Landmark exhibition ‘Layered Medium’ brings six decades of Korean art to the GCC

Landmark exhibition ‘Layered Medium’ brings six decades of Korean art to the GCC
Chung Seoyoung, "What I Saw Today," 2022. (Collection of Seoul Museum of Art)
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Updated 16 May 2025
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Landmark exhibition ‘Layered Medium’ brings six decades of Korean art to the GCC

Landmark exhibition ‘Layered Medium’ brings six decades of Korean art to the GCC

DUBAI: The first large-scale showcase of contemporary Korean art in the Gulf Cooperation Council region, “Layered Medium: We Are in Open Circuits – Contemporary Art from Korea, 1960s to Today,” promises to be a transformative experience for audiences in the Middle East.

Co-curated by Maya El-Khalil of the Abu Dhabi Music & Arts Foundation and Yeo Kyung-hwan of the Seoul Museum of Art, the exhibition brings together a sweeping collection of artworks that explore the evolution of Korean contemporary art from its roots in the 1960s to the present day.

Held at the Abu Dhabi art gallery Manarat Al-Saadiyat from May 16 to June 30, the exhibition marks a historic cultural bridge between Korea and the region, offering insights into how Korean artists have responded to shifts in political landscapes, technological advancements, and the complexities of modernity.




Ayoung Kim, Still image from Delivery Dancer's Sphere, 2022, single-channel video, 25 min. (Courtesy of the artist)

“This exhibition is a testament to the power of art to transcend boundaries and ignite conversations across cultures,” said El-Khalil to Arab News. “It’s an opportunity for audiences to witness the dynamism and resilience of Korean art over decades of transformation.”

El-Khalil drew on her first experiences in Seoul, which she described as a “moment of discovery.” For her, the city revealed what she called “productive contradictions”: an art scene that was deeply specific to its context but spoke to universal experiences of urbanization, globalization, and technological change.

“This tension between specificity and universality became central to our curatorial approach. Rather than trying to explain Korean art, we wanted to create frameworks that would allow audiences to encounter works through shared experiences of inhabiting our rapidly shifting, technologically mediated worlds,” El-Khalil said.




Ayoung Kim, Installation view of Delivery Dancer's Sphere (2022) from the exhibition "What an Artificial World (National Museum of Modern and Contemporary Art,
Cheongju, Korea, 2024)." (National Museum of Modern and Contemporary Art, Korea, Photography Hong Choelki)

The exhibition begins with the immediate sensory experiences of the body, intersecting with social constructs of gender, nationality, and identity. From there it connects to cultural narratives of history and tradition before engaging with contemporary spatial realities of rapid urbanisation and precarious ecologies. It begins with its experimental phases in the 1960s, moving through the politically charged works of the 1980s, and culminating in the boundary pushing digital and multimedia explorations of today.

Yeo explained the curatorial decision. “We experience reality through our bodies, our social structures, and our physical and virtual terrains. By organizing the exhibition through this expanded sense of medium — as atmospheres of meaning-making — we created a framework that reflects circuits of experience: from our immediate bodily presence to our social relationships, to our navigation of built environments striated with power and control.”




Byungjun Kwon, Dancing Ladders, credit MMCA (2). (Supplied)

Among the standout works are installations that challenge conventional perceptions of space and time, multimedia projects that intertwine Korean folklore with digital storytelling, and large-scale sculptures that articulate the tension between tradition and innovation. El-Khalil spoke of parallels between Seoul and Abu Dhabi, citing rapid urbanization and globalization as shared narratives.

“Both cities are the product of rapid, accelerated development, each environment a remarkable narrative of transformation, though the stories are quite distinct: South Korea emerging after war and poverty, while the UAE grew quickly thanks to a clear vision and the discovery of natural resources,” she said.

“What’s really interesting is how artists in both places respond to similar changes like urbanisation or globalisation but from different cultural perspectives. Even though these changes seem global, they’re always shaped by local histories and ideas about the future. For example, Sung Hwan Kim’s ‘Temper Clay’ (2012), set in uniform apartment blocks, looks at the emotional and social impact of this kind of growth. These parallels allowed us to explore how different societies process similar transformations through different historical and cultural frameworks,” she added.




