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厂辞迟丑别产测鈥檚 brings works by Van Gogh, Kahlo and Magritte to Abu Dhabi

厂辞迟丑别产测鈥檚 brings works by Van Gogh, Kahlo and Magritte to Abu Dhabi
Vincent van Gogh, 'Romans Parisiens (Les Livres jaunes),' 1887. (Supplied)
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厂辞迟丑别产测鈥檚 brings works by Van Gogh, Kahlo and Magritte to Abu Dhabi

厂辞迟丑别产测鈥檚 brings works by Van Gogh, Kahlo and Magritte to Abu Dhabi
  • 6 masterworks worth $150m on display Oct. 1 to 2
  • First Mideast showing, some not seen for 50 years

DUBAI:聽厂辞迟丑别产测鈥檚 will stage a fine art exhibition in Abu Dhabi next month, bringing together works from the celebrated Vincent van Gogh, Paul Gauguin, Frida Kahlo, Edvard Munch, Rene Magritte and Camille Pissarro.

Running from Oct. 1 to 2 at the Bassam Freiha Art Foundation, the show will feature six masterworks with a combined value of $150 million. It will also mark 厂辞迟丑别产测鈥檚 most valuable exhibition ever presented in the region.




Frida Kahlo, 'El sue帽o (La cama),' 1940. (Supplied)

Among the highlights is Kahlo鈥檚 鈥淓l sueno (La cama),鈥 painted in 1940 during a period of personal turmoil. The work is worth an estimated $40 to $60 million, the highest valuation for a Kahlo piece to date.

Van Gogh鈥檚 鈥淩omans Parisiens (Les Livres jaunes),鈥 valued at around $40 million, will also be on display. The still life, first exhibited in Paris in 1888, is regarded as one of the artist鈥檚 most significant works and has rarely been shown publicly.

Other featured pieces include Gauguin鈥檚 鈥淟a Maison de Pen du, gardeuse de vache鈥 (1889), Pissarro鈥檚 鈥淏ords de l鈥橭ise a Pontoise鈥 (1872), Munch鈥檚 鈥淪ankthansnatt Johannisnacht (Midsummer Night鈥檚 Eve)鈥 and Magritte鈥檚 鈥淟e Jockey perdu鈥 (1942).




Paul Gauguin, 'La Maison de Pen du, gardeuse de vache,' 1889. (Supplied)

Each painting comes from notable private collections, including those of Leonard Lauder, the American businessman and philanthropist; Cindy and Jay Pritzker, the Chicago-based family behind the Pritzker Architecture Prize; and Matthew and Kay Bucksbaum, American philanthropists known for their support of the arts and education.

None of the works have been exhibited in the Middle East before, with several not displayed publicly for more than 50 years.

Following Abu Dhabi, the collection will travel to London and Paris before being offered in New York during 厂辞迟丑别产测鈥檚 November auctions.


Emirati fashion designer Shatha Essa on blending local heritage with global appeal

Emirati fashion designer Shatha Essa on blending local heritage with global appeal
Updated 26 September 2025

Emirati fashion designer Shatha Essa on blending local heritage with global appeal

Emirati fashion designer Shatha Essa on blending local heritage with global appeal
  • 鈥楳y roots are central to everything I create,鈥 says Shatha Essa

DUBAI: Since launching her womenswear label in 2017, Emirati designer Shatha Essa has steadily carved out a name for herself in the world of luxury fashion with a brand that honors tradition while embracing modern elegance.鈥 

鈥淢y journey began with a deep-rooted passion for storytelling through fabric. Growing up in the UAE, style and tradition were seamlessly interwoven in daily life, family gatherings, national celebrations鈥 even school uniforms carried meaning,鈥 Essa tells Arab News.鈥 

A 鈥渄efining moment鈥 in her fashion journey, she says, was when she met the late Italian journalist Franca Sozzani, who was editor of Vogue Italia for 28 years.  

Shatha Essa launched her brand in 2017. (Supplied)

鈥淪eeing how people react to fashion creations confirmed that design could be a powerful language,鈥 she says. 鈥淭hat moment solidified my dream of becoming a designer.鈥 

Earlier influences came from those closest to home. 鈥淚nitially, it was my mother and local artisans who practiced traditional Emirati embroidery and tailoring who served as my inspiration,鈥 she says. And before launching her label, Essa gained insight into the industry from working at Dubai Mall 鈥 鈥渨here I saw and met different fashion houses and got to see everything happening behind the scenes,鈥 she explains. 鈥淭hese experiences taught me how to balance creative vision with reality.鈥濃 

Essa says she took three major lessons away from her formative years in fashion. 鈥淚f you come from a design background, make sure you study business and have a bit of knowledge on finance and accounting before starting your business,鈥 is the first. 鈥淭hat will help you with your strategies and long-term goals as well. 

