Syrian artists explore themes of forgiveness in Damascus exhibition 

Massar Rose Building in Damascus, Syria. (Robert Bociaga)
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Updated 01 May 2025
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Syrian artists explore themes of forgiveness in Damascus exhibition 

  • ‘The Path’ is a group show that curator Marwan Tayara says is ‘about healing’ 

DAMASCUS: In a city battered by years of conflict, a quiet revolution was unfolding earlier this month inside an unfinished concrete shell.  

“The Path,” a two-week exhibition curated by the Madad Art Foundation and staged in the once-abandoned skeletal Massar Rose Building in Damascus, confronted Syria’s pain, but, curator Marwan Tayara stressed: “This is not about politics. It’s about healing.” 

Tayara — who co-founded Madad alongside the late Buthayna Ali, a fine arts professor whose vision of a show on forgiveness inspired “The Path” — continued: “For us, the artist is a patriot. The bakery feeds the body, and art feeds the soul. The soldier fights for his country, and so does the artist — but with ideas, with beauty.” 




Lamia Saida pictured with her installation 'To Memory, Once More.' (Robert Bociaga)

Ali, who died in September, had envisioned a show that would offer something softer than some of Madad’s previous exhibitions around topics including war and disaster. “She wanted to make an exhibition about forgiveness but never had the chance,” artist Rala Tarabishi told Arab News. “We decided to do it as a gift for her — and for Syria.”  

Even the venue was part of the show’s message. “This is a construction site,” said Tayara. “It’s symbolic. Syria is unfinished. But we’re building. Art has to be part of that process — not just rebuilding walls, but rebuilding identity.” 

Tarabishi’s installation, “Embed,” was a forest of resin swords frozen mid-fall, through which visitors could walk. “When I embed my sword into the earth during a fight, I’m putting an end to it — in the most peaceful way,” she said. But none of the swords in “Embed” had yet reached that point. “The closer the sword is to the ground, the closer I am to forgetting, or forgiving,” Tarabishi explained. “Some things are harder to let go of.” 




Visitors to 'The Path' in front of Dalaa Jalanbo’s 'Accumulation.' (Robert Bociaga)

For viewers, she hoped, it would be “as if the swords are memories or people who caused them pain. I wanted them to lean more into forgiveness, so they could live a more peaceful life.”  

But for Tarabishi, forgiveness is anything but simple. “It’s very hard. Some things feel too big for us to truly forgive, so we just coexist with our pain instead.” 

Eyad Dayoub’s installation, “Crossing,” was equally visceral. Suspended black and red wires hung like fishing nets. “Each level represents a period in Syria — full of darkness and blood,” Dayoub said. “The material looks like something that traps fish. I feel like I’ve been hunted by my country. I’m stuck — I can’t leave it, and I can’t love it either.” 




Detail from Rala Tarabishi's 'Embed' installation on display at 'The Path.' (Robert Bociaga)

Creating the piece was part-therapy, part-confrontation. “Our dreams were lost. But I’m trying to find love again between me and my country,” he continued, adding that some visitors wept when he explained the symbolism of the piece. “People are ready to feel again. After war, we became numb. But I see us becoming sensitive again.” 

If Dayoub’s wires evoked entrapment, Judi Chakhachirou’s work addressed instability. Her installation featured a trembling platform — a metaphor for emotional imbalance. “When someone hasn’t forgiven you — or you haven’t forgiven them — you feel unstable. You don’t know what’s wrong, but you’re not OK,” she said. 

Her piece was a message to the living: “Take your chances now. Don’t leave people in your life hurt. Forgive — or at least try. Because one day, it’ll be too late.” 




Rala Tarabishi in front of her installation 'Embed.' (Robert Bociaga)

The war has buried so much in silence, she added, that emotions — even tears — feel like progress. “Some people cried when they saw it. Others said it made them feel calm, like they finally understood what was bothering them,” she said. “I hope my next work will be more hopeful.” 

For Mariam Al-Fawal, forgiveness is less emotional and more philosophical. Her interactive installation, “A Delicate Balance,” draws on Karl Popper’s formulation of the paradox of tolerance. Visitors can rearrange its colored puzzle pieces on wooden stands to construct a final, diverse pattern. 

“If you tolerate all ideologies — including the intolerant — you destroy tolerance itself,” Al-Fawal explained. “Without exclusion, there can be no true inclusion. To see the full picture, you have to flip the pieces, adjust them. That’s how people work too. You can’t have one color, one shape; you have to embrace difference.” 




