Omani pavilion wins award at London Design Biennale
Muscat – Oman's pavilion – titled 'Memory Grid' – has won the Best Design Award at the opening of the London Design Biennale 2025 last week. The recognition marks a significant achievement for the sultanate in its debut participation at the global cultural platform.
The pavilion has been designed by multidisciplinary artist Haitham al Busafi and curated by the Zawraq Collective. Commissioned by the Ministry of Culture, Sports and Youth, the project reflects the ministry's broader efforts to promote artistic and intellectual creativity among Omani youth. Haitham al Busafi
'Memory Grid' explores the ideas of memory, value and preservation in a fast-changing world. Visitors are invited to observe how perception shifts with perspective, with meaning transforming depending on how closely or distantly the work is viewed.
Drawing inspiration from Oman's pottery traditions, the installation reimagines ancient clay vessels – once vital for carrying water and connecting communities – as symbols of cultural memory. The pavilion presents these traditional forms as metaphors for protecting what is valued, both in the past and present.
In a modern context, the installation proposes that data is the new essential resource – requiring safeguarding much like water once did. Through the immersive experience, visitors are encouraged to reflect on how heritage, knowledge and identity are passed through generations.
The project represents how traditional symbols can guide modern questions about preservation. The win at the biennale highlights Oman's increasing engagement with contemporary art and design on a global stage.
The Ministry of Culture, Sports and Youth said the pavilion represents the strategic direction to elevate creative output by young Omanis to international platforms.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Muscat Daily
8 hours ago
- Muscat Daily
Omani filmmakers win top honours at Tunisian film fest
Muscat – Two Omani filmmakers have won top awards at the International Environmental Film Festival of Gabes in Tunisia, marking a significant achievement for Oman's growing film industry. Mohammed al Darwish received the Pomegranate Golden Award for Best Picture for his documentary Beta Carotene, which explores Oman's unique natural landscapes and the role of marine bacteria in the formation of mysterious inland lakes. The 12-minute film, combining live-action footage with animation, was selected from among over 145 submissions, with only 15 films making to the final competition. 'It took longer than expected because I wanted to undertake research and travel for the film,' said Darwish. 'I have always loved documentaries. I shot the scenes slowly and often took breaks. I wanted to create something distinct.' Darwish used a combination of cameras, including Canon 5D, Blackmagic, and GoPro, along with 11 different types of lenses – ranging from zoom to wide and prime. He also deployed drones for aerial shots. Post-production involved editing and colour grading using Adobe Premiere and DaVinci Resolve. The film was produced by the Oman Film Society, with support from assistant director and editor Hussain al Balushi, and scriptwriter Mohammed bin Khalifa al Rasbi. Abdullah al Raisi won the Pomegranate Silver Award for Best Film for his documentary Wetlands, which focuses on environmental themes. 'Winning this award motivates me and hopefully others to take risks, embrace innovation, and use cinema to tell our stories in new ways,' said Raisi. The Pomegranate Bronze Award was presented to Sardinelles une responsabilité from Tunisia, while I Will Not Leave Her from Yemen won the Best Production award. The annual festival in Gabes highlights environmental cinema and this year's edition featured entries from around the world, reinforcing the region's increasing recognition in global filmmaking.
Observer
10 hours ago
- Observer
How the Labubu becomes an unexpected cultural phenomenon even in Oman
I still remember the look on my face the day I met a friend for lunch and, in the middle of ordering, she pulled out what I first called an 'ugly doll'. Honestly, I thought she had brought along something kids would play with – a weird, slightly creepy plushy with a strange face. I didn't quite get the fuss until she held it up, dramatically, dressed in an outfit that looked straight out of a high-end boutique. Complete with Dior-inspired attire, a tiny stylish hat, and a tiny bag, this wasn't just any doll. It was a Labubu, and apparently, it's become quite the thing in Oman lately. That moment sparked a curiosity that's only grown since. Later that day, on our way to another shop in The Village mall, I stopped at a small store where the owner grinned and told me the dolls were flying off the shelves. He said it was his first time importing them, and they come in all colours — from the sweet pink to a bubbly blue, and the classic mocha brown. Some have freckles; others have sharp little teeth that make them look a bit mischievous. Once you see one, you can't unsee them. They seem to be everywhere now, popping up in social media stories, cafes, and even on family outings. A PR friend of mine, who's quite active online, admitted she has her own Labubu now. She's dressed it up in mini versions of designer outfits and shared snaps of it out on coffee dates and during her trips outside of Muscat. It's astonishing how these little figures have gained such popularity, with some people even taking multiple ones along on their errands. The store owner estimated the prices vary depending on how customised you want them, starting at around 15 Omani Rials and going up to 50 for fully personalised designs. The more intricate the outfit, the higher the price tag. Pieces specifically inspired by global fashion brands — like Dior, Gucci, or Louis Vuitton — are catching the eye of trendsetters. How the Labubu becomes an unexpected cultural phenomenon even in Oman How the Labubu becomes an unexpected cultural phenomenon even in Oman How the Labubu becomes an unexpected cultural phenomenon even in Oman Tracing the Origin of Labubu: From Niche Collectible to Oman's New Obsession So, where do these dolls actually come from? Although their rise in Oman is recent, Labubu has roots in online toy communities elsewhere. Initially created as quirky collectibles on social