Selections from the latest collection by Shatha Essa Kids. (Supplied)

Adaptability is the second. 鈥淲orking with suppliers, manufacturing teams, and clients from different backgrounds demands flexibility,鈥 she says.  

And the final thing? 鈥淏rand discipline and understanding that consistency in story, values, and quality is just as important as the designs themselves.鈥 

Essa launched her womenswear line with, as she puts it, 鈥渁 calling to articulate contemporary Emirati femininity in a way that celebrated heritage while embracing modernity.鈥 Her vision from the start was to offer 鈥渢houghtfully crafted pieces that empower women through elegant tailoring, subtle storytelling, and cultural resonance.鈥 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Her inspiration comes from all over 鈥 including urban architecture, and traditional crafts such as sadu weaving and pearl embroidery. She also says she finds beauty in 鈥渢he patterns of light in the souk at sunset or the silhouette of a gahwa cup handle,鈥 and enjoys 鈥渢ranslating cultural motifs into modern shapes and textures.鈥濃 

For the current season, Essa says her team is 鈥渆xploring Emirati breeze blocks in a different way.鈥濃疭he explains: 鈥淲e are not only looking at the shape of a breeze block, but also the air circulation, love and energy it creates.鈥濃 

But at the core of every piece she designs is her heritage. 鈥淢y Emirati roots are central to everything I create,鈥 she says, adding that she draws on 鈥渢raditional aesthetics, modest cuts, flowing lines, desert-driven palette鈥 and reframes them 鈥渇or the contemporary wardrobe.鈥 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Essa鈥檚 international profile continues to grow. In July 2024, Shatha Essa Kids became the first childrenswear label from the UAE to be launched at luxury London department store Harrods. 

鈥淏eing stocked at Harrods is a thrilling milestone. It鈥檚 recognition on a global stage. It means our artisan heritage and design philosophy is being celebrated internationally,鈥 she says. 鈥淚t鈥檚 validation not just for me but for the artisans and the Emirati narrative we鈥檙e sharing.鈥 

The partnership, she adds, has 鈥渆levated the brand鈥檚 visibility, attracted international clientele, and inspired confidence in entering new markets.鈥 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Aside from Harrods and the UAE, Essa also sees 黑料社区 as a key part of her brand鈥檚 journey.  

鈥満诹仙缜 is incredibly important,鈥 she says. 鈥淚t鈥檚 a vibrant market with a growing appetite for high-quality, culturally resonant fashion.鈥 Saudi clients, she notes, have 鈥渁 strong preference for stylish, bold, and out-of-the-box silhouettes; rich textures; and deep, saturated tones,鈥 while in the UAE, 鈥渓ighter palettes and classic statement cuts鈥 are in favor.  

鈥淏oth markets value craftsmanship, but their aesthetic sensibilities diverge in tone and expression,鈥 Essa adds. 

The Kingdom is a major focus for her expansion plans, which include pop-ups and retail collaborations.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

鈥淲e鈥檙e exploring partnerships with local boutiques and lifestyle brands, and envision a curated retail presence that brings our women鈥檚 and kids collections to new audiences in Saudi,鈥 she says.鈥 

At the same time, the brand continues to grow internationally, having recently signed with the major online fashion retailer Net-a-Porter. 

Asked what her advice to aspiring designers would be, Essa offers the following: 鈥淪tart with your roots and own your story, and let that guide your vision. Learn all parts of the business from pattern-cutting to supply-chain management. Be patient and persistent. Building a brand takes time, resilience, and adaptability.鈥濃 


Review: Leonardo DiCaprio gives a career-defining performance in 鈥極ne Battle After Another鈥

Review: Leonardo DiCaprio gives a career-defining performance in 鈥極ne Battle After Another鈥
Updated 26 September 2025

Review: Leonardo DiCaprio gives a career-defining performance in 鈥極ne Battle After Another鈥

Review: Leonardo DiCaprio gives a career-defining performance in 鈥極ne Battle After Another鈥

DUBAI: The revolution may not be televised, but it sure makes for compelling cinema. Paul Thomas Anderson鈥檚 鈥淥ne Battle After Another鈥 is a sociopolitical event so in tune with the current political climate that its opening scene (set against the backdrop of an immigrant detention center) could be mistaken for the news.

