Fingerprints of the Syrian war: How conflict affected Syrian art

Special Fingerprints of the Syrian war: How conflict affected Syrian art
1 / 7
Syrian artist Ahmad Elias at the opening of his art gallery in Riyadh this month. (Supplied)
Short Url
Updated 27 January 2025
Follow

Fingerprints of the Syrian war: How conflict affected Syrian art

Fingerprints of the Syrian war: How conflict affected Syrian art
  • Suffering ‘often becomes a powerful catalyst for impactful creative expression in era of rebuilding,’ Syrian artist Ahmad Elias says

RIYADH: Syria, where graffiti on one of Daraa’s walls was enough reason for a 14-year civil war to break out, causing distress and misery to the people in the country and outside its borders.

The civil war shattered all parts of Syria, once a thriving society with fascinating nature and rich history, and forced millions of people to flee the country for safer, more stable societies, carrying with their documents their memories of a place they once called home.

Syrian art was one form of expression for the people since the beginning of the war and continued to be after. Whether art is written or drawn, it carries a message, an emotion, or a story.

Ahmad Elias, a Syrian artist with more than 38 years’ experience in fine arts, has lived to witness the difference before, during, and after the war.

“It is natural for the average human being to be affected by the events around him, and it is more appropriate for the visual artist to be one of those most affected by his surroundings, as he is a being who carries delicate feelings and emotions and deals with images, formation and color,” he said.

Elias was born in Dayr Atiyah, Syria in the 1950s and has several years of experience during which he displayed his art in 14 local and international galleries.

“I am from a generation of artists who were taught by pioneers of fine art in Syria in the last century, most of whom studied art in Italy and Egypt,” Elias said.

“One of the most important professors whose guidance influenced me was Professor Afif Al-Bahnasi, may God have mercy on him, who used to direct us to benefit from the Arab and Islamic heritage.”

The Syrian artist told Arab News how his style was also influenced by other artists, especially during his early years.

“In my long artistic experience, I was influenced by the great artist Mahmoud Hammad, may God have mercy on him, who was the dean of the faculty of fine arts at that time. Through numerous exhibitions and shows, I developed my experience and introduced techniques specific to my art and style,” he said.

Elias was fortunate not to be directly exposed to the disasters of war and the unfortunate events that occurred in it, yet the significance of unfolding events still left a footprint on his work.

“Although I was not directly and tangibly exposed to the disasters of war and the unfortunate events that occurred in it, it affected my artistic works in terms of color connotations and expressive symbols; despite my keenness to keep such pains away from the artistic aspect of my works, which are characterized by a special abstract language,” he told Arab News.

Furthermore, artists who lived through the war and witnessed its horrors but did not leave Syria as refugees expressed the painful scenes in their own style, Elias said.

Some artists depicted the destruction and human suffering in a realistic way, others expressed the tragedy evident on the faces, and others depicted the sadness and pain in the faces of the bereaved and the crying of women and children.

“Many artists depicted and documented in their artwork the mass displacement and asylum movement fleeing death and destruction,” he said.

“Among those who left abroad and saw the death boats, they had tragic artworks depicting the boats struggling with the waves of the sea, including the human souls of women, men, and children, and telling many tragic stories and tales about the survivors of those horrors that make the body shudder and shake every conscience.”

Describing the devastation of war, Elias said: “The events of the war and its human tragedies will remain in the conscience of the Syrians, and the tragedy of the Syrians who were wronged with all kinds of injustice, abuse, displacement and destruction will remain a stain of shame in the history of those who claim to be civilized, humane and defend human rights.”

On the other hand, Syrian art is ancient and has a distinguished history that was demonstrated by Syrian artists at the beginning of the 20th century.

Artists have documented in their artwork all the events their country has gone through, all the great and tragic forms.

From Elias’s perspective, the artist is by nature “a witness and documenter of his era,” similar to a poet or a writer, and all arts, in all their differences, meet in common and unified orientations and goals, whether visual, literary or auditory. Each artist, he said, expresses themselves in their own language.