Ram Han, Room type 01, 2018. (Collection of Seoul Museum of Art)

The exhibition also highlights the impact of technological revolutions on Korean art, particularly in the realm of video and digital installations that emerged in the late 1990s. “Korean artists have always been at the forefront of exploring new media, often using technology as a medium to dissect cultural narratives and global dialogues,” said Yeo. “Their work is a testament to adaptability and forward-thinking—an open circuit that is constantly evolving.”

In addition to the main exhibition, “Layered Medium” features a series of panel discussions, workshops, and interactive installations aimed at engaging the community in dialogue about the role of contemporary art in shaping cultural identity and understanding. El-Khalil emphasized the importance of these community-focused initiatives: “We want this exhibition to be more than just a visual experience; it’s a platform for learning and cross-cultural exchange.”

As the first large-scale Korean art exhibition in the GCC, “Layered Medium” is poised to set a new standard for artistic collaboration between Korea and the Middle East. With its emphasis on dialogue, innovation, and historical reflection, the exhibition not only showcases the richness of Korean artistic expression but also reinforces the universal language of art as a bridge across diverse cultures.

“Ultimately, our hope is that visitors leave with a deeper appreciation for the complexity and beauty of Korean contemporary art,” said Yeo. “It’s about creating connections—not just between East and West, but across generations, mediums, and ideologies.”


Saudi Arabia’s Ithra launches open call for $100,000 art prize

Saudi Arabia’s Ithra launches open call for $100,000 art prize
Updated 25 July 2025
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Saudi Arabia’s Ithra launches open call for $100,000 art prize

Saudi Arabia’s Ithra launches open call for $100,000 art prize

DHAHRAN: Artists across the region are invited to apply for the Ithra Art Prize, with $100,000 up for grabs and the chance to have their work displayed at one of the Middle East’s leading cultural institutions.

The King Abdulaziz Center for World Culture (Ithra) announced the open call for the seventh edition, with the head of the museum calling it one of area’s “most generous and influential” art grants.

Artists from across the Arab world can submit their proposals via the Ithra website, with a deadline of Oct. 16. This edition will also, for the first time, recognize five finalists with production grants. Their work, along with the winning commission, will be exhibited at Ithra’s headquarters in spring 2026. 

Launched in 2017, the prize initially focused on Saudi and Saudi-based artists but was expanded in its fourth edition to include contemporary artists of Arab heritage across 22 countries.

Farah Abushullaih, Ithra’s head of museum, told Arab News it served as “an open invitation to artists to speak in their own voice.”

She said: “We’re looking for proposals that reflect depth, authenticity and a clear vision. What stands out is work that is intellectually grounded and emotionally resonant.”

Both new commissions and re-contextualized existing works are accepted, provided they are closely linked to the artist’s ongoing research and creative trajectory. 

Applicants must be aged 18 or older and of Arab heritage or residing in one of the 22 Arab countries. Both individual artists and collectives may apply.

“The prize is about expanding the region’s cultural conversations through bold, original ideas. Ithra is committed to supporting them every step of the way, from conception to creation and beyond,” said Abushullaih.

The Ithra Art Prize has played a pivotal role in advancing contemporary art from the region since its inception. Past winners have displayed their works at leading cultural events including Art Dubai, the Diriyah Contemporary Art Biennale and the AlUla Arts Festival.

Abushullaih said: “Ithra continually evolves its programs to reflect the changing artistic landscape and needs of the Kingdom and the region. In the case of the Ithra Art Prize, this goes beyond funding; we offer a platform for dialogue, critical thinking and meaningful cultural exchange.”

She added sustaining this impact was an ongoing commitment. “It requires long-term investment in artists’ development, authentic community engagement and creating opportunities for works to resonate, both locally and globally. We want Ithra to be a meeting place for cultures to interact, share, and grow,” she said.

Looking ahead, Ithra is already in discussions to present the winner’s work beyond Dhahran.

