Latest news with #ArtBasel
Al Arabiya
4 days ago
- Entertainment
- Al Arabiya
Saudi art is becoming ‘active voice' in global contemporary circles: Lulwa al-Hamoud
Saudi art is not only gaining recognition within contemporary art circles but is also 'becoming an active voice in the evolving dialogue around art and technology,' Saudi artist Lulwa al-Hamoud told Al Arabiya English, as she debuted new work at The Digital Art Mile during this year's prestigious Art Basel in Switzerland. At a time when Saudi Arabia's cultural identity is rapidly evolving, al-Hamoud stands at the forefront of a growing wave of artists who are blending tradition with cutting-edge technology – and finding global resonance. 'Being part of The Digital Art Mile during Art Basel is a meaningful milestone in my artistic journey as a Saudi artist,' she said. 'This moment signifies that Saudi art is not only gaining recognition within contemporary art circles but is also becoming an active voice in the evolving dialogue around art and technology,' she added. The Digital Art Mile, an emerging satellite of Art Basel, is a platform spotlighting artists working at the intersection of digital art, artificial intelligence, biotechnology, and poetry. Bridging the ancient and the futuristic At Art Basel, al-Hamoud presented new pieces that continue her exploration of Arabic geometry and coded language. Her work, which is grounded in Islamic art traditions, reflects a philosophy that bridges the ancient and the futuristic, she told Al Arabiya English. 'The Language of Existence series is my life's project – an evolving body of work in which I create new geometric codes for each Arabic letter, based on their numerical values arranged within a mathematical square,' she said. 'The pieces exhibited at Art Basel reflect this evolution – they center around the word 'READ', presented in different ways that cannot be traditionally read, but perhaps deciphered or felt. It's a visual irony that invites viewers to engage beyond language.' This latest body of work also incorporates elements of AI and biotechnology – mediums she described as both a challenge and an opportunity. 'My participation in an exhibition that fuses AI, biotechnology, and digital poetry reflects my ongoing interest in dissolving the boundaries between the machine and the human touch,' she said. 'I generate coded forms digitally, then translate them by hand – printing them onto hand-painted canvases to create works that are unique in both style and texture.' Saudi creatives on the global stage Al-Hamoud is among a new generation of Saudi artists reshaping how the world perceives the Kingdom's creative output – and she sees this evolution as both deeply authentic and internationally significant. 'Saudi art is increasingly becoming an integral part of the international contemporary art scene,' she said. For al-Hamoud, the event represents not just a personal milestone, but a signal of the rising prominence of Saudi creatives on the global stage. She added: 'I'm proud to be among a generation of artists whose work has been collected by major museums, institutions, and auction houses – a recognition that reflects not only individual merit but also the growing global trust in Saudi artistic voices.' 'As my practice embraces multiple mediums, it naturally finds space across diverse platforms – from traditional exhibitions to cutting-edge digital contexts.' Her work continues to reflect a deep engagement with identity and heritage – themes that she believes are resonating strongly today. 'We are living through a remarkable moment – one where we're reconnecting with our heritage in new and awakening ways,' she said. 'Vision 2030 has inspired not only artists but the entire nation to look to the past for inspiration, and to create and innovate with the future in mind.' AI and art When it comes to technology's impact on artistic expression, al-Hamoud said she takes a measured, philosophical stance. 'Spirituality can be expressed through any medium – whether light, music, or digital tools. It's not about the medium itself, but how it's used and the intention behind it,' she said. 'When used with purpose, technology can become a powerful extension of an artist's vision – even a vessel for spiritual expression.' Beyond Art Basel After Art Basel, Al-Hamoud is turning her focus to education and community development through her Art Foundation and its physical center, ISDAR. 'This summer, I'm focusing on developing my Art Foundation, which supports and educates both local and international artists,' she said. 'Through this initiative, I hope to enrich the local art scene by fostering both conceptual exploration and practical development – creating a space for dialogue, experimentation, and growth.'
