Snapchat brings Saudi UNESCO site to life with augmented reality 

The Lyihyan Bin Kuza (AlFarid) tomb carved into rose-coloured sandstone can be seen in Hegra (Madain Saleh), a UNESCO World Heritage site, near Saudi Arabia’s town of AlUla. (File/AFP)
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Updated 19 November 2021
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Snapchat brings Saudi UNESCO site to life with augmented reality 

DUBAI: Snapchat has collaborated with Saudi Arabia’s Royal Commission of AlUla to bring the Unesco heritage site Lyihyan Bin Kuza (AlFarid) Al-Farid to life, by showcasing work from three artists using augmented reality (AR) via Snapchat Landmarkers.
Introduced in 2019, Landmarkers are the app’s lenses which enable AR experiences, transforming the world’s most iconic monuments in real-time.
During the Desert X AlUla art exhibition, which is running until March 7, Snapchat users will be prompted to find the icon of this landmark.
To activate the feature, visitors will have to point their phone cameras at Lyihyan Bin Kuza (AlFarid). By doing so, they will be able to see the works of the artists Zahrah Al-Ghamdi from Saudi Arabia, eL Seed from Tunisia, and Lita Albuquerque from the US, over a six-week time span at two-week intervals for each.

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“We are excited to have Desert X AlUla, the first international collaboration for Desert X, as part of Winter at Tantora festival” said Nora Aldabal, arts and culture programs director at the Royal Commission of AlUla, in a statement.
“Artists from around the world will showcase their art in the desert of AlUla, home to a series of fascinating historical and archaeological sites. Having Snapchat participate in this landmark event will bring the landscape of AlUla to life in an entirely new light, in a juxtaposition of modern technology and history.”
Al-Ghamdi said: “I am thrilled to be among the artists whose work will be uniquely displayed on Lyihyan Bin Kuza (AlFarid) using a Snapchat Lens.
“This amazing feature will transform my artwork into an interactive experience. AR has become an integral element that brings art to life and provides people with an unparalleled experience.”


Saudi artist Abdullah Al-Othman discusses work exploring linguistic architectural landscapes 

Updated 06 June 2025
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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.  

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. 

Abdullah Al-Othman’s installation “Manifesto: Language & the City II” presented photographs and numerous illuminated signs and symbols in Arabic. (Supplied)

“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. 

Abdullah Al Othman at Art Dubai Manifesto Language and the City II for Bawwaba. (Courtesy Artist and Iris Projects. Credit Ismail Noor for Seeing Things)

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.  

Pieces from Al-Othman's latest project, 'Engineering the Unknown.' (Supplied)

“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.  

Al-Othman's 'Manifesto - The Language & The City' at the 2022 Lyon Biennale. (Supplied)

“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.” 


Recipes for success: Chef Vincenzo Palermo offers advice and a spaghetti al pomodoro recipe 

Updated 06 June 2025
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Recipes for success: Chef Vincenzo Palermo offers advice and a spaghetti al pomodoro recipe 

DUBAI: Vincenzo Palermo, head pizza chef at TOTO Dubai, has built his career on one belief: “Pizza isn’t just comfort food, it’s a craft.”  

Originally from Apulia in southern Italy, Palermo has spent years refining his skills. His journey began early, watching the baking process in his family kitchen as a child. He went on to study at Rome’s API Pizza Academy.  

Over the past 14 years, his career has taken him from Italy to Russia, France, the US and now the UAE, with his pizzas earning international recognition and awards along the way — including a historic win as the youngest-ever World Champion of Neapolitan Pizza in 2018.  

Vincenzo Palermo is the head pizza chef at TOTO Dubai. (Supplied)

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

I believed that cooking was just about combining ingredients correctly and adhering strictly to techniques. My focus was on the mechanical aspects of executing everything “correctly,” but I didn’t always bring myself into the dish; that was my biggest mistake. 

Coming from a family where food was never just food — it was tradition, emotion, and memory — I learned discipline and focus. Over time, I realized that every dish must tell a story. It could be a childhood memory, a moment of celebration, or simply a feeling you want to share, but if you do not put your heart into it, then no matter how perfect the dish appears, it lacks soul. 

The kitchen is not just about skill and technique, it’s a place for passion. Food is a language, and love is the message. That is what I try to pass on now, both to my team and on every plate that leaves the kitchen. 

What’s your top tip for amateur chefs? 

