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Arab News
4 days ago
- Entertainment
- Arab News
Saudi artist Abdullah Al-Othman discusses work exploring linguistic architectural landscapes
DUBAI: In the Bawwaba section of the most recent edition of Art Dubai, Saudi artist Abdullah Al-Othman's installation 'Manifesto: Language & the City II' presented photographs and numerous illuminated signs and symbols in Arabic against two black walls, reflecting the urban signage one may find in Riyadh. For the latest updates, follow us on Instagram @ The installation was an evolution of a series that includes 2021's 'Manifesto: the Language and the City,' a multimedia installation exploring the linguistic and architectural landscape of Riyadh for the inaugural Diriyah Contemporary Art Biennale, which went on to be included in the Lyon Biennale in 2022, and 'Fantasy Land,' which Al-Othman created for the Sharjah Islamic Arts Festival in 2021 — a neon wall installation exploring themes of human experience and the shifts between reality and illusion. 'Language & the City II' pulsed with light and color and the expressive characters of the Arabic language made the viewer feel as if they were indeed on a bustling street in the Saudi capital. 'Language is akin to history — it's very deep,' Al-Othman tells Arab News. 'Through my research I realized how language is like a brand for a culture — it references history and people. I study the language that we find in cities. The documentation of language affects the architectural style in an urban environment and the relationship between people and their environment.' 'Language & the City II' was made from a variety of materials, predominantly neon signage, lightboxes and wooden advertising signs that were once hung in the streets of Riyadh. Al-Othman's installation brought them together to create a portrait of the city through its typographic, visual and architectural styles. Riyadh's identity, explains Al-Othman, is revealed through the language, style and vibrant colors of these lit symbols, offering a collective memory of a city in the throes of change. As an artist and a poet, language has always played an important role in Al-Othman's life. While he began as a writer, he arrived at a point where he could no longer fully express himself with words and turned to art, creating works that incorporate sound, found objects, sculpture, film and performance. In 2017's 'Suspended Al-Balad,' for the 21,39, contemporary art festival, Al-Othman wrapped an entire building in Jeddah's historic Al-Balad district, originally used as a shelter for widows and divorced women, with tin foil. Al Othman's intuitive approach to art creation leads him to organically move between and incorporate different mediums. Light is a significant element in his work, whether bouncing off tin foil or shining in neon to reflect the everyday urban environment of Riyadh. 'I want to create journeys for people to discover the importance of language,' says Al-Othman. 'Language is a deeply important part of being human.' Today Al-Othman continues to expand his research and art creation. He has recently published a book on his research supported by The King Abdulaziz Center for World Culture (Ithra) and the Saudi Cultural Development Fund. Presently he is creating sculptures out of various Arabic words from made from different materials for his latest project, 'Engineering the Incomplete.' 'In my artistic practice, I engage with language as an open field for analysis and reconstruction,' he writes in his statement for the new project. 'I begin from moments of absence — from missing letters and fractured words — treating them as signals of the fragility inherent in the symbolic systems we rely on to make sense of the world. 'Failure to achieve perfection becomes an essential part of creation, not a flaw to be corrected,' he continues. 'Incompleteness is not simply a void, but an active component that generates new, open-ended meanings. Each missing letter, each visual gap, forms an alternative path of reading and invites the viewer to reshape their relationship with language and the urban environment.' 'Engineering the Incomplete' uses the structure of the letter as an entity capable of both disintegration and destruction and therefore the resulting text as something that is unstable and constantly changing. 'My practice transforms language from a tool of communication into a material and temporal organism caught in the tension between structure and collapse,' Al-Othman adds. 'Through material techniques that draw from urban elements and the reconfiguration of textual spaces, my work seeks to highlight the continuous tension between the desire for expression and the inherent limits of linguistic possibilities.' Al-Othman says that 'Engineering the Incomplete' is not an attempt to restore what is lost, but an invitation to read absence, or lacking, as another form of presence and a new beginning. Incompleteness, he emphasizes, offers 'a way to produce new meaning and vision.'