“Partnerships and collaborations have always been central to how we develop our programs and extend the reach of the artists we support,” said Abushullaih.

“We are in dialogue with institutions based in Saudi Arabia and internationally to explore ways for the seventh edition of the prize to be seen by a wider audience and experienced in new contexts beyond Ithra.”


‘Imprints in a Changing World’ — highlights from the 9th cycle of Misk Art Institute’s residency program

‘Imprints in a Changing World’ — highlights from the 9th cycle of Misk Art Institute’s residency program
Updated 25 July 2025
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‘Imprints in a Changing World’ — highlights from the 9th cycle of Misk Art Institute’s residency program

‘Imprints in a Changing World’ — highlights from the 9th cycle of Misk Art Institute’s residency program

RIYADH: Selected artists from the ninth cycle of Misk Art Institute’s residency program in Saudi Arabia discuss their work.

Sarah Aljohani 

‘When Mud Whispers’ 

 Sarah Aljohani's 'When Mud Whispers.' (Supplied)

A native of the Saudi coastal city of Yanbu Al-Nakhil, Aljohani has extensive experience of restoring and building traditional mud-brick houses, and she continued that practice during her residency, researching various schools of thought about restoring buildings, from remaining entirely faithful to the original to starting from scratch and modernizing, to a middle ground that uses both traditional and modern techniques. The latter is what Aljohani favors. 

“I found this connection between family and these schools of thought in restoration — and a saying we always hear in Saudi culture: that the father is the roof of the house.” The saying alludes, she suggests, to the notion that just as a ceiling protects occupants from the elements, a father protects his family. “But that element was missing for me within my home. I had to go back, to research and understand what the concept of ceilings are in mud-brick houses in order to understand what a father is for a family,” she says. “I asked myself ‘How do I build this missing element in my ceiling? Do I build it in a traditional way like they did before?’ But I’m not a man. So I’m not able to build — in this traditional way — that missing element (of the father).”  

Aljohani’s installation is a representation of the interior of a mud-brick house, but one filled with mirrors and with frames — some empty, some holding pictures or Qur’anic verses, all coated in the same coloring as the mud walls — sourced from Riyadh’s Haraj Bin Qasim market. It is her way of encouraging women to take on leadership roles in their own style.   

Bushra Aljumah 

‘The Sound of Growing Grass Awakened Me’ 

Bushra Aljumah's 'The Sound of Growing Grass Awakened Me.' (Supplied)

The Saudi artist’s mixed-media installation is based around childhood memories of the sunlight striking iron window guards with floral designs, creating an image on the floor. It centers on Najdi architecture — specifically windows and doors.  

“What I found when I began my research is that a lot of it was influenced by India and Spain, but I was sure that there must have been something authentic and native to the people of Najd. So I decided to look into local farmland and the types of flowers that grow exclusively in the Najd area,” she says. Those flowers include Al-Athel, Al-Arfaj, and Calligonum. “I wanted to study the sanctity of agriculture, and how a flower is transformed from a living thing and passed down quietly throughout generations, becoming something fixed within our intangible heritage and a symbol of Najdi architecture,” she says. “This project takes a contemplative look at how things transform, how symbols are created in Najd.” At the center of the work is a metal lantern, adorned with floral designs. As the lantern spins, it reflects the design on the walls, marking the passage of time.  

Gadeer Hamed 

‘Endless Reflections, A Journey Through Sketchbooks’ 

(AN Photo/Abdulrahman bin Shulhub)

In her installation, the Saudi artist invites audiences into her diaries. At the center of the work are 30 sketchbooks, suspended by transparent nylon string, each telling a story from her family history, including her mother’s memory of her childhood in Jeddah’s Albalad, or her father’s memories of wells that were found in his village, Mastorah, into which people used to whisper their secrets.  

The floating sketchbooks are reflected in a large mirror below, symbolizing the illusion of infinity in stories and the continuity of memories. “I used mediums including watercolor and threads because I wanted the materials to be soft, just like the recollection of old memories,” says Hamed. “Thread also represents connection and was also used by my grandmother to sew.”  