The story arcs across two timelines: Bob Ferguson (Leonardo DiCaprio), a once-radical guerrilla turned single dad and drug-addled recluse, must confront a returning threat when his daughter Willa (Chase Infiniti) is hunted by his old enemy Colonel Steven J. Lockjaw (Sean Penn).  

DiCaprio鈥檚 performance is revelatory. We see him on both sides of a 16-year time jump and he juggles his na茂ve idealism (and later disillusionment) with moments of quiet emotional weight and urgency as he morphs into a father out of his depth with practiced ease. His comic timing remains sharp as ever. A scene where he has to manically argue with a former revolutionary colleague over the phone as he begs for the coordinates to his daughter even as the latter demads old passcodes that he鈥檚 forgotten elicited huge laughs. 

Alongside DiCaprio鈥檚 possible career-best turn, Penn is equally impressive as the hateful Lockjaw, who鈥檚 about to be initiated into a group of wealthy, powerful White nationalists (drawn in broad strokes, but no less real for that). Before that, though, an old error needs correcting, and he will stop at nothing to do it. Lockjaw is evil through and through, and yet, in the film鈥檚 closing minutes, you come to truly feel for him, thanks to Penn鈥檚 stunning performance.

And in her breakout big-screen role, Infiniti more than holds her own opposite DiCaprio, Penn, and other major names including Regina Hall, Teyana Taylor and Benicio del Toro, all of whom contribute tonal grounding to the narrative鈥檚 grand ambitions. 

As for Anderson, the filmmaker鈥檚 tight control over tone is the film鈥檚 greatest feat. He flits between absurdist satire, brutal action, and intimate family drama with a confidence few others can muster. 

In short, 鈥淥ne Battle After Another鈥 is not just a movie about revolution; it is a cinematic revolution. Its swagger, intelligence and emotional pulse make it much more than awards bait; it鈥檚 a film that should reverberate for years.


New Riyadh exhibition illustrates Islamic history through coins聽

New Riyadh exhibition illustrates Islamic history through coins聽
Updated 26 September 2025

New Riyadh exhibition illustrates Islamic history through coins聽

New Riyadh exhibition illustrates Islamic history through coins聽
  • 鈥楳inted Narratives鈥 runs until Dec. 16 at 黑料社区鈥檚 National Museum聽聽

RIYADH: 鈥淭his whole exhibition is about showing the power of Islamic coins and explaining the message that they bring to society,鈥 says Dr. Alain Baron, founder of Numismatica Genevensis SA. 鈥淭hey are the most complete source of information in history, as you can have, on some coins, the names of viziers, personalities, and historical figures that would never be known if it were not for the coins.鈥 

Baron is talking to Arab News about 鈥淢inted Narratives: 黑料社区鈥檚 Legacy in Coins,鈥 an exhibition running at Riyadh鈥檚 National Museum until Dec. 16.  

Baron co-curated the exhibition with Dr. Naif Al-Sharaan, an expert in Islamic numismatic history. Many of the pieces on display come from Baron鈥檚 extensive personal collection, alongside selections from the Ministry of Culture鈥檚 holdings. 

Part of the show's 'Treasures and Coins of 黑料社区' section. (Supplied)

鈥淭his exhibition is very important because it (features) the largest collection of coins ever struck on Saudi ground 鈥 coins struck in Makkah and Madinah that have been collected in Europe and America for decades,鈥 Baron explains. 鈥淎nd this is the first time that these coins have been unveiled to the public on this scale.鈥 

The show traces the evolution of coins from pre-Islamic times to the modern Saudi riyal, highlighting currency鈥檚 role in documenting artistic, economic, and political transformations. It includes scenography designed by Studio Ghaith&Jad and Farah Fayyad, with contributions from Al-Sharaan, and blends artistic and architectural elements to reflect different historical periods. 

鈥淲hen we came up with the title 鈥楳inted Narratives,鈥 we realized we wouldn鈥檛 be displaying everything in chronological order 鈥 but dividing it into different stories,鈥 Jad Melki, of Studio Ghaith&Jad tells Arab News. 