Wall Street Journal
25-07-2025
- Entertainment
- Wall Street Journal
Open Studio: Inclusivity Meets Rigor
New York Last year, during the whirlwind of Art Basel Miami Beach, a quieter fair cropped up just across the causeway in Miami's Design District. Unlike most of the other events taking place that week, there was little glitz and glam. And instead of boasting marquee names and astronomical price tags, the works on view were created by artists whom most people had never heard of, with costs that were approachable even for relatively penurious collectors.
The National
25-07-2025
- Entertainment
- The National
Wael Shawky shares his vision for Art Basel Qatar to help shape Middle East scene
When Art Basel announced this summer that it would make its Middle East debut with a Doha edition, the region's art scene was abuzz with excitement. Developed in partnership with Qatar Sports Investments and the cultural agency QC Plus, the inaugural Gulf fair is set to run from February 5 to 7. It will take place at the cultural hub M7 and around the Doha Design District in Msheireb, near landmarks including the National Museum of Qatar. Internationally-acclaimed Egyptian artist Wael Shawky was recently appointed as artistic director of the event. Alongside Art Basel 's global director of fairs, Vincenzo de Bellis, Shawky will head the fair's curatorial vision and help shape the gallery selection process. Shawky, who represented Egypt at the 2024 Venice Architecture Biennale, has been exhibited worldwide. His often satirical artworks blend history from non-western perspectives, ancient myths and contemporary critique. He believes the modern and contemporary art fair making a home in Doha is an opportunity to grow and shape the region's entire art scene, adding more than just commercial value. 'What I love about Qatar is there is always this idea of doing things on a bigger scale, creating something for the whole region, and this is what I like a lot,' Shawky tells The National. 'There is a need for a professional art market that we don't really have, and a need for professional galleries … in Egypt or Qatar, there are very few.' As the artistic director of Qatar Museums ' Fire Station, a residency programme for young creatives, Shawky says education and commercial goals must go hand in hand to build a healthy creative ecosystem. 'I'm honoured to take part in this first launch of Art Basel Qatar because it gives the responsibility to shape the art scene in the region,' he says. 'As an artist I know that as much as we have to have proper art institutions, we must also have proper art education, in order to have a proper professional market. 'I cannot convince the young generation to make art if they cannot live from it. This is something that must complete the cycle,' he continues. 'Part of the Art Basel Qatar programming will include Fire Station becoming a platform for educational programmes.' There will be a few differences between Art Basel Qatar and its international sister editions in Switzerland, Hong Kong and Miami. This inaugural event will be slightly smaller than the others and have a different format. Instead of the traditional booth model, galleries will create solo presentations responding to the fair's overarching theme, with a focus on fostering greater engagement with the artwork on show. While the selection process is still under way, about 80 to 100 international galleries will participate, spread across M7 and the Doha Design District, as well as public spaces in Msheireb, where they hope to offer additional programming, artistic performances and installations. 'What I'm trying to push a lot in this art fair is to have more Arab artists, which is a bit of a problem, because in the Arab world, we don't have a large amount of professional galleries that can apply to Art Basel,' Shawky explains. 'I also know many really great artists that don't have galleries. So that's a lot of the conversations we are having now, but we can think of it as a long-term project. 'Because each gallery is just presenting one artist, it will hopefully encourage them to bring the best, rather than just a mix of everything that can be sold,' he adds. 'Many artists I speak with are tired of art fairs. Sometimes galleries exhibit the work in a bad way. I don't want to blame galleries, but we want the artists to be more involved with the presentations again, for the sake of elevating the works.' The theme for 2026 will be Becoming, intended as a meditation on humanity's continuing transformation and the evolving systems that shape how we live, believe and create meaning. With the region's rapid development, and the new fair contributing to the art changing scene, it seems a fitting theme. The theme will capture how heritage and tradition intersect with modernity and technology, how once insular societies adapt to globalism, and how the seemingly endless growth of urban life is shaping our lives. 'For me, these types of developments are often connected to landscape both literally and figuratively,' Shawky says. 'They just develop from one system to another. I'm trying to look at this idea across the whole region – the idea of moving from Bedouin to tribal society to urbanism, for example. 'All the ways societies dream of moving from one system to a higher system – it's endless – so we've been looking for artists that explore this in some way.'