Marija Dava 

‘Garden of Forgotten Songs’ 

Marija Dava and her installation 'Garden of Forgotten Songs.' (AN Photo/ Abdulrahman bin Shulhub)

“I’ve been looking (into) how language is connected to the land, and how the land becomes an archive of memory, and how it becomes something tangible, and almost medicinal,” says the Lithuanian multidisciplinary artist. Her research explored ancient ritualistic practices including Ruqyah — the recitation of Qur’anic verses for healing and protection.  

Her resulting installation involved several elements, one of which was participatory — asking visitors to imagine that their language was about to disappear, and to write down a single word they would want to remember. Those words were written on calligraphy paper with ink made from saffron. “The wall becomes an archive of collective memory,” Dava says. The texts were also washed in small ceramic bowls and the water used to irrigate soil. 

“It’s about interconnectedness,” the artist says. “It’s like a full circle — a connection back to the land. That’s something that I really want to highlight in my work, because I see this as a global issue: how we are disconnected from the environment, from nature, from ourselves as well. Yes, technological advancements are great, but they’re also affecting our communication.” 

The studio also featured a wall of objects collected on Dava’s travels in Saudi, as well as a photo series based on the concept of breath. Working from the idea that God breathes life into every soul, the artist inhaled smoke and spoke, capturing the shape it made in an effort to create a visual representation of breath. The images were then silk-screen printed. She also created a sculpture based on the smoke shapes.  

Ayça Ceylan 

‘Sandland Oracle: Codes of the Ancient Future’ 

Ayca Ceylan’s ‘The Sandland Oracle, Codes of the Ancient Future.’ (Supplied)

“My idea occurred to me in a dream,” the Turkish performance artist and environmental writer tells Arab News. In that dream, which occurred earlier this year, she was in the middle of the desert writing a poem in the sand. Part of the poem read: “I am the daughter of the crescent dunes/ Voice of seashells/ Vessel of codes.” Not long after, she saw Misk’s open call for the residency. “I saw the Al-Dahna Desert, which looks like a crescent, and many sand dunes inside that. Ayca, my name, means ‘crescent,’ so the first line appeared in my mind,” she explains.  

During her residency Ceylan created a multi-layered installation in which she reimagines the desert as a living archive. The center of the experience is an AI- and animation software-generated video installation showcasing an abstract depiction of the desert infused with the Arabic letter ‘noon.’ The walls of the room are decorated with sand and 3D-printed seashells modeled after shells found in AlUla.  

“I focused on the wisdom of sands and how ecology, technology, and mythology create collective feeling and a sustainable future,” Ceylan says.  

James Wagstaff 

‘What Will It Cost You If You Don’t Forgive’ 

James Wagstaff's 'What Will It Cost You If You Don't Forgive' (Supplied)

The Muscat-based British artist wanted to focus on the topic of forgiveness in his residency. It’s a theme he’s been contemplating for the past 15 years, both personally and on a community level. “I wanted to explore that in a deeper way during this residency, through different mediums, particularly through everyday objects that we can all relate to, and maybe looking for a shared language,” he says. “So when (people from) different backgrounds and cultures, see the pieces, it will promote dialogue around the topic.” 

The installation features a video of Wagstaff throwing sand at a large fan. The particles disperse in the wind as they fly back at the artist — a symbol of the impact that holding onto anger has. 

“Every single time, (the anger we throw out) blows back and hits us. It’s only damaging and hurting ourselves,” says Wagstaff. The work also includes a sphere with knives welded onto it to show the damage that “unforgiveness” can cause. 

‘Sidr’ 

'Sidr.' (Supplied)

The French-Kurdish artist researched how different plants survive in various climates and landscapes, particularly in the valleys of Riyadh. She focused on the native sidr tree and the acacia, which is imported. She combined this with her interest in ceramics.   

“I created some tiles inspired by farms. I did some research on ceramics, because clay is the first medium we can find in the landscape. I focused the research on glazing with ashes and natural pigments,” Kocabey says. 

Her installation features a charcoal drawing of a valley she visited during the residency, as well as plants that she researched. On another wall hangs a series of her ceramic pieces with different glaze formulations, displaying the diversity of life around us.  

