were fighting for. They were just pushed into the war.  

So this project was about the war, but it’s also thinking about those kids. They were supposed to be playing, not fighting. So I was thinking, ‘How can I portray those kids living during that time, in the desert, waiting to fight or to be killed?’ So this project became, like, a playroom for grownups. A recreation center in a war zone — everything is kind of childish. This is one of maybe six paintings I did as part of it, along with beaded works. It’s a pencil drawing, but there’s some collage on it, and some abstract painting, and some ink, so it’s mixed media. So the guy holding the lightsaber, that helmet looks like Darth Vader, but it’s not. It’s the helmet of Saddam Hussein’s Fedayeen corps. And I imagined these kids thinking of being a superhero.  




'Laser'

‘Possession’ 

I saw these people at the Prophet’s Mosque in Madinah. At certain times they open it for women, and they allow people to go privately. I was there with my mom and my family and there were screens, and there were these ladies touching the screens. And to me, it felt like, for them, they were in the highest stage of being possessed by religion, in a good way. Feeling invulnerable. They felt like they are connecting with the Prophet. I mean, I don’t know what it meant to them. I don’t know why they were doing it, but it felt so passionate. And it touched me. I felt like, if it gives them satisfaction, let them do it. It felt surreal to me — but I felt their passion.  

‘Once Was A Ruler’ 

This is a combination of different antiquities that were in the National Museum. I was working there at the time. I wanted to talk about something that is taboo. A lot of people think that these pieces are statues of gods. That’s why they’re hidden away. But at that time, these civilizations were not making big sculptures of their gods, they were making them of themselves. They were a sign of power. So I made it look like an X-ray, and I put human bones on it to show that they are human. They were once a ruler, yes, but a person, not a god.  




‘Once Was A Ruler’ 

‘R III’

“R III” means Ramses the Third. I did this in Egypt, at the Pyramids of Giza. Like with AlUla, this is a place I am in awe of. Like, I can’t compete with nature or with history, so I tried to work with it, complementing the place without actually trying to put my force or my creative energy in it. I was humbled in these places. So, I can’t compete with the Pyramids, but I tried to make something inspired by them. When you look at it from above, you see it has the seal of Ramses the Third. That seal has been found near AlUla, and that means he was probably there — not for fighting, but probably exploring, looking for copper or something — because the pharaohs wouldn’t usually let their seals be carried by others. So I wanted to show this bridge between Ancient Egypt and Saudi Arabia.  


IMF to begin review Egypt’s loan program on Tuesday

IMF to begin review Egypt’s loan program on Tuesday
Updated 11 min 20 sec ago
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IMF to begin review Egypt’s loan program on Tuesday

IMF to begin review Egypt’s loan program on Tuesday
  • Review is fourth under Egypt’s latest 46-month IMF loan program approved in 2022
  • Egypt had requested financing under the RSF since 2022, with hopes it could unlock up to an additional $1 billion

CAIRO: The International Monetary Fund will begin its review of Egypt’s loan program on Tuesday, Egyptian Prime Minister Mostafa Madbouly said on Sunday at a press conference with IMF managing director Kristalina Georgieva.
The review, which could unlock more than $1.2 billion in financing, is the fourth under Egypt’s latest 46-month IMF loan program that was approved in 2022 and expanded to $8 billion this year after an economic crisis marked by high inflation and severe foreign currency shortages.
Madbouly emphasized the mutual cooperation with the IMF, adding that Egypt “expects continued successful and fruitful partnership in the coming period.”
Georgieva also praised the fund’s cooperation with Egypt and highlighted the current global challenges.
She noted that the IMF’s discussions with Egypt next week will also look into ways of supporting the Egyptian objectives in the area of greening the economy and Egypt’s access to the Resilience and Sustainability Facility in the pursuit of this effort.
Egypt had requested financing under the RSF since 2022, with hopes it could unlock up to an additional $1 billion.
Egyptian President Abdel Fattah El-Sisi has recently cautioned that Egypt may need to reassess its expanded loan program if international institutions do not factor in the exceptional challenges the region currently faces.
Madbouly later said that talks with the IMF during the fund’s annual meetings in October did not include additional financing but aimed to reassess Egypt’s commitments, targets, and timings.
When the IMF completed its third review in July, it said that inflationary pressures were gradually abating, foreign exchange shortages have been eliminated, and fiscal targets (including those related to spending by large infrastructure projects) were met.
It also underscored the need for greater efforts to accelerate a program of divestment of state-owned enterprises and carry out reforms to prevent them from using unfair competitive practices.