My journey began in a very humble way. I was just a child when I first stepped into the kitchen, helping my mother, making my first pizzas and simple pastas with curiosity and joy. That passion never left me. So, my top tip is this: Do not underestimate yourself just because you are cooking at home. Get into the flow, cook with heart and love, and do not place limits on what you think is possible. Everything we create in a professional kitchen, even the most refined dishes, can absolutely be recreated at home with the right mindset. Cooking is mostly about emotion, not technique, and that emotion can be felt whether you’re in a Michelin-level kitchen or your own. Believe in your hands, trust your ingredients, and enjoy the process. 

Margherita pizza. (Supplied)

What one ingredient can instantly improve any dish? 

I’d say flour. The right flour for the right dish is absolutely essential. In Italy, we don’t just say “flour,” we talk about “tipo 00,” “semola rimacinata,” “integrale”… Each type of flour has a specific purpose, and choosing the right one shows respect for the dish and the tradition behind it. Using the right flour is like choosing the right language to express yourself. It’s the base of everything, the foundation. Even for home cooks, this choice can make the difference between something good and something truly authentic. 

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

As a chef, it is natural to notice the details, but I try to approach it with an open mind. 

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

A lack of authenticity and a disconnect between the dish and its cultural roots. Authenticity and consistency are key, and when they’re missing, it affects the overall experience. 

When you go out to eat, what’s your favorite cuisine or dish to order? 

Honestly, I love to try everything. For me, eating out is about enjoying food and learning. Every culture has its own traditions, techniques and flavors, and I want to understand the story behind each dish.  

I’m always curious. I taste something new, study it, and then think about how that ingredient or idea could inspire something in my own kitchen. That is how we grow as chefs — by keeping our minds open and constantly learning from others. 

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

Without a doubt, it’s spaghetti al pomodoro. What could be more Italian than that? It is full of soul. I love it because it represents everything I believe in: simplicity, quality and passion. When I cook it at home, even if I’m short on time, I give it my full attention, from choosing the best tomatoes and olive oil to making sure the Gragnano pasta is cooked perfectly al dente, which is non-negotiable. 

TODO Dubai. (Supplied)

What customer request most annoys you? 

Requests that compromise the integrity of a traditional dish can be challenging. While I fully respect dietary restrictions and personal preferences, altering a classic recipe beyond recognition takes away from its authenticity. I believe in educating diners about the origins and significance of each dish to foster greater appreciation and respect. 

What’s your favorite dish to cook? 

Pizza. It’s more than just my profession, it’s a piece of my heart. I have a vivid memory from my childhood: my mother and sister in our home kitchen, cooking pizza in a pan. Of course, it was not the “right” way by traditional standards — she was not a trained chef, she was a home cook — but, like many Italian mothers, she found her own way to make something special with what she had. 

Even if the technique was not perfect, the love and passion she put into it made it unforgettable. Sometimes my sister would join her, and for me, that pan pizza became a symbol of family, comfort and creativity. Pizza means everything to me because of what it represents: love, family and the joy of making something beautiful from the heart. 

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

For me, it’s fish. It may seem simple, but it’s not easy to cook perfectly. Fish is delicate. You must respect the texture, the temperature and the timing. One second too much, and it’s dry. One second too little, and it’s raw. I always need to stay focused and keep learning. That challenge is part of what makes it so rewarding when you get it just right. 

As a head chef, what are you like? Are you a disciplinarian? Or are you more laidback? 

Honestly, I can’t stand chefs who shout. We’ve seen it too many times in movies and on TV: the angry chef screaming, throwing pans, creating fear in the kitchen. Unfortunately, this happens in a lot of kitchens. But this is not leadership. This is not how great food is made. The kitchen is not a battlefield, and the people around me are not soldiers or slaves — they are humans, artists, professionals. As any of my team will tell you, I’m calm; I like to joke, and I create a relaxed environment. That doesn’t mean we’re not serious. When it’s time to push, I push. But we push together — fast, sharp, focused — as a team. Respect is the true foundation of a great kitchen. When people feel valued and inspired, not afraid, they cook with love. And that love is what reaches the plate. 

Chef Vincenzo Palermo’s spaghetti al pomodoro recipe 

Ingredients: 

200 gr spaghetti from gragnano  

300 gr San Marzano peeled tomato 

Fresh basil 

2 cloves of garlic 

Salt 

Pepper 

4 tablespoons of extra virgin olive oil 

Parmesan cheese 

Instructions: 

In a pan, gently sauté crushed garlic in olive oil. 

Add the tomatoes and let cook for about 10–15 minutes and add salt and pepper. 

In a pot, put water and salt and make it boil. 

Boil spaghetti until al dente, then transfer it to the sauce with a bit of cooking water. 