 


Review: ‘The Fantastic Four: First Steps’ sets stage, but struggles to lift off

Review: ‘The Fantastic Four: First Steps’ sets stage, but struggles to lift off
Updated 25 July 2025
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Review: ‘The Fantastic Four: First Steps’ sets stage, but struggles to lift off

Review: ‘The Fantastic Four: First Steps’ sets stage, but struggles to lift off

DUBAI: Director Matt Shakman ushers in phase six of the Marvel Cinematic Universe with “The Fantastic Four: First Steps,” a film that feels more like a promising prologue than a fully developed story. While it lays important groundwork for future storylines — especially a mid-credit sequence that earned big cheers from the audience — the movie never quite finds its own narrative momentum.

Set against a richly realized retro-futuristic palette, “First Steps” follows the titular superhero group — “Marvel’s First Family” — as they face off against the planet-devouring entity Galactus and his enigmatic herald, the Silver Surfer. World-ending stakes aside, the group also has to deal with some heavy personal issues as leading duo Reed Richards (Pedro Pascal) and Sue Storm (Vanessa Kirby) discover they are going to become parents.

The ensemble cast is undoubtedly the film’s greatest asset. Pascal brings a nervy, endearing edge, channeling the energy of a distracted genius always trying to be one step ahead of possible disaster. But it’s Kirby who steals the spotlight. She’s in control of every frame she’s in, giving Sue a gravitas that transcends the film’s otherwise uneven emotional beats. The chemistry between Pascal and Kirby is palpable and feels lived in.

Ebon Moss-Bachrach is effortlessly charming and grounded as Ben Grimm/The Thing, while Joseph Quinn delivers perhaps the most charismatic Johnny Storm/Human Torch we’ve seen on screen — cocky and impulsive, but never cartoonish. His dynamic with Julia Garner’s quietly compelling Silver Surfer adds depth to both characters.

Unfortunately, the cast can’t fully overcome a flat script or lukewarm direction. Despite the looming galactic peril, the story feels strangely tensionless. The pacing is off and the sense of wonder that usually accompanies Marvel’s bigger swings is absent. There’s a sense that “First Steps” is more interested in planting seeds for future crossovers than telling a compelling story.

There’s reason to be optimistic, though. If future installments can match the emotional depth of the cast’s performances and the breezy chemistry of its leads, the Fantastic Four may yet go the distance.


Recipes for Success: Chef Robert Rispoli offers advice and a tasty carbonara recipe 

Recipes for Success: Chef Robert Rispoli offers advice and a tasty carbonara recipe 
Updated 25 July 2025
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Recipes for Success: Chef Robert Rispoli offers advice and a tasty carbonara recipe 

Recipes for Success: Chef Robert Rispoli offers advice and a tasty carbonara recipe 

DUBAI: Born and raised in Pompeii, where his family owned a fish restaurant, Roberto Rispoli’s connection to food began early — not just as a profession, but as a form of storytelling.  

“For me, becoming a chef wasn’t just about loving food — it was about what food does,” he tells Arab News. “A simple dish can change someone’s mood, spark a memory, or bring complete strangers to the same table.” 

Over the past two decades, Rispoli has refined his Mediterranean cooking style in Michelin-starred restaurants across Europe, including time spent working under the renowned chef Alain Ducasse in Tuscany and Paris. In 2013, Rispoli earned a Michelin star for Mavrommatis in Paris — then the only Greek restaurant outside of Greece to receive the honor. Now based in Dubai, Rispoli is executive chef at Jumeirah Marsa Al-Arab, where outlets include the Italian restaurant Rialto. 

“My philosophy is simple: Cook with soul, respect the ingredients, and tell a story through every plate,” he says. “Food isn’t just about taste — it’s about identity, curiosity, and bringing the world to the table.” 

When you started out, what was the most common mistake you made?  

I often found myself rushing through recipes, trying to finish as quickly as possible rather than embracing the process itself. I’ve come to learn that true mastery comes with patience and precision, two essential skills in the kitchen. 