media, the dolls gained traction in the Middle East around 2022. Some conspiracy theories suggest they originated from small boutique creators in Japan or South Korea, but their current branding is heavily influenced by social media influencers and customisation enthusiasts. In Oman, their arrival coincided with the explosion of local Instagram and TikTok accounts showcasing mini fashion shows for their Labubu collections. The trend was aided by online forums and groups dedicated to custom-built toys. Many users have shared their stories about making the dolls unique, from adding tiny sunglasses to crafting miniature clothes inspired by international fashion brands. While some see the dolls as harmless fun, others in the online sphere debate their meaning and cultural impact. Critics on social forums argue that the trend might be superficial and promote materialism, especially among teenagers. Some social critics have voiced concerns over the dolls potentially promoting superficial beauty standards if the outfits mimic high-end fashion so closely. More seriously, there are religious debates swirling around Labubu, with some calling the dolls 'haram' because they resemble idols or representations that could lead to idol worship — a concern voiced by some scholars and religious conservatives. Others argue that the dolls are simply toys and should not be linked to religious or cultural taboos. Such discussions have been amplified by news outlets and opinion pieces, which highlight the tension between modern trends and conservative values. How the Labubu becomes an unexpected cultural phenomenon even in Oman How the Labubu becomes an unexpected cultural phenomenon even in Oman How the Labubu becomes an unexpected cultural phenomenon even in Oman Business analysts point out the impact of this trend on the local economy. Small businesses that began importing Labubu are now seeing significant sales, especially among younger consumers eager to customise their dolls or gift them to friends. The trend has created a niche market, with some entrepreneurs even offering personalised clothing and accessories for Labubu dolls. Two Weeks In: The Trend Grows Weirder and Wider It's been a fortnight since that first encounter, and I've started noticing the trend circulating more intensely. On social media, a radio personality I follow had a heated debate about the dolls on her show. She called it 'just an experiment' and later showed it to her daughter, who initially disliked it but now appears to have grown quite fond of her own Labubu. This casual acceptance indicates a shift — it's no longer novelty but part of everyday life. Walking through the mall the other day, I saw one woman with six Labubu dolls hanging from her backpack straps while shopping — a colourful parade of pinks, blues, and browns. I even found myself contemplating buying one, just to see what all the fuss was about. But then I laughed to myself, imagining my pet at home treating the doll like a doormat. The trend, bizarre as it seems, seems to be here to stay. What strikes me most is how something so seemingly trivial can grow into a full-blown cultural phenomenon. The owners of these dolls are making good money, especially as customisation options become more elaborate and in demand. For many, Labubu has become a symbol of personal expression or even a status symbol — a small, quirky item that you can dress up and show off on social media. How the Labubu becomes an unexpected cultural phenomenon even in Oman How the Labubu becomes an unexpected cultural phenomenon even in Oman How the Labubu becomes an unexpected cultural phenomenon even in Oman While some dismiss the trend as silly and superficial, others view it as a harmless form of creativity and fun — a way to add some colour and light-heartedness to daily routines. After all, in uncertain times, isn't it refreshing to find small things that make us smile or spark conversation? As long as it's enjoyed responsibly and doesn't harm anyone, trends like Labubu can be a good reminder that sometimes, happiness comes in the smallest packages. So, whether you love it, hate it, or are just plain curious — one thing's for sure: the Labubu trend is here, and it's not going anywhere anytime soon. Maybe, next time you're out and about, you'll spot one hanging from a backpack, or maybe you'll be tempted to join in. After all, in a world full of worries, a colourful doll dressed in Dior might just be the happiness boost we all need.
Observer
a day ago
- Observer
Omani pavilion wins award at London Design Biennale
Muscat: Oman's pavilion – titled 'Memory Grid' – won the Best Design Award at the opening of the London Design Biennale 2025 last week. The recognition marks a significant achievement for the sultanate of Oman in its debut participation at the global cultural platform. The pavilion has been designed by multidisciplinary artist Haitham al Busafi and curated by the Zawraq Collective. Commissioned by the Ministry of Culture, Sports and Youth, the project reflects the ministry's broader efforts to promote artistic and intellectual creativity among Omani youth. 'Memory Grid' explores the ideas of memory, value and preservation in a fast-changing world. Visitors are invited to observe how perception shifts with perspective, with meaning transforming depending on how closely or distantly the work is viewed. Drawing inspiration from Oman's pottery traditions, the installation reimagines ancient clay vessels – once vital for carrying water and connecting communities – as symbols of cultural memory. The pavilion presents these traditional forms as metaphors for protecting what is valued, both in the past and present. Haitham al Busafi with his award In a modern context, the installation proposes that data is the new essential resource – requiring safeguarding much like water once did. Through the immersive experience, visitors are encouraged to reflect on how heritage, knowledge and identity are passed through generations. The project represents how traditional symbols can guide modern questions about preservation. The win at the Biennale highlights Oman's increasing engagement with contemporary art and design on a global stage. The Ministry of Culture, Sports and Youth said the pavilion represents the strategic direction to elevate creative output by young Omanis to international platforms.