Toss everything together and finish with fresh basil and a drizzle of olive oil.  

Serve it with a gentle parmesan cheese on the top. 

Buon appetito!  


Highlights from Bashir Makhoul’s ‘The Promise’ at Zawyeh Gallery

Updated 06 June 2025
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Highlights from Bashir Makhoul’s ‘The Promise’ at Zawyeh Gallery

  • Highlights from Bashir Makhoul’s ‘The Promise,’ on show at Zawyeh Gallery, Dubai until June 30

‘Drift’

The Galilee-born British-Palestinian artist’s solo show’s title, according to the gallery, “encapsulates a poetic and ambiguous statement of intent — an assertion that is both an event and a transformation. A promise is made and, inevitably, can be broken.” That is the duality at the heart of Makhoul’s practice, as is the recurring motif of the house.

‘Deep Wounds’

This work is part of a series of painted wooden sculptures, each of which bears a carved hollow scar, disrupting its ‘wholeness.’ “These wounds are marks not just of trauma but also spaces of beginnings, resonating with Edward Said’s notion of origins as an act of cutting open, a rupture that invites multiple directions.”

‘My Olive Tree’

Makhoul has been experimenting with electroplated 3D printing to produce crystalline machine-generated structures that “paradoxically resemble organic formations” such as those seen in this work representing Makhoul’s own tree which stands between two plots of land he does not own.


Playwright Caryl Churchill pulls out of theater project over Barclays’ ties to Israel

Updated 05 June 2025
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Playwright Caryl Churchill pulls out of theater project over Barclays’ ties to Israel

  • Churchill, who is a long-time advocate for Palestinian rights, called on the Donmar Warehouse to cut ties with Barclays

LONDON: Acclaimed playwright Caryl Churchill has withdrawn from a project with a London theater over its sponsorship by Barclays and the bank’s links to companies supplying arms to Israel.

In a statement, Churchill, who is a long-time advocate for Palestinian rights, called on the Donmar Warehouse to cut ties with Barclays, The Guardian reported.

“Theaters used to say they couldn’t manage without tobacco sponsorship, but they do. Now it’s time they stopped helping advertise banks that support what Israel is doing to Palestinians,” she said.

The project had not yet been publicly announced but would have marked Churchill’s return to the Donmar for the first time since “Far Away” in 2020.

Her move has been backed by more than 300 artists and arts workers, including actors Harriet Walter, Juliet Stevenson, Alfred Enoch, Samuel West and Tim Crouch, who signed an open letter in support.

Barclays has faced increasing pressure from arts and activist groups over its provision of financial services to defense companies operating in Israel.

In 2023, the group Culture Workers Against Genocide published a letter condemning Barclays’ sponsorship of Sadler’s Wells, with signatories including Maxine Peake, an actress.

Last year, the Bands Boycott Barclays campaign led to the bank being dropped as a sponsor by several UK music festivals, including Latitude and The Great Escape.

Barclays declined to comment on Churchill’s withdrawal but said on its website: “While we provide financial services to these companies, we are not making investments for Barclays and Barclays is not a ‘shareholder’ or ‘investor’ in that sense in relation to these companies.”

Barclays CEO C.S. Venkatakrishnan defended the bank’s position in a 2023 Guardian article, writing: “These companies are supported by our democratically elected governments for their role in protecting the UK and allies in Europe. We will not undermine our own national security by de-banking them.”

Responding to Churchill’s decision, Culture Workers Against Genocide said: “Arts institutions have an ethical duty not to contribute to oppression and injustice. By continuing to accept sponsorship from Barclays, Donmar Warehouse is helping to launder the bank’s reputation as it profits from Israel’s genocide in Palestine.”

The Donmar, which lost its £500,000 ($679,355) annual government grant in 2022, has increasingly relied on private support, including corporate sponsorships. It has been approached for comment.

Churchill was previously stripped of a European lifetime achievement award in 2022 following criticism of her play “Seven Jewish Children” and her public pro-Palestinian stance.


Saudi pavilion makes a splash at London Design Biennale 

Updated 05 June 2025
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Saudi pavilion makes a splash at London Design Biennale 

DHAHRAN: “Good Water,” the Saudi National Pavilion that reimagines our relationship with water, is sure to be popular with visitors at the London Design Biennale, which opens today.

Examining water systems, accessibility, equity and scarcity, the pavilion was commissioned by the Architecture and Design Commission and supported by the Ministry of Culture. Presented under the leadership of commission CEO Sumayah Al-Solaiman, it marks the fourth time the Kingdom has taken part in the event.