“Syrian fine art, with its deep roots and solid foundations, remains resilient despite the years of war and turmoil the country and its people have endured. These hardships will likely serve as a source of inspiration and a drive for rebuilding and renewal. Artists, as always, will stand at the forefront, as suffering often becomes a powerful catalyst for impactful artistic and creative expression,” Elias said.

“With the fall of the former regime in Syria, now consigned to the pages of history, beloved Syria will reclaim its noble, radiant, and cultured status. The foundations of a modern Syria will be built by the dedicated hands of its honorable citizens, with the support of its Arab brothers, led by the sisterly Kingdom of Saudi Arabia and its wise and visionary leadership.”


Italian brand Zegna to present its Summer 2026 collection in Dubai 

Italian brand Zegna to present its Summer 2026 collection in Dubai 
Updated 21 February 2025
Follow

Italian brand Zegna to present its Summer 2026 collection in Dubai 

Italian brand Zegna to present its Summer 2026 collection in Dubai 

DUBAI: Italian fashion brand Zegna is breaking tradition by unveiling its Summer 2026 collection outside the usual Milan Fashion Week schedule, opting for Dubai as the backdrop for its runway show.

The event is set for June 11.

“As a company that has always looked beyond, we are excited to bring the artistry of Made in Italy to Dubai for the first time,” said Gildo Zegna, chairman and CEO of Ermenegildo Zegna Group. 

“This is not just about a fashion show — it’s about reinforcing the strength of Italian craftsmanship on a global stage. Dubai today is the center of the world, a place where cultures converge, ideas flourish, and the future takes shape. It embodies the energy, vision, and innovation that define modern luxury,” Zegna added. 

“Milan will always be our home, and our partnership with Camera della Moda remains as strong as ever. But today, luxury is about movement, evolution, and embracing new perspectives. Dubai is the perfect place for us to tell the next chapter of our story.”

As part of the event, VILLA ZEGNA, the brand’s traveling concept inspired by the original home of Ermenegildo Zegna, will also make its way to Dubai. 

The previous editions took place in Shanghai and New York. 

 


Dubai takes center stage in John Krasinski’s ‘Jack Ryan’ movie

Dubai takes center stage in John Krasinski’s ‘Jack Ryan’ movie
Updated 21 February 2025
Follow

Dubai takes center stage in John Krasinski’s ‘Jack Ryan’ movie

Dubai takes center stage in John Krasinski’s ‘Jack Ryan’ movie

DUBAI: Dubai takes the spotlight in the high-stakes spy thriller “Jack Ryan,” which stars John Krasinski.

The Dubai Media Council confirmed in a statement on X on Thursday that filming in the city has officially wrapped.

Krasinski took to Instagram to express his gratitude and thank the people of Dubai for their support.

“So. Good. To be. Back! #JackRyanMovie is off and running!!! HUGE thank you to all the incredible folks here in Dubai for letting us kick off in epic fashion in your beautiful city! Here we go,” he wrote. 

Directed by Andrew Burstein and produced by Amazon MGM Studios, the latest installment sees Krasinski return to the role of Tom Clancy’s eponymous hero. He previously played the CIA analyst-turned-operative in four Amazon Original series.


Contemporary art at the Islamic Arts Biennale 

Contemporary art at the Islamic Arts Biennale 
Updated 21 February 2025
Follow

Contemporary art at the Islamic Arts Biennale 

Contemporary art at the Islamic Arts Biennale 
  • Curator Muhannad Shono discusses how contemporary works bridge present, past and future 

JEDDAH: “The role of contemporary (art) is to act as a link between the past, our present and this imagining of our future,” says Muhannad Shono, contemporary art curator at the second Islamic Arts Biennale in Jeddah, which opened in January and runs through May. 

Shono’s section of the biennale features 30 new commissions from local and international artists “giving shape to the theme,” which this year is “And All That is in Between” — drawn from a Qur’anic verse: “To Allah belongs the dominion of the heavens and the earth and all that is in between” — guiding artists and audiences to reflect on the spaces that exist between known boundaries, whether physical, spiritual, or conceptual. 

Set across multiple indoor galleries and integrated into outdoor spaces, the contemporary works are woven seamlessly into the Biennale’s landscape alongside ancient artifacts. 