Buzz Feed
24-07-2025
- Entertainment
- Buzz Feed
Fake 'Lafufus' Are Flooding The Labubu Market – Here's How To Spot One
Chances are you've heard of Labubu by now – after all, celebs like Cher, Rihanna, David Beckham, Kim Kardashian, RuPaul (he dubbed his the 'LaRuRu,' of course), and Dua Lipa have been seen with the toy. Invented by artist Kasing Lun as part of his 'monsters' collection, the little toothy creatures are most often worn as a bag charm. Though 'Blind Box' Labubu pendants can sell for less than £20, choosing a specific version of the grinning gremlin is more pricey – one on Pop Mart's site will run you £164, while limited-edition collabs caused 'Bedlam' at Art Basel and have sold for hundreds of thousands at auction. No wonder fake Labubus, sometimes called 'Lafufus,' have flooded the market. This month, for instance, hundreds of fakes were seized in Ayrshire. But why are the toys so popular, and how can you spot a fake? Why are Labubus so popular? Speaking to HuffPost UK previously, Mandy Saven, a content director at consumer trends publication Stylus, said, 'The 'lottery' style of acquisition – what's in my blind box? Will I get the doll I desperately want? – provides a hit of dopamine that consumers are craving.' The limited runs and one-off collabs also provide 'a sense of rarity and exclusivity.' Then, there's social media 'hype' to consider – this 'turbocharged the Labubu appeal, and then algorithms did the rest,' Savern told us. Lastly, 'Labubu can tap into consumers' desire for nostalgia, reassurance and joy in these troubled times.' In other words, Beanie Baby-style collector frenzies combined with TikTok virality and simply the toothy-chic appeal of the charms have made them popular. How can I spot a fake Labubu? According to business insurance comparison site Bionic, there are four signs a Labubu is fake: 1) Packaging quality 'Genuine Labubu figures come in high-quality packaging with sharp printing, embossed logos, and secure seals,' Bionic told us. 'Poorly printed or flimsy boxes are a major red flag.' 2) Finish and detail 'Authentic Labubu figures have clean, precise detailing and consistent paintwork,' Bionic continued. Watch out for sloppy paint, uneven edges, or 'off' proportions. 3) Branding and stamps 'Check for the official Pop Mart and Kasing Lung markings, including serial numbers or authenticity stamps typically located on the base or packaging,' the insurance experts added. You should expect a 'Pop card' with the character name and illustration, along with a QR code and serial number, in the pack. 4) Pricing If the price sounds too good to be true, especially for a limited-edition Labubu, the pros say it's likely a fake. How many teeth does a Labubu have? All real Labubus have exactly nine fang-like teeth. If yours have more or less, that might also be a sign it's fake. Where can you buy an authentic Labubu in the UK? Pop Mart's official site is the most straightforward way to get a legit Labubu. But the company also works with TikTok on their own shop, Which? shared, while the consumer advocacy publication says you may also be able to nab yours from the 'Pop Mart Robo Shop pop-up on the fourth floor of Selfridges London.' The brand has also opened a new flagship store at 262 Oxford Street in London, while Pop Mart outlets are also available in Manchester, Birmingham, London, and Cambridge. The company's official vending machines, also known as Robo Shops, are in London and Reading. Pop Mart also has an Amazon storefront.