Mariam Al-Fawal with her interactive installation 'A Delicate Balance.' (Robert Bociaga)

Al-Fawal’s puzzle asks viewers to build balance. “People interacted with it differently,” she said, “But most walked away with a shifted perspective. That’s why I made it interactive: the process carries the message.” 

Lamia Saida contributed “To Memory, Once More,” which consisted of a set of blood-red, burned and shredded canvases suspended like raw meat.  

“I thought if I wanted to express these memories visually, it had to be meat,” she explained. “That’s what they feel like. That’s why they hang. That’s why they bleed.” 




Massar Rose Building in Damascus, Syria. (Robert Bociaga)

Syria’s trauma, for Saida, is not abstract —it is textured, fleshy, and inescapable. And yet, through art, it is manageable. “Art is more than therapy,” she continued. “When I make something honest, I feel like I forgive people. I find stability.” 

Her final painting is a single, steady line. “It’s the calm I reached after expressing everything else,” she said. 

More than 400 visitors visited the exhibition daily, according to the organizers. Some brought questions. Some brought grief. Others brought quiet. “Even political officials came,” Tayara said. “Not to control. Just to understand.” 

What started as a tribute to a beloved teacher has become a mirror for the country. “All Syrians have this memory of grief,” said Tarabishi. “Whether from war or daily life — it’s what binds us.” 

Madad hopes to bring “The Path” to other cities too.  

“We believe in the power of art,” said Tayara. “It won’t rebuild Syria alone. But it might rebuild the spirit. That’s where everything begins.” 


Saudi streetwear brand 1886 lands in Paris

Updated 23 sec ago
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Saudi streetwear brand 1886 lands in Paris

DUBAI: Saudi streetwear brand 1886 has landed in Paris with a pop-up outpost at luxury department store Galeries Lafayette.

Set to run until Sept. 1, the temporary store is showcasing a limited capsule collection at the department store on Boulevard Haussmann.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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After international streetwear experienced a boom in 2016 with brands like Supreme and Off-White taking the market by storm, Saudi entrepreneurs Fahad Al-Jomiah and Khalid Al-Jammaz took advantage and launched the Kingdom’s “first streetwear brand.”

The label, 1886, was launched in the duo’s dorm rooms in London and is now one of the trendiest in the Saudi market, with runway collections presented at Riyadh Fashion Week.

“For two students living in London at that time, that was such an inspiring and creative moment,” Al-Jomiah and Al-Jammaz told Arab News in a previous interview. “Even though our background is not in fashion, we felt it was the right time to bring together our passion for music, art, urban trends and street movements into a brand that could translate our own vision as Saudis.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by 1886 (@my_1886)

1886 is “focused on originality, individuality, and culturally infused style, 1886 pieces are designed to challenge conventions and spark conversation,” according to a released statement. The duo work at incorporating technology and progressive design to offer products such as joggers, hoodies, T-shirts, dresses and accessories that are contemporary and durable.

The label is one of a handful of Saudi brands making waves at international luxury department stories, with Honayda Serafi becoming the first designer from the Kingdom to be displayed at luxury London department store Harrods in 2022. In June of this year, the Saudi Fashion Commission teamed up with the Cultural Development Fund and London’s high-end department store Selfridges to showcase crafts and fashion items from the Kingdom.


Saudi film ‘Hijra’ to compete at Venice Film Festival

Updated 22 July 2025
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Saudi film ‘Hijra’ to compete at Venice Film Festival

RIYADH: Saudi filmmaker Shahad Ameen’s feature film “Hijra” (Migration) will compete in the Venice Spotlight Competition at the 82nd Venice International Film Festival, the Saudi Press Agency reported.

Backed by the Film Commission’s Daw program, the selection is Saudi Arabia’s latest bid for global recognition after Ameen’s award-winning debut “Scales” premiered at the same festival in 2019.

The film follows a grandmother, Khairiya Nazmi, and her granddaughter, Lamar Feddan, as they journey across northern Saudi Arabia to find a missing teenage girl.

Shot over more than 55 days in eight Saudi cities – Taif, Jeddah, Madinah, Wadi Al-Faraa, AlUla, Tabuk, NEOM, and Duba – the story unfolds against the backdrop of Hajj.