Muhannad Shono. (Supplied)

One striking example is in the AlMidhallah section, where Japanese artist Takashi Kuribayashi’s installation, “Barrels,” features a formation of oil barrels from which a tree emerges, with reflective mirrors blurring the line between man-made and natural elements.  

Pakistani artist Imran Qureshi’s “Zubaydah Trail (Between Sacred Cities),” meanwhile, is an immersive space where visitors are invited to kick off their shoes and sit and reflect between the Makkah Al-Mukarramah and Madinah Al-Munawwarah biennale pavilions. Deeply saturated, vibrant strips of color make the space feel both playful and serious at once. Each color and shape carries symbolic meaning — the zig-zag pattern represents the streaming water of Makkah’s Zamzam well, while the green hue evokes the peacefulness of Madinah. 

There are many other beautiful works, such as Saudi artist Bilal Allaf’s “What I Heard in the Valley,” which draws inspiration from Sa’i, the ritual walk performed by pilgrims during Hajj and Umrah. 

“The overall theme of the biennale is interpreted across five galleries and, of course, across the contemporary interpretations as well,” says the biennale’s artistic director Abdul Rahman Azzam. Contemporary art here serves as a bridge, as Shono suggested, linking the past, present, and possible futures. 

Takashi Kuribayashi's 'Barrels.' (Supplied)

AlBidaya, which translates to “the beginning,” is one of the galleries where this concept comes to life, exploring the emotional connections between objects and ideas. 

“In the beginning, we were kind of focusing on the heavens and the earth. But then we realized that the true power and potential of this biennale is ‘all that is in between,’” Shono tells Arab News. “This idea of the inclusive, the expansive, the layered, the transformative space that is liminal, that is not interested in its edges, it’s not focused on the binary of options of right and wrong and light and dark and good and evil. It is more interested in that new space that we are exploring.”  

Shono was a featured artist at the first Islamic Arts Biennale in 2023. His role this time is very different, but it’s an opportunity he embraced wholeheartedly. 

“I responded yes immediately and I threw myself into the work,” he says. “It was a shift in priorities, it was a shift in what I thought my year was going to look like, and it was completely kind of throwing yourself into the process, into motion. 

“The most surprising part about preparing was how natural it felt. (I wanted to make sure) that I went through this with a smile, and because I experienced the last edition, I knew what it was going to end up feeling like. So it wasn’t an attempt to top anything or compete with anything but more to do it honestly and naturally, as I would do my own work.” 

Imran Qureshi’s 'Zubaydah Trail (Between Sacred Cities).' (Supplied)

What was especially important to him as a curator was working with younger Saudi artists and emerging voices. 

“The word ‘change’ is used a lot here in Saudi and the Biennale really embodies that, bringing in the past — which was very rigid… did not want to be negotiated with, did not want to change its narrative or the parameters of its definitions and space — and bringing contemporary thoughts embodied in contemporary art practices, whose roles are to question, think laterally, reimagine, reinterpret,” he says. “It’s a big testimony to what the country’s going through. And so when I was invited, I really wanted to do it — this speaks to my work and I wanted to extend that into the role of curation.” 

Many of the featured artists were present at the opening, engaging with visitors. “(Art) is not just about showing things; it’s about experiencing things, exchanging things. It responds to your presence. It reacts to you,” says Shono. 

He is grateful to see so many visitors eager to engage with Saudi Arabia’s art scene. The experience, he believes, speaks for itself. 

“Every visit, every person who takes that leap of faith — beyond the stereotypes — is enacting change, is experiencing something that can’t be reversed because you’re really coming in contact with the truth, with people, their lives, their generosity, their authenticity,” he says. 

While he is curating the spaces, he does not want to curate the impressions. 

“I think most of the people are coming here and seeing for themselves what is going on in this country,” he says. “I grew up here in Saudi, so to see a country go through this very rooted experiment of social change… it’s important for it to succeed not only for the sake of this country, but for the entire region.” 