Campaign ME
24-07-2025
- Entertainment
- Campaign ME
How MENA's cultural ambitions are redefining global gravity
There is something quietly radical happening across the MENA region, not loud, not performative … rather, deliberate, layered, and unmissable for those who are paying attention. For decades, the Middle East has been viewed as a place of rapid transformation, but rarely as the origin point of global cultural influence. That narrative is shifting and fast. What we're witnessing now is more than a wave of development. It's a recalibration of global cultural gravity. The region once seen as pure-play importing creativity, is today shaping new futures through global partnerships. In the past 18 months alone, we've seen announcements and activations that would've seemed improbable a decade ago: Art Basel landing in Qatar, Guggenheim Abu Dhabi in the capital, teamLab Inc. opening in both Jeddah and Saadiyat, Zegna hosting Villa Zegna in Dubai. Disney the newest entry in the heart of Abu dhabi with Miral Destinations. What we saw a few years ago as a strategic play with Formula 1 and the region making a move for 4 key races, we now see a similar yet catalytic shift happening across cultural platforms. But this is not just about quantity. This is about long-term cultural authorship. As someone who works at the intersection of culture and strategy, I see the through line: some would call it event making, but to me it's identity-building. The cultural capital: From access to soft power It's easy to reduce these headlines to checklists. A museum here. A fashion activation there. A film festival and some regional names. But behind these launches is a deeper more tectonic strategy: Saadiyat Island has a deep civic manifesto and how it aims for long-term value generation for the capital. teamLab Phenomena known for their global exhibits, takes to softer architecture and deeper storytelling all rooted in local landscapes. Villa Zegna in Dubai, automatically legitimising the city as a stage for global fashion brands to rethink how and where they show up. This isn't the first time that MENA has hosted major events or brought in cultural cachet, but what's different now is the tone and the intentionality. Previously the region leaned in heavily on spectacle, the message was 'bring the world here'. Now there's a subtle pivot, 'Lets co-create for the world, from here'. Arab-futurism: The aesthetic of the cultural shift We are not playing cultural catch-up. It's a new visual and philosophical vocabulary emerging from the region. What we're seeing is unabridged, unapologetic Arab-futurism in its purest form. Threading heritage with hyper speed innovation, It lives in the architecture of the Guggenheim, the digital surrealism of teamLab, the sonic language of MDLBEAST, and the artistic experimentation of Alula's desert exhibitions. It is speculative. It is cinematic. It is rooted in history yet never nostalgic. Arab-futurism appears as a look, but in essence it is a lense. A confident creative narrative that emerges from a deep place of self awareness and collective imagination rising in the region. Its a viral aesthetic, it's on your feed, its Saint Levant meets Huda Beauty for Kalamentina. Its showing up in how cities are being built, how platforms are being designed, and how stories are being told. Its built-culture over borrowed-culture. Why now? And why this rapid? Three converging forces are making this moment possible: A generational unlock: Across the region, young, globally-aware populations are demanding culture that reflects them and what the region stands for. Diversification with vision: National mandates like Saudi's Vision 2030 and the UAE's creative economy framework treat culture as core economic infrastructure, and not a side hustle. A blueprint we have seen prevail in global cultural centers like Paris or London. Reputation as strategy: Culture builds narrative capital. Museums, racetracks, festivals, biennales, they're not just for entertainment. They are narrative powerhouses, when optimised … … and the region is playing the long game, nothing is short-term here. Look at the success cases: A 20 year old legacy for Qatar Museums with public commissions, robust programming, infrastructural marvels, public-private patronage, content pipelines, and a growing strategic ambition for the future. This is generational planning. What this cultural shift means for global brands and creatives Brand marketers can look at this as a 'regional opportunity' in-the-here and the-now or as a much larger global reframing, that will impact the messaging, the activations, the budgets and eventually the seat of power for the brand itself. If you're still showing up with one-size-fits-all toolkits, you're already behind. For creatives, the region offers budget, boldness, and belief in imagination. We are finally not just a stopgap between New York and London. This is true creative capital in the making. While mature markets still dabble with cutesy photo ops, tennis court takeovers and matcha art cafes, our creatives are rewriting destination marketing through big, bold and bullish ideas, from Sharjah to Diriyah. You would think the Middle East is catching up, but instead it's the world catching on. The region is no longer a backdrop for borrowed stories. It moves with a quiet confidence, beyond the noise and the novelty, towards a bold vision stitched into the civic fabric. Culture isn't coming here to perform, it's coming here to evolve. It's time that culture got a new epicenter. A creative, unapologetic reframing of what the future can look like when it's rooted in identity, not imported in pieces. By Saheba Sodhi, Global Head of Strategy & Experiential, MCH Global