At Riyadh Season, Pakistan Week draws over 300,000 visitors to art, music and cultural activities

At Riyadh Season, Pakistan Week draws over 300,000 visitors to art, music and cultural activities
Updated 4 min 54 sec ago
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At Riyadh Season, Pakistan Week draws over 300,000 visitors to art, music and cultural activities

At Riyadh Season, Pakistan Week draws over 300,000 visitors to art, music and cultural activities
  • The event was held from Oct. 30 to Nov. 2 during the annual Riyadh Season as part of the Saudi Global Harmony Initiative
  • It showcased vibrant performances by Pakistani singers, delicious food, clothing stalls, truck art and other activities

ISLAMABAD: Art, music, delicious cuisine and clothing fascinated more than 300,000 visitors during Pakistan Week at Riyadh Season, the Pakistani embassy in Saudi Arabia said on Sunday, adding the event was “well received” by local and expatriate communities in the Saudi capital.

Pakistan Week activities were held at Al-Suwaidi Park, located in the heart of the Saudi capital, from October 30 till November 2 as part of the Global Harmony Initiative under Riyadh Season.

The event featured vibrant performances by Pakistani artistes, delicious food, clothing stalls, and the iconic truck art from the South Asian country, attracting diplomats, top entrepreneurs and community members from both nations.

“Pakistan Week was well received by local and expatriate community in Riyadh as over 300,000 people visited colorful activities and arenas,” the Pakistani embassy told Arab News, adding that performances by leading Pakistani singers, drum maestros and schoolchildren as well as puppet shows and handicrafts captivated audiences with the diversity of Pakistani culture.

“The [Al-Suwaidi] Park was filled with food stalls, truck art, a play zone for kids and a cultural parade, which was a highlight of the event.”

The participants described the event as a “unique and unforgettable experience” as it offered a delightful blend of music, sports and culture.

“For the overseas Pakistanis in Riyadh, Pakistan Cultural Week in Riyadh was not just an event, it was a homecoming as it was a chance to reconnect with their roots, to share their culture with their Saudi friends and other global communities and to create lasting memories with their families,” Waqar Naseem Wamiq, a Pakistani expatriate working as a trade manager in Riyadh, told Arab News.

He said the vibrant atmosphere and the “sea of people” transformed the venue into a buzzing hub of entertainment and cultural exchange, setting a new benchmark for future events.

“Over 130,000 enthusiastic fans gathered to enjoy the performances by [singers] Ali Zafar and Asim Azhar on days two and three of Pakistan Cultural Week,” he said, adding that the overwhelming response not only highlighted the immense popularity of the singers, but also underscored the significance of cultural events in bringing together communities and fostering a sense of unity and celebration.

He said the meticulous planning and execution of the event by the Saudi General Entertainment Authority and the Ministry of Media left a lasting impression on everyone.

“Attendees lauded the Saudi hosts for their warm hospitality and dedication to creating an inclusive and engaging atmosphere,” Wamiq added.

Ali Swati, who owns Traditional Taste Restaurant in Riyadh, said his stall at Pakistan Week featured ‘matka tea,’ ‘samosas,’ ‘biryani’ and other Pakistani dishes.

“Visitors loved these items so much that they placed numerous large orders for home delivery to be fulfilled after the festival,” he told Arab News.

Swati said Arab and other expatriate communities showed “great interest” in Pakistani food, appreciating its taste and diversity.

“It was a great opportunity for our business as it introduced our restaurant to many people and will help attract more customers to our outlet in Riyadh,” he said.