An example from the show's 'Women in Coins' section. (Supplied)

鈥淣ow we (barely) use coins anymore, so somehow when we look at these as historical objects and put them in such a contemporary space that we were trying to create, you start to focus more on what the coin is telling you,鈥 he continues. 鈥淲hat is the narrative behind it? What was minted at that time? And how did people move these coins from one place to the other? It maps out an entire system of economies and cultures that are being minted on these coins, whether it is cultural emblems or different faces, or different typographies on them.鈥 

The exhibition contains seven sections. It begins with 鈥淧re-Islamic Coins,鈥 highlighting鈥痵ymbols and meanings related to trade and authority. It is followed by 鈥淭he Birth of Islamic Coins and Coins in the Islamic Dynasties,鈥 which illustrates the unity and diversity of Islamic civilization over the centuries. 

鈥淥ne thing that we really wanted to emphasize in the scenography is to have those different experiences because we have a shift in narratives,鈥 Melki said, sharing that the first section鈥檚 aesthetic is very 鈥渟omber鈥 with dark lighting and earthier tones, while the birth of the Islamic civilization is a brightly-lit space, suggesting the enlightenment of the time. 

The show's 'The Birth of Islamic Coins and Coins in the Islamic Dynasties' section. (Supplied)

The section 鈥淲omen in Coins鈥 showcases the presence of women in numismatics. 鈥淎 lot of women鈥檚 names have been mentioned on coins,鈥 says Baron. 鈥淚 was relatively ignorant about that. I started to dig into the topic and found that lots of queens in Arab culture had been mentioned on coins, which obviously underlines their importance, and that brought me to Zubaidah (bint Ja鈥檉ar) 鈥 one of the key figures in (Islam).鈥 (Queen Zubaidah significantly financed Darb Zubayda, a pilgrimage route that offered those performing Hajj an easier journey to Makkah.) 

鈥淭reasures and Coins of 黑料社区,鈥 meanwhile, tells the story of the Kingdom鈥檚 unification, and the building of the modern state. Melki describes this as 鈥渢he most important section鈥 of the exhibition. 

鈥淭here we wanted to create the typography of Makkah and to highlight that these coins were minted there, or in Madinah,鈥 he says. 鈥淪o there are different elements that reference geography or architecture.鈥 

鈥(Coins) are an incredible source of knowledge. The world should know that cities like Makkah and Madinah had a rich history,鈥 says Baron. 鈥淨ur鈥檃ns and artworks from this period have almost all disappeared, or are awfully rare. So what you see here, basically, are the last remaining witnesses of the earliest stages of the history of Islam.鈥 


Where We Are Going Today: Dahma in Diriyah

Where We Are Going Today: Dahma in Diriyah
Updated 26 September 2025

Where We Are Going Today: Dahma in Diriyah

Where We Are Going Today: Dahma in Diriyah

In the heart of Diriyah鈥檚 Jax District 鈥 a neighborhood synonymous with creativity and design  鈥 lies Dahma, a cafe and carpentry space that redefines what a coffee shop can be. More than just a place to grab a drink, it is an immersive experience where art, craftsmanship, and coffee converge.

Walking into Dahma feels like stepping into a workshop and a museum. The interior is rich with artisanal details: wooden walls engraved with Arabic calligraphy, vintage carpentry tools displayed like art, and intricately carved doors that showcase the beauty of traditional craftsmanship. Even the seating area 鈥 with its leather-woven chairs and greenery 鈥 reflects a thoughtful design aesthetic that merges comfort with artistry.

The coffee, meanwhile, is impressive. A flat white costs SR15 ($4) and stands out for its smooth, bold flavor. You may opt for the iced Americano, which is refreshing and well-balanced. While the food menu is limited, with only a few sweets available, the quality of the coffee easily makes up for it. Expanding the menu would certainly enhance the overall experience.

What makes Dahma particularly special is its community. Every weekend the cafe transforms into a gathering place for painters, sculptors, and other creatives. The tables 鈥 often covered in paintbrushes, chisels, and tools 鈥 become workspaces where art is born while coffee is savored. It is a rare setting where you can sip an espresso while watching a piece of wood being carved or a canvas brought to life.

The name 鈥淒ahma鈥 reflects this unique spirit. Inspired by both the deep blackness of coffee and the noble elegance of Arabian horses, it conveys authenticity and refinement 鈥 qualities that mirror the cafe鈥檚 identity.

While the seating area is somewhat limited and the cafe often feels more like a gallery than a bustling coffeehouse, this intimacy is part of its charm. Facilities such as restrooms and a prayer rug add convenience, making it a comfortable spot to linger.

Dahma is more than just a coffee stop: it is a cultural experience. For those seeking high-quality coffee in an inspiring, museum-like space where creativity flows as freely as the espresso, visiting Dahma is a must.
 