Trade Arabia
21-05-2025
- Entertainment
- Trade Arabia
Ithra shines at debut Downtown Design Riyadh
The King Abdulaziz Center for World Culture (Ithra) is participating in the inaugural edition of Downtown Design Riyadh, the Kingdom's first fair dedicated to contemporary, high-quality design, with a presentation that highlights how its creative programs foster exploration, community engagement, and cross-disciplinary dialogue. At the event, which runs until until May 23 at JAX District, Ithra was a key voice in a dynamic panel discussion themed 'Fostering community in a fast-forward market.' The session explored the importance of building a vibrant design community and emphasizing the role of creative education, mentorship, institutional support, and cross-sector collaboration in empowering emerging designers as they shape the Kingdom's design landscape. Ithra's Creativity & Innovation Unit Head, Sultan Albadran, joined the panel alongside senior culture and design leaders from the Diriyah Biennale Foundation, the Saudi Artisanal Company and Iwan Maktabi, a legacy family brand specializing in antique and contemporary carpets, to share Ithra's contributions in design. Albadran touched upon Ithra's ongoing efforts to create opportunities for designers to push their creative boundaries, engage across disciplines, and explore new forms of expression. He spoke of the contributions made through Ithra's programs such as Tanween, Ithra's annual flagship design event, which have created spaces where experimentation is not only encouraged but translated into real-world outcomes. Some of these outcomes are on view for audiences to experience at Downtown Design Riyadh, in the form of three installations: Adeem, IWAN Pavilion, and Open Segments. Originally developed through Tanween, each piece explores the potential of design to bridge references from Saudi material culture with globally resonant ideas in spatial and product design. Ithra not only facilitated their creation, but has also extended their journey beyond Ithra's walls with their exhibition at Downtown Design Riyadh, building on previous showcases at Milan Design Week, Concéntrico International Festival of Architecture and Design in Spain and Dubai Design Week. The installations are accompanied by a public workshop series run by Ithra that has attracted participants of all ages and backgrounds. These are the only hands-on workshops taking place at Downtown Design Riyadh, and reflect Ithra's engagement-led approach to inspiring creativity. Sessions include modular folding structures, silkscreen printing, and sustainable packaging, offering participants opportunities to experiment with technique, explore form, and consider the role of design in addressing contemporary challenges. Reflecting on the fair, Albadran said: "Ithra is honoured to contribute to the inaugural edition of Downtown Design Riyadh, a historic milestone in the Kingdom's emergence as a global cultural hub. Our participation reflects Ithra's role within this thriving ecosystem, nurturing creativity and offering meaningful opportunities for designers to engage with global audiences."
Gulf Today
21-04-2025
- Entertainment
- Gulf Today
Iris Projects made debut in Art Dubai with Abdullah Al Othman's artworks
Muhammad Yusuf, Features Writer Contemporary art gallery Iris Projects had its debut participation in Art Dubai, unveiling a new large-scale, site-specific installation by Saudi artist Abdullah Al Othman (April 16-20). Iris Projects showed Abdullah Al Othman's work in the Bawwaba section at Art Dubai (Booth W4), curated by Mirjam Varadinis; the section highlighted artists from the Global South and Iris Projects was the only gallery from the GCC participating there. Manifesto: the Language & the City (2025) was a series of multimedia works originally conceived for the Diriyah Biennale (2011) and subsequently presented at the 16th Lyon Biennale (2022). In this most recent iteration, the artist continued to chronicle the linguistic and architectural evolution of Riyadh, commenting on the fluidity of language, architecture and collective memory, in times of transformation. Concurrently, Iris Projects is also presenting a solo exhibition by Al Othman in its gallery spaces in Abu Dhabi. Structural Syntax is curated by Irina Stark; it is Al Othman's first solo show in the UAE and is a commentary on fleeting nostalgia and vanishing collective history. The interplay between structural anatomy and language in the artist's work is 'akin to applying ultraviolet light to the skeleton of a building, deconstructing traditional forms to reveal new cultural narratives and systems of meaning,' says Iris Projects. The exhibition opened on April 18 in Iris Projects gallery, M_39, MiZa, Abu Dhabi. Iris Projects is the first commercial gallery to open in Abu Dhabi's MiZa cultural district. Al Othman's upcoming publication, Language and City, which spans five years of the artist's research, is also set for release this month. Lights shine brightly in Abdullah Al Othman's Structural Syntax. He says that 'architectural and linguistic identity has always been a source of inspiration and a special passion for me. It is not just a reflection of a place, but a living image of people's history, interactions, dreams, memories, and obsessions.' Maryam Al Falasi, Founder of Iris Projects, said that 'we are delighted to debut at Art Dubai with a site-specific installation by acclaimed Saudi artist Abdullah Al Othman. Known for his rigorous conceptual approach, he researches the site of advertising signs in Riyadh, and then recreates them to create an identity of the city, condensed from its typographic, visual and architectural identity. As the first commercial gallery to open in MiZa, Abu Dhabi, we're excited to bring this thought-provoking work to Dubai audiences ahead of Abdullah's highly anticipated first solo exhibition at our gallery.' Irina Stark, Curator of Structural Syntax, said that 'Al Othman's work reflects his