Another Pakistani expatriate, Muhammad Naveed, who works as an engineer in Riyadh, said the seamless blend of diverse cultural performances and activities not only entertained attendees, but also fostered a sense of unity and appreciation for the rich tapestry of cultures present.

“This exceptional effort by the Saudi hosts and organizers has set a new standard for cultural events, demonstrating their unwavering commitment to bringing joy and fostering community spirit,” Naveed told Arab News.

“The presence of celebrated cricketers, Shoaib Malik, Shadab Khan and Sarfraz Ahmed, added a touch of sporting excellence to the event as their participation not only boosted the spirits of the fans, but also highlighted the importance of sports in cultural celebrations.”

Besides the performances, he said, the week was full of a variety of cultural activities that showcased the rich heritage of Pakistan.

“From traditional dance performances to art exhibitions, every aspect of Pakistani culture was on display, providing a holistic cultural experience,” Naveed added.

The Kingdom recently launched the Global Harmony Initiative to celebrate the diverse nationalities and cultures of its residents by exploring their lives, contributions and cultural integration.

The initiative, a collaboration of the Kingdom’s General Entertainment Authority, Ministry of Media and the Quality of Life Program, has been featuring events that showcase cultures, cuisine and heritage of countries such as Pakistan, India, Malaysia, Indonesia and others.


Saudi Arabia calls for robust action against land degradation

Saudi Arabia calls for robust action against land degradation
Updated 23 min 54 sec ago
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Saudi Arabia calls for robust action against land degradation

Saudi Arabia calls for robust action against land degradation
  • Kingdom’s incoming UNCCD presidency aims to increase the number of participating countries and the ambition of their goals
  • More than 71,000 square km of land expected to face deterioration before the Dec. 2nd start of the conference

RIYADH: Saudi Arabia is encouraging urgent action to combat drought, as vast areas of land — larger than the size of Ireland — are projected to face degradation globally in the near future.

With less than one month remaining until the 16th session of the Conference of Parties of the UN Convention to Combat Desertification begins in Riyadh, the Kingdom’s incoming UNCCD presidency has urged the international community to take decisive measures on drought resilience and land restoration. 

Recent data underscores the urgency of this appeal, with more than 71,000 square km of land expected to face deterioration before the Dec. 2nd start of the conference, according to the UNCCD. 

“COP16 in Riyadh is a critical moment for the international community to address land degradation if we are to meet the UNCCD target of restoring 1.5 billion hectares of land by 2030,” said the Deputy Minister for Environment at the Ministry of Environment, Water and Agriculture and adviser to the COP16 presidency, Osama Faqeeha. 

Faqeeha added: “As the hosts, we are calling for all parties to come to Riyadh ready to increase their ambition by strengthening land restoration targets, bolstering drought resilience initiatives, and enhancing land tenure rights.” 

Since 2015, countries have been aligning with voluntary Land Degradation Neutrality targets as part of the UN Sustainable Development Goals. 

Over 130 nations have engaged in the LDN Target Setting Programme, with more than 100 already defining their objectives.

Saudi Arabia’s incoming UNCCD presidency aims to increase the number of participating countries and the ambition of their goals. 

The UNCCD has estimated that more than $44 trillion in economic output, representing over half of global gross domestic product, is moderately or highly dependent on natural capital. 

Restoration investments are highlighted as economically beneficial, with projections that each dollar invested could yield up to $30 in returns, presenting a significant opportunity for a trillion-dollar restoration economy. 

COP16 in Riyadh will mark the first time the UNCCD will introduce a Green Zone, a dedicated space for businesses, scientists, and financial institutions, as well as NGOs, the public, and impacted communities to collaborate on sustainable solutions. 

The conference will also feature seven thematic days focused on key topics such as land restoration, governance, and agri-food systems, as well as resilience, finance, and advancements in science, technology, and innovation. 