Saudi filmmaker with a different story to tell聽

Saudi filmmaker with a different story to tell聽
Updated 25 September 2025

Saudi filmmaker with a different story to tell聽

Saudi filmmaker with a different story to tell聽
  • Shahad Ameen rewrites narratives about her country with 鈥楬ijra,鈥 which was shown at Venice Film Festival

RIYADH: For Saudi filmmaker Shahad Ameen, presenting her work on the international stage is more than a personal achievement 鈥 it is an act of cultural expression.

Ameen鈥檚 latest film, 鈥淗ijra,鈥 an exploration of female identity across generations, was shown at the recent 82nd Venice International Film Festival, putting the Kingdom firmly on the map of world cinema.

鈥淭here鈥檚 something special about being seen in a space like Venice,鈥 the filmmaker told Arab News.

A young actress during a scene from "Hijra." (Supplied)

Ameen鈥檚 pride, however, extends beyond personal acclaim and is as much about demonstrating that Saudi stories carry significant 鈥渆motional weight, spiritual depth, and cinematic ambition.鈥

鈥淗ijra鈥 is supported by the Saudi Film Commission, as part of its efforts to make local films global.

The film marks a stylistic shift from her critically acclaimed debut 鈥淪cales,鈥 a mythic allegory. The director described her latest production as a road film exploring how women across different generations perceive their identity.

鈥淚t鈥檚 a story of women navigating who they are, and understanding what freedom means to them,鈥 Ameen said. 鈥淲here 鈥楽cales鈥 was mythic, 鈥楬ijra鈥 is more intimate. It鈥檚 about the pilgrimage we make toward ourselves, and the cost of that journey.鈥

Saudi director Shahad Ameen during the filming of "Hijra." (Supplied)

A central theme in Ameen鈥檚 work is challenging widely held views of 黑料社区. She rejects the notion that Saudi stories are binary, either about oppression or exoticism.

鈥淚 want to move past that,鈥 she said. 鈥淥ur lives are layered, our women are complex, and our culture is evolving in ways that deserve nuance.鈥

Ameen鈥檚 goal is not to explain Saudi culture, but to express it through 鈥渃haracters who feel real, flawed, and emotionally alive.鈥

Through 鈥淗ijra,鈥 she hopes to share the 鈥渞hythm of our lives鈥 鈥 the quiet rituals, unspoken emotional codes between women, and the landscapes steeped in memory.

鈥淭here鈥檚 a softness in our culture that鈥檚 often missed,鈥 she said. 鈥淚 hope people feel the beauty in our resilience, and the complexity of our choices.鈥

The final moments before filming a scene from "Hijra." (Supplied)

Ameen is candid about the significant challenges in the film鈥檚 production 鈥 filming took place in eight cities, with tight timelines and only limited resources 鈥 and credits the rapidly evolving Saudi film infrastructure for making 鈥淗ijra鈥 possible.

鈥淭he Saudi film space is growing, and our partnership with the Saudi Film Commission was absolutely essential,鈥 Ameen said, acknowledging their help with permits, location scouting, and funding. 鈥淢ost of our budget came through their support.鈥

She also highlighted crucial on-the-ground support from Film AlUla and Neom, calling it a 鈥渃ollaborative effort鈥 with institutions that 鈥渢ruly believe in the future of Saudi cinema.鈥

For Ameen, authenticity is essential, and she rejects any idea of consciously balancing local and global themes. 鈥淚 don鈥檛 think about balance, I think about truth,鈥 she said. 鈥淚 write from a Saudi lens, but I write about longing, loss, rebellion, love. These are not regional 鈥 they鈥檙e human. The specificity is the strength.鈥

As one of the leading voices in a new wave of Saudi cinema, Ameen is aware of her role in paving the way for others. 鈥淪uccess creates space,鈥 she said. She hopes that these achievements will encourage greater investment in mentorship and infrastructure, giving the abundant local talent 鈥渞oom to breathe.鈥

Ameen sees her career as a chance to 鈥渞ewrite the narrative鈥 for herself and future generations. 鈥淚 grew up without cinematic mirrors,鈥 she said. 鈥淣ow I get to hold one up.鈥

Looking ahead, Ameen said that she is committed to telling stories rooted in the Saudi experience, and describes the Kingdom as 鈥渢he most exciting place in the world to make films.鈥

鈥淲e finally get to speak for ourselves,鈥 she said. 鈥淭hat鈥檚 significant.鈥