broader interest in the relationship between language and form, exploring how visual elements can act as a means of communication, transcending the limits of spoken or written words. As part of this exhibition, he encourages the audience to decode the language of structure, inviting to engage with each piece as both an intellectual and emotional experience.' Abdullah Al Othman (b.1985) is one of Saudi Arabia's most innovative contemporary artists and a published author, renowned for his multidisciplinary approach to art. For nearly a decade, he has cultivated a visual language rooted in Arabian urban landscapes, architecture, and linguistic history. His monumental installations and sculptures archive and reinterpret the evolving symbolism and narratives that shape his environment. His practice spans drawing, sculpture, video, and large-scale installation, often incorporating elements of architecture and storytelling, to explore themes of identity, space, and the evolving cultural landscape of Saudi Arabia. His work has been exhibited internationally including Lyon Biennale, Desert X AlUla and Diriyah Biennale, among others. His recent works highlight a continued exploration of the intersection between language semantics, art and the built environment. He lives and works in Riyadh. Through Iris Projects, Maryam Al Falasi represents leading regional artists, manages multiple art and cultural projects throughout the UAE, and is a trusted advisor to top collectors. Through her work, she aims to connect regional artists with international audiences. In addition to her professional achievements, she is a renowned art collector, dedicated to preserving the history of the UAE through her personal archive; it has significantly enriched exhibitions and museums across the UAE. She holds a Bachelor's degree in History of Art and Archaeology from Sorbonne University in Abu Dhabi and has completed multiple courses at Sotheby's Institute of Art. Maryam Al Falasi is an influential speaker on the regional art scene, having participated in panels organised by Christie's and FIKR Institute. In 2022, she was recognised as one of the 50 Emirati Women Achievers by StartAD. She also serves as a brand ambassador for Skira and Museum Studio, and is a member of Young Arab Leaders. Irina Stark is a Los Angeles-based art advisor and curator, with a particular focus on the Asia Pacific region. In the last two consecutive years, she was included in ARTnews's lists of 'The Top 75 Art World Professionals' and 'The 135 Top Art World Professionals'. Prior to establishing her creative consultancy, she worked for over 15 years at leading European and American commercial art galleries and institutions. She holds an MA in Art History and Curatorial Studies as well as an MPhil in Geopolitics. Iris Projects represents a growing roster of both emerging and established contemporary artists from the GCC region. MiZa, an acronym for 'Mina Zayed', was built in the 1970s, within the working port of Abu Dhabi. The area is being re-imagined as a new home for Abu Dhabi's and the UAE's cultural industries.
CairoScene
11-04-2025
- General
- CairoScene
Threads of Hope & Madu Showcase Egyptian Crafts at Diriyah Biennale
Threads of Hope & Madu Showcase Egyptian Crafts at Diriyah Biennale Egyptian artisan collectives Threads of Hope (TOH) and Madu made their debut in Saudi Arabia this April as part of the Diriyah Biennale Foundation's cultural programme, introducing Saudi audiences to Egypt's rich traditions in embroidery, natural dyeing, and sustainable craftsmanship. TOH led two hands-on masterclasses for visitors: an embroidery workshop at the Diriyah Foundation's Turuq: The Many Ways of Food symposium, and a natural dye workshop at the Islamic Arts Biennale in Jeddah. Both events brought Egypt's artistic heritage into direct dialogue with regional culture, using craft to highlight shared values in Islamic art and design. The embroidery sessions, which took place over three days, invited participants to create hand-embroidered placemats, integrating traditional motifs and techniques. Hosted as part of the four-day Turuq symposium, which explored Arab culinary rituals from dawn to dusk, the workshops connected the visual art of embroidery with the cultural ritual of dining. In Jeddah, the natural dye workshop focused on the symbolism of fruits and plants in the Qur'an, using pomegranate skins, turmeric, and other natural materials to dye cloth pouches. The session was designed to quietly explore Islamic ideas of sacred nature while offering participants an accessible encounter with Egypt's textile traditions. Founded in Cairo, Threads of Hope is a social enterprise that trains and employs refugee and migrant women in a range of artisanal techniques, including embroidery, crochet, ajour, hand painting, and patchwork. The organisation also offers psychological, medical, and social support. 'It's about dignity, visibility, and giving their work the platform it deserves,' TOH shared. Their partner Madu, also based in Cairo, produces eco-conscious handmade products, many of which are crafted by TOH's artisans. At the Biennale, Madu presented a selection of sustainably made homewares and textiles, further positioning Egyptian craft within a contemporary regional design context. According to TOH, participation in the Diriyah Biennale Foundation was 'a big moment' for both collectives. 'For Madu, it's a chance to introduce Egyptian craftsmanship to a regional design audience — and show that these products carry not just beauty, but story and meaning. For Threads of Hope, it's an opportunity to showcase the talent and skill of the refugee and migrant women producing at TOH.' While the workshops marked TOH and Madu's first public engagement in Saudi Arabia, both collectives see this as the beginning of a larger journey—one that blends heritage and empowerment, tradition and contemporary relevance, as they work to expand their presence in the Kingdom and across the region.