Ameen’s narrative explores Saudi Arabia’s historical role as a crossroads for Muslim communities, weaving themes of migration and intergenerational resilience.

Saudi filmmaker Shahad Ameen’s feature film “Hijra” (Migration) will compete in the Venice Spotlight Competition

Film Commission CEO Abdullah Al-Qahtani said: “Our participation in the Venice International Film Festival reflects the remarkable progress of Saudi cinema and the dedication of our filmmakers.

“Through initiatives like the Daw program, we empower a new generation of Saudi storytellers to share authentic narratives with global audiences. We are honored to represent the Kingdom at this prestigious event and look forward to building new partnerships and opportunities for Saudi talent.”

He noted that the Daw initiative has supported more than 250 regional films since its launch, aligning with Vision 2030’s goal of positioning Saudi cinema on the global stage.

During the festival, the commission will host a roundtable, “Young Audiences and Cinemas,” to explore strategies for engaging younger generations through local and global case studies.

It will also present a panel, “Making Cinematic Success,” featuring Saudi filmmakers crafting original narratives inspired by local culture and connecting with global audiences.

At the same venue, nine Saudi short films will be screened, showing the diversity of national creative talent and storytelling.


Zuhair Murad continues Hollywood premiere streak

Updated 22 July 2025
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Zuhair Murad continues Hollywood premiere streak

DUBAI: Lebanese designer-to-the-stars Zuhair Murad continues to dress Hollywood’s TV and silver screen actors, with the likes of Krysten Ritter and Maria Gabriela De Faria donning his designs on the red carpet as of late.

For her part, US actress Ritter hit the red carpet at the premiere of TV series “Dexter Resurrection” in New York in a black high neck gown with silver star detailing from Murad’s ready-to-wear pre-fall 2025 collection.

US actress Krysten Ritter hit the red carpet at the premiere of TV series “Dexter Resurrection” in New York in a black high neck gown with silver star detailing from Zuhair Murad’s ready-to-wear pre-fall 2025 collection. (Getty Images)

Earlier this month, Venezuelan star De Faria attended the Los Angeles premiere of “Superman” in a black sequined gown with a high neckline and chiffon cape from the label’s fall 2025 collection.

“What a dream of a dress you guys gave me,” De Faria commented on the fashion house’s Instagram post about the gown this week.

Murad seems to have been heavily involved in the “Superman” press tour, dressing lead star Rachel Brosnahan for the Rio de Janeiro premiere in late June.

She wore a floor-length dress crafted from sheer navy blue fabric, adorned with geometric beadwork and sequins. The design featured a structured, plunging neckline with wide shoulder straps. The fitted bodice extended into a subtly flared mermaid-style skirt. 

Brosnahan takes on the role of Lois Lane in the upcoming film, directed by James Gunn. 

Since founding his brand in 1997, Murad has gained international attention. His creations have been worn by celebrities such as Jennifer Lopez, Beyonce, Priyanka Chopra Jonas, Taylor Swift, Celine Dion, Sofia Vergara, Kristen Stewart and Scarlett Johansson on major red carpets.

He is one of a handful of Arab designers on the official Paris Fashion Week and Paris Haute Couture Week calendars.

Murad was recently championed by British Lebanese actress Razane Jammal, who wore a black gown featuring a plunging neckline and tie detail at the waist from the designer’s ready-to-wear Pre-Fall 2025 collection to the launch of the Panthere de Cartier collection in Istanbul in June.

In April, American actress Blake Lively and singer songwriter Nicole Scherzinger both wore Zuhair Murad designs to the 2025 Time 100 Gala.

Lively opted for a pink taffeta off-the-shoulder gown with a corseted bodice and train detail from Murad’s Spring 2025 ready-to-wear collection. Scherzinger chose a black off-the-shoulder sequined gown from the designer’s Pre-Fall 2025 ready-to-wear collection.


Le Sushi Bar offers hope in the heart of Beirut as Japanese chef hosts residency

Updated 22 July 2025
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Le Sushi Bar offers hope in the heart of Beirut as Japanese chef hosts residency

BEIRUT: “For a restaurant to last 28 years in Lebanon — it’s heroic,” chef Mario Haddad told Arab News recently as he reflected on the industry in a city and country facing several challenges.

Haddad believes he is among those redefining the fine dining scene, as Beirut undergoes a nascent revival.