What’s your top tip for amateur chefs?  

One of the simplest yet most effective kitchen tricks I’ve learned is soaking garlic cloves in water for a few minutes. It makes peeling effortless, saving time and frustration. Another tip I appreciate is to store a whole truffle on top of uncooked risotto rice in an airtight container for two to three days. During this time, the rice gently absorbs the truffle’s natural humidity and aroma, preserving its character while enriching the grains with its essence. When you finally cook the risotto, the result is far more nuanced — deeply aromatic, earthy, and luxurious — a true expression of how technique and patience can elevate a dish from the inside out. 

What one ingredient can instantly improve any dish?  

Parmesan — or Parmigiano Reggiano, as we proudly call it in Italy. It’s one of the most treasured ingredients in Rialto’s kitchen. It’s incredibly versatile, whether shaved over fresh pasta, stirred into a risotto, or simply enjoyed on its own. Its complexity elevates every bite. Whether you’re preparing something rustic and simple or refined and elaborate, Parmigiano has the unique ability to bring harmony, structure and unmistakable Italian identity to the plate.  

When you go out to eat, do you find yourself critiquing the food?  

To a certain extent. First impressions in a restaurant are incredibly important. A warm, genuine welcome paired with a polished atmosphere sets the tone for the entire experience. I would say that around 30 percent of how I evaluate a restaurant comes from the service and ambience. They create the canvas on which the meal is painted. 

What’s the most common issue that you find in other restaurants?  

From a culinary perspective, I often find that chefs can fall into the trap of overcomplicating dishes, particularly when it comes to Italian cuisine, the true beauty of which lies in its simplicity — in letting exceptional ingredients shine, and in respecting tradition while expressing creativity with a light touch. Complexity should never overpower clarity. That’s where the magic of the cuisine lives. 

What’s your favorite cuisine or dish to eat? 

I’ve always had a deep appreciation for both Italian and French cuisine. Each of them is rich in heritage, yet distinct in character. One of my personal favorites from Italy is Spaghetti ai Ricci di Mare — sea urchin spaghetti. It’s a deceptively simple dish, but its intensity and purity of flavor capture the very essence of the Mediterranean. The sea urchin brings a luxurious brininess, and when paired with perfectly al dente pasta, creates something truly unforgettable. From the French repertoire, I’m drawn to dishes like Poulet à l’Albufera — delicate, refined and a true showcase of classical technique — and of course, a well-prepared beef tartare. What I love most about these dishes is the precision they demand and the balance they achieve. Whether Italian or French, it’s the harmony between boldness and restraint that continues to inspire me in the kitchen. 

What’s your go-to dish if you have to cook something quickly at home?  

Pollo alla Milanese — the classic breaded chicken cutlet. It’s wonderfully simple, yet incredibly satisfying. High in protein and quick to prepare, it doesn’t rely on elaborate techniques, but on quality ingredients and precision. When cooked just right — golden, crisp on the outside and tender within — it delivers comfort and flavor in a way that feels effortlessly timeless. It’s a dish that proves that elegance often lies in simplicity.  

What customer request most annoys you most? 

When guests ask to change the recipe significantly. It often disrupts the intended balance of flavors. And, more than that, it breaks the emotional connection and story behind each dish. 

What’s your favorite dish to cook and why? 

As a chef from the south of Italy, I have a deep love for tomatoes. For me, the tomato is a symbol of tradition, family and the Mediterranean way of life. What I find most inspiring is how something so humble, when approached with knowledge, care, and a touch of creativity, can be transformed into the hero of the plate. That’s the essence of great cooking — elevating simplicity into something extraordinary. 

What’s the most difficult dish for you to get right? 

Offal is one of the most technically demanding ingredients a chef can work with — and one that I deeply respect. Each type requires its own unique approach, with distinct preparation methods. To cook offal well demands skill, precision, patience and a deep understanding of culinary tradition. 

As a head chef, what are you like? 