New ‘Captain America’ movie is an exercise in empathy, says star Anthony Mackie

New ‘Captain America’ movie is an exercise in empathy, says star Anthony Mackie
Updated 21 February 2025
Follow

New ‘Captain America’ movie is an exercise in empathy, says star Anthony Mackie

New ‘Captain America’ movie is an exercise in empathy, says star Anthony Mackie
  • Anthony Mackie and Harrison Ford discuss the Mackie’s first outing as iconic superhero 

DUBAI: In the latest, long-delayed, chapter of the Marvel Cinematic Universe — “Captain America: Brave New World,” directed by Julius Onah — audiences are ushered into a transformative new era as Anthony Mackie’s Sam Wilson takes up the iconic shield last wielded by Chris Evans’ Steve Rogers. 

Mackie says the role redefines what it means to be a superhero, especially because, unlike his predecessor, Wilson doesn’t have the advantage of taking a super-soldier serum. 

“I think (the film) has a huge amount of hope and empathy. Sam Wilson never took the super-serum. Being a counsellor and a humanitarian and a leader, there’s a certain amount of empathy and understanding that he has to go into conflicts with; brute force cannot be his first option. Because, for him, there’s consequences. He can actually die. He’s a regular person,” Mackie told Arab News. “I want people to see Sam Wilson and recognize a bit of themselves in him, because of how humane, humble, and kind he is.” 

Joining Mackie in this new era is Hollywood icon Harrison Ford, making his Marvel debut as President Thaddeus “Thunderbolt” Ross, a role he inherited from the late William Hurt. 

For Ford, who also portrays the Red Hulk in the film, stepping into the MCU was an unexpected but exciting challenge. 

“I (know) how successful and beloved these films are, and I thought it was an intriguing world to explore,” Ford said. “They brought me a part that had a little taste of everything. To play the president and the Red Hulk in the same film? I’ve never been offered anything like that before.” 

Director Julius Onah, Xosha Roquemore, and Anthony Mackie behind the scenes. (Supplied)

Beyond the spectacle, Ford was drawn to the film’s emotional core, particularly his character’s personal struggles. “I think we made a very entertaining film, but also one with real humanity. What attracted me was the dilemma he faces with his daughter, his estrangement, his past mistakes, and his desire to fix them. That failure intrigued me, especially in a Marvel film.” 

Producer Nate Moore says he’s especially grateful for Ford taking on the role. 

Danny Ramirez as The Falcon and Anthony Mackie in 'Captain America - Brave New World.' (Supplied)

“He’s a Hollywood legend — incredibly talented. And what’s great about Harrison is that he really loves Bill Hurt’s performance, and felt like he wanted to build on that, rather than do an imitation. So this Thunderbolt Ross is something Harrison crafted on his own, but based on where the character had been before,” said Moore. 

“And I think narratively, what’s cool is both Ross and Sam find themselves trying to fill really big shoes and ultimately find themselves on the opposite side of an issue that that puts them on a direct collision course, which is a ton of fun.” 

The film’s production hasn’t been without controversy. Apart from rumors of lengthy and extensive reshoots, “Brave New World” ran into further trouble when Israeli actress Shira Haas got the role of Ruth Bat-Seraph, aka Sabra, an Israeli superhero and Mossad agent. 

Takehiro Hira, Anthony Mackie, and Harrison Ford in 'Captain America - Brave New World.' (Supplied)

While the character’s Mossad ties and background have been scrubbed for the film, the character is still Israeli. 

“The Ruth Bat-Seraph that we meet in ‘Brave New World’ is different to her comic counterpart, as a lot of our heroes are,” Moore said. “Very rarely can we do a one-to-one translation of a comic book, because comics occupy such a different space, and sometimes they’re incredibly dated. But what we thought was interesting was our Ruth Bat-Seraph works within the US government, very close to President Ross, so her perspective on him is different to Sam’s, and that puts these two characters at odds.” 

Regardless of the film’s challenges, Moore believes it will resonate with audiences. 

“I think the film may be surprisingly emotional for some people, because it really asks the questions ‘Can a man be redeemed?’ And ‘Is there a way to find common ground with somebody who you assume to be in opposition to yourself?’ Art can only do so much, but I do think we live in a world that is increasingly complicated, where opinions are increasingly stratified, and Sam’s superpower is his empathy; he tries to build connections with people. And if people take that away with them, I think that’s a win.” 