His restaurant, Le Sushi Bar, stands like a sleek, elegant trophy in the heart of downtown.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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With the arrival of decorated Japanese chef-in-residence Sayaka Sawaguchi this summer, he believes the restaurant is helping to place Lebanon’s fine dining back on the global stage.

“We decided to have a chef-in-residence because we wanted to celebrate Lebanon coming back to life,” Haddad declared.

For Sawaguchi, integrating into Lebanon — a country shaped by resilience and a distinct warmth — came naturally.

She spent weeks before the residence — between July 9 and 27 — traveling across the country, immersing herself in the intricacies of the country.

“Lebanon taught me the beautiful balance of spices, herbs, and olive oil — just like how Lebanese people live their life every day,” Sawaguchi said.

Despite coming from vastly different worlds, Haddad and Sawaguchi found common ground in their passion for food.

“She fits in like a glove ... It’s not easy not having your tools, your kitchen, your ingredients — but her attitude was spot on,” Haddad said.

“The art of feeding each other is definitely our shared passion,” Sawaguchi added.

Haddad has an eye for detail, which appears to be a key element of his restaurant’s success.

Watching him in his element — surveying each dish as it reaches the table, greeting every guest like family, and taking joy  in their delight — it becomes clear why Le Sushi Bar has endured through the storm.

 


Saudi artist transforms scrap metal into sculpture

Updated 22 July 2025
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Saudi artist transforms scrap metal into sculpture

  • Mishal Al-Amri has been upcycling waste materials into artwork for 20 years
  • He recently held his first public exhibition under the theme 'The Neglected'

JEDDAH: Where others see scrap metal destined for the trash, Saudi artist Mishal Al-Amri sees opportunities to create artwork.

In his bustling studio in Jeddah, Al-Amri works to remove rust before cutting, rolling, shaping and joining thousands of pieces of shaped scrap metal by hand.

He has been upcycling unwanted bits of metal throughout his artistic career, which has spanned 20 years.

“The artist has an eye that sees what others cannot; an eye that captures the beauty in the heart of the damaged and neglected, and restores it to life and meaning. My ultimate hope and goal are to give scrap metal a new life,” Al-Amri told Arab News.

When growing up, Al-Amri loved to draw. As he got older, he started painting. It was not until he retired at the age of 59 that he discovered his true passion and began sculpting with recycled metal after teaching himself how to weld.

“As I said before, it was just a hobby and I stopped it for a long time after I joined the banking sector due to the difficulty of balancing the hobby, the job, and then the family later on.

“Anyhow, when I was approaching 40 years of age, and after having a family and professional job, I began to pursue my artistic journey once again. I worked on paintings during my free time and vacations, and I lived for nearly 26 years just painting, readings, attending art seminars, workshops, and holding exhibitions alongside other local artists.”

Speaking about how he started collecting scrap metal items from the street, the 65-year-old said: “The spark for this artistic journey was the first moments of an evening walk, when my eyes would trace the floor littered with scraps of plastic, scraps of iron and discarded remnants of lighting and plumbing, no longer fit for use or neglected.”

He added: “These pieces I picked up from the streets would become the core of my personal art collection — materials I plucked from the fate of neglect to submit to my ideas and participate in the creation of beauty.”

These materials can end up waiting for days and sometimes years in storage in his studio until an idea suddenly emerges.

“The journey of constructing the painting or sculpture begins; from choosing the colors and sizes of the pieces, to weaving the relationships between them into an artistic composition that gives it a new spirit.”

The Saudi Arabian Society for Culture and Arts recently hosted his first solo exhibition showcasing under the theme “The Neglected.”

“This exhibition is the fruit of those moments; an invitation to see the beauty in the unusual, and to contemplate art’s ability to redefine what is damaged and neglected to ultimately become more precious and valuable,” he said.

“My artistic experience in this exhibition is based on two complementary principles: First, protecting the environment from the effects of pollution and human-caused damage, by collecting remnants of harmful materials in the soil and saving them from becoming a burden on the earth.

“Second, sustaining the usefulness of objects, by recycling them and using them in the field of art after their original function has ended, reborn as works of art that convey an aesthetic, humanitarian and environmental message.

Al-Amri says that he plans to continue creating scrap metal sculptures and paintings.

“On a personal level, I want to reopen the Cezanne Fine Arts Center, which I founded years ago and continue to cultivate art until its very end.

“On a more general level, I strive to raise environmental awareness, enabling people to respect and preserve the environment.”