Oman’s oil exports hit 230.6m barrels by September: official data

Oman’s oil exports hit 230.6m barrels by September: official data
Updated 36 min 14 sec ago
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Oman’s oil exports hit 230.6m barrels by September: official data

Oman’s oil exports hit 230.6m barrels by September: official data

JEDDAH: Oman’s oil exports totaled approximately 230.6 million barrels by the end of September, averaging $82.60 per barrel and accounting for 84.6 percent of total production, which exceeded 272.4 million barrels.

According to statistics from the country’s National Center for Statistics and Information, as reported by the state news agency, oil exports increased by 0.1 percent compared to September 2023, when total exports were nearly 230.3 million barrels. This rise occurred alongside a 5.1 percent decrease in production, which was recorded at over 287 million barrels during the same period last year.

Total crude oil production declined by 6.7 percent, reaching over 208.5 million barrels by the end of September, while condensate production saw a slight increase of 0.6 percent, totaling more than 63.86 million barrels. The NCSI noted that the average daily oil production was 994,200 barrels through the end of September.

The World Bank forecasts Oman’s economic growth will rise to 2.7 percent in 2025 and 3.2 percent in 2026, driven by a rebound in oil and gas production as the Duqm refinery reaches full capacity, alongside a revival in agricultural and construction activities and a strong services sector.

The report also indicated that inflation is expected to remain low, averaging 1.3 percent from 2024 to 2026, largely due to the country’s currency being pegged to the US dollar and regulated fuel prices.

According to the Oman News Agency, China was the top importer of Omani oil, with imports totaling approximately 219.6 million barrels, marking a 4.5 percent increase compared to September 2023.

Japan followed with nearly 4 million barrels, a decline of 46.4 percent, while South Korea imported around 3.8 million barrels, an increase of 31.8 percent. Exports to India totaled 2,002,000 barrels, down 26.3 percent.

Overall, Oman’s oil exports during the first half of 2024 increased by 0.3 percent to 153,362,300 barrels, with the average price per barrel at $82.20, according to the NCSI.

Oil exports constituted 84.6 percent of the total oil production volume, which was over 181 million barrels, down 5.3 percent from 191.4 million barrels in the same period in 2023. Total crude oil production also fell by 7.4 percent to over 138.7 million barrels by the end of the first half of 2024, while oil condensate production rose by 2.3 percent to 42.5 million barrels. The average daily oil production at that time was reported at 842,700 barrels. During this period, China remained the leading country importing oil from Oman, with nearly 148 million barrels.


UNESCO chair hosts translating cultures workshops

UNESCO chair hosts translating cultures workshops
Updated 59 min ago
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UNESCO chair hosts translating cultures workshops

UNESCO chair hosts translating cultures workshops

RIYADH: The UNESCO Chair in Translating Cultures at the King Faisal Center for Research and Islamic Studies, supported by the Literature, Publishing and Translation Commission, recently hosted three online workshops.

The workshops were attended by members of the Translating Cultures Lab and researchers with an interest in translating cultures.

The lab unites renowned scholars and early-career Saudi researchers to publish papers on the 2024 theme, “Rethinking Translating Cultures and its Conceptual Framework,” focusing on knowledge transfer and translation in the Global South.

At the workshops researchers presented papers and received feedback from lab members to refine them for publication.

In the first two workshops, six papers were presented, addressing issues in translating cultures, including cultural narratives, religious concepts such as “mahr” in Islam, and humor translation in modern Saudi literature.

Other topics included foreignizing and domesticating Arab culture in translation, translation as knowledge transfer, and translating Plastic Arts into Arabic.

The papers were presented by scholars from King Khalid University (Saudi Arabia), Indira Gandhi National Open University (India), Jagiellonian University (Poland), Mohammed I University Oujda (Morocco), the Catholic University of America (US), and an independent Australian researcher.

The third workshop reviewed papers for an edited volume by the Translating Cultures Lab on the theme of “Rethinking Translating Cultures.”

The UNESCO chair views “translating cultures” as a concept tied to broader debates in the humanities, regarding it as a continuous process involving translation, cross-cultural communication, and knowledge sharing.