I believe in leading with strength and heart. Discipline is essential — it creates structure and consistency in the kitchen — but I’ve never believed in leadership through fear. A kitchen should be a place of high standards, yes, but also of trust, mentorship and respect. For me, correcting a mistake is never about criticism, it is about teaching with intention. I strive to lead by example, to inspire with patience, and to guide each member of my team not only in their technical skills but in their growth as individuals. Every chef who steps into my kitchen is not just learning how to cook, they are learning how to think, how to lead, and how to take pride in the smallest details. My greatest reward is watching them evolve into confident, grounded professionals who carry integrity into everything they do. 

Chef Robert’s mezze maniche carbonara recipe  

 Raviolone alla Carbonara. (Supplied)

Servings: 1 

Portions: 1 

(Contains gluten and dairy) 

Ingredients:  

Pecorino 100g 

Egg yolk 60g 

Black pepper 5g 

Grana padano 50g 

Cream 200g 

Ventricina cooked 30g 

Other ingredients: 

Non-alcohol white wine 10g 

Extra virgin olive oil 10g 

Preparation:  

For the carbocream, blend all the ingredients together in a blender until smooth. 

In a separate pan, sauté the ventricina (cut into small squares) with extra virgin olive oil. Deglaze with non-alcoholic white wine and allow it to reduce. 

Meanwhile, cook the mezzemaniche pasta in boiling water until al dente. Drain and transfer the pasta into the pan with the sautéed ventricina. 

Toss everything together for a minute over low heat, then add freshly ground black pepper. Remove from the heat, stir in the carbocream, and mix well before serving. 

Plating: 

Plate the pasta in a stainless steel serving dish, then top with crispy ventricina and a generous sprinkle of grated parmesan cheese. 


Hungary ban an attempt to ‘silence’ Palestine supporters: Kneecap

Hungary ban an attempt to ‘silence’ Palestine supporters: Kneecap
Updated 24 July 2025
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Hungary ban an attempt to ‘silence’ Palestine supporters: Kneecap

Hungary ban an attempt to ‘silence’ Palestine supporters: Kneecap
  • Irish rap trio accuse authorities in Budapest of causing ‘political distraction’ after they are denied entry to play at popular festival
  • Group are famous supporters of Palestinian cause, accused Israel of war crimes

LONDON: Irish musicians Kneecap have branded their ban from Hungary a “political distraction” to “silence” support for Palestinians.

The rappers were due to perform at the Sziget Festival on Aug. 11, but have been banned from the country for three years over accusations of antisemitism.

Kneecap, famous for their support of the Palestinian cause, said in a statement their ban was a “further attempt to silence those who call out genocide against the Palestinian people.”

The statement added: “There is no legal basis for (the Hungarian government’s) actions, no member of Kneecap has ever been convicted of any crime in any country.

“We stand against all hate crimes and Kneecap champions love and solidarity as well as calling out injustices where we see it.”

In a post on social media platform X, Hungarian government spokesperson Zoltan Kovacs suggested the group would “seriously threaten national security,” and added: “Hungary’s government has moved to ban Kneecap from entering the country and performing at Sziget … citing antisemitic hate speech and open praise for Hamas and Hezbollah as justification.”

Kneecap caused controversy earlier this year after member Liam Og O hAnnaidh — who performs under the stage name Mo Chara  — displayed a Hezbollah flag at a concert. He is due to appear at a court in London on Aug. 20 charged with offenses under the UK Terrorism Act, which he denies. The band have stated they do not support Hezbollah or Hamas.

At Glastonbury Festival this year, Chara accused Israel of committing war crimes against the Palestinians.

More than 150 Hungarian artists and musicians signed a petition against Kneecap playing at Sziget. 

But festival organizers said the government’s ban was “both unnecessary and regrettable,” adding the group had “reassured us that their performance would not contravene either Sziget’s values or Hungarian law.”

The organizers added: “Sziget Festival’s values mean we condemn hate speech, while guaranteeing the fundamental right to artistic freedom of expression for every performer. Cancel culture and cultural boycotts are not the solution.

“We fear that (the) government’s decision announced today to ban Kneecap may not only damage the reputation of Sziget, but also negatively affect Hungary’s standing worldwide.”