“In a Biennale that explores the intersection of inner experiences and external influences, ‘Good Water’ reflects the spirit of inquiry we hope to share with the world,” said Al-Solaiman.

“With this pavilion, we are proud to support the next generation of Saudi practitioners and provide platforms that amplify their voices on the international stage.”

Saudi artists Alaa Tarabzouni, Dur Kattan, Fahad bin Naif and Aziz Jamal worked as co-curators, collaborating across various disciplines.

“In the team, we don’t have specific roles,” Jamal told Arab News. “We all collaborated on everything. So the video, we all shot together — we all wrote together. We all have different backgrounds in the arts sector but we’ve worked together (in the Saudi art scene) for the past five years and that’s actually how we came together; it’s more of a democratic process and there’s no kind of strict guidelines.”

Saudi artist Aziz Jamal worked as one of the co-curators. (Supplied)

At the heart of the Saudi contribution in London is the sabeel, a traditional water fountain usually placed and funded privately in a shaded outdoor communal space. It is meant for use by anyone in the community, free of charge. 

The sabeel is an enduring symbol of hospitality and generosity, deeply rooted in the Arabian Peninsula and found in many spots throughout the Middle East.

“Growing up in Dhahran, you would see sabeels everywhere. Our house didn’t have one, but there was a mosque in front of our house that had one,” Jamal said.

The London installation strips the sabeel of nostalgia and re-centers it as a contemporary, working object. Visitors are invited to fill their cups — literally and figuratively, as they pause to reflect on the often unseen systems, labor and energy that make the flowing “free” water possible.

Stacks of paper cups will be provided, bearing the message “Good Water: 500 ml = one AI prompt” in vibrant color. There will also be refillable water bottles so spectators can have a “water-cooler moment” to chat, sip and ponder. 

The pavilion also features four videos, filmed at an old water factory in Riyadh, showing the painstaking journey of water from droplet to distribution. The screens trace the production process across different sizes of bottles, with each film lasting under 10 minutes.

Jamal’s relationship with water shifted since he started working on this project. 

“I have to say, watching and going to visit the water factory (in Riyadh) and seeing the enormous effort that it takes to fill up one tiny water bottle — you don’t take that effort for granted anymore,” he said. 

“Before, if there was a little bit of water in my water bottle, I would just leave it, but now it’s like, I make it a point to drink (it) all … to finish my water bottle, because it’s not just a matter of just getting the water filled up, it’s testing it, going through inspection, doing all the mineral checks. It has made me more conscious of every drop.”

Jamal’s aim is for visitors to the pavilion to quench their thirst with that same realization.

“What I really hope for is for people to interact with the piece,” he said. “We want that act of generosity to come through and we want people to drink the water.”

The eco-conscious will be glad to know the sabeel will dispense locally sourced water — not any transported from Riyadh. It will also be indoors. 

A printed catalogue written by the curators will also be available, offering further context in the form of essays, research material and images of water infrastructure and sabeels from across the Middle East and North Africa region. 

Saudi Arabia is one of the most water-scarce countries in the world. Only 2.5 percent of the world’s water is freshwater, and even less is accessible for drinking. The Kingdom is the largest producer of desalinated water globally, supplying over 60 percent of its potable water, according to the Saudi Pavilion team’s research.

“We thought (the sabeel) was a perfect anecdote to describe the attitude and the general principle behind this concept of water as a human right and not as a luxury,” Jamal said. “It’s free drinking water, but it’s from a private source. So we felt it really encompassed this specific phenomenon in Saudi, of paying it forward and offering water to people who don’t have access to it.”

With “Good Water,” the Saudi National Pavilion puts this scarcity — and the labor behind everyday hydration — center stage.

“Our research was about water and access to water,” Jamal added. “When we were first conceptualizing the piece for the London Biennale, we were looking at the infrastructure and water and access and what’s the hidden cost of free water in Saudi — and specifically looking at the object(ive) of a sabeel: What does this act of generosity and act of making water into a human right mean, and what is the hidden cost of that?”

Though the widespread distribution of plastic bottles has displaced the sabeel to some extent, Jamal emphasized its enduring relevance, especially in a country with scorching summers and large outdoor workforces.

“I think people are on the go, so they need something convenient, but I think water bottles haven’t killed off sabeels completely,” he said. “A lot of the workforce in Saudi, who have more direct contact under the sun and the streets — they still use it all the time. It’s not just drinking water — it’s cold drinking water, and in Saudi that’s very important.”

Jamal joked that after nearly a year of working on this project, the team would raise a glass of water in celebration.

The pavilion will be open until June 29 at Somerset House.