Ismail Gulgee, late Pakistani calligrapher and abstract artist, honored with dedicated museum

Ismail Gulgee, late Pakistani calligrapher and abstract artist, honored with dedicated museum
Updated 21 February 2025
Follow

Ismail Gulgee, late Pakistani calligrapher and abstract artist, honored with dedicated museum

Ismail Gulgee, late Pakistani calligrapher and abstract artist, honored with dedicated museum
  • Amin Gulgee opens doors to museum showcasing father’s work at family home in Karachi
  • Gulgee ‘demanded’ his residence by converted into a museum during his lifetime, a wish fulfilled by son this week

KARACHI: Renowned Pakistani artist Amin Gulgee said on Wednesday his parents had wished to convert their residence in the port city of Karachi into a museum, a desire he fulfilled this week by establishing the Gulgee Museum and opening its doors to the public to preserve his father’s artwork.
Ismail Gulgee, Amin’s father, was one of the most recognized figures in Pakistan’s art community, known for his calligraphic and abstract expressionist paintings. Originally trained as an engineer, he transitioned to art and gained fame for his portrait paintings before shifting toward abstract work influenced by Islamic visual heritage.
His dynamic, large-scale paintings often featured thick, textured strokes, drawing inspiration from Sufism and traditional Islamic artistic motifs. Exhibiting his work in the United States, Europe and the Middle East, he achieved international recognition during his lifetime.
Tragically, in December 2007, Gulgee and his wife were found murdered in their home in Karachi, an incident that shocked the country. His legacy, however, endures, with his works displayed in galleries, private collections and public spaces in Pakistan and beyond.
“My parents demanded that after their demise, their place should be turned into a museum,” his son, a recognized artist himself, told Arab News, saying he started working on “reimagining” the place two years ago.

The photograph taken on February 18, 2025 shows art work displayed at the Gulgee Museum in Karachi, Pakistan. (AN)

The museum displays his father’s sketches, mosaics in lapis lazuli, paintings and sculptures.
“The collection comes from 1950 to 2007 with over 170 artworks,” he continued.
Amin is also the museum’s curator and has kept an archival collection of his father’s photographs, who witnessed the birth of Pakistan. The images feature Gulgee showing his work to President Charles de Gaulle of France in the 1960s and Benazir Bhutto in the 1990s, among others.
“I have divided the museum into 17 sections spread over 13 rooms on two floors, and I have written about each section,” he said. “Later, we are going to have a museum handbook that will come out. But for now, we have wall text in the museum, and we also have a QR code which translates all my English text into Urdu.”

Visitors look at a sculpture showcasing Quranic calligraphy at the Gulgee Museum in Karachi, Pakistan, on February 19, 2025. (AN)

Amin went about transforming his parents’ home in collaboration with architect Samina Anjarwalla, who said that they broke a lot of walls, as the space previously comprised bedrooms, dressing rooms and bathrooms.
“The structure was a big challenge for us,” she told Arab News, adding that the idea was to preserve the country’s heritage along with Gulgee’s work.
“We kept [the building] very simple, very plain [and] very modern so that the work speaks for itself,” she added.
Karachi does not have many art museums, making it challenging to preserve artworks in many cases.
“I think it is wonderful for the city of Karachi [to have Gulgee Museum],” Mehreen Ilahi, who runs an art gallery called Majmua, told Arab News.
“Initiatives like these, including the different ways of preserving art, are extremely important,” she continued. “Other than this, Karachi only has the National Museum and Mohatta Palace Museum. It was very important that this became a museum because Gulgee is no longer alive, and his work must be preserved.”

The photograph taken on February 18, 2025 shows art work displayed at the Gulgee Museum in Karachi, Pakistan. (AN)

Asked about his future plans, Amin said there was a lot more to come.
“The next project of the museum is the Gulgee Museum Handbook, which is a 320-page book with 13 academic essays written on Ismail Gulgee,” he said. “We are about 80 percent done, and as soon as this opening is over, I go back to the project of the book.”