Dozens of ancient artifacts seized in Greek island smuggling raid

Dozens of ancient artifacts seized in Greek island smuggling raid
Authorities in Greece have arrested six people on the island of Crete in connection with an alleged antiquities smuggling ring that was attempting to sell dozens of ancient artifacts, police said Thursday. (X/@greekcitytimes)
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Dozens of ancient artifacts seized in Greek island smuggling raid

Dozens of ancient artifacts seized in Greek island smuggling raid
  • Among the recovered items were 15 ancient oil lamps, 17 figurines or fragments
  • Police also confiscated metal detectors and scanning equipment believed to have been used to locate buried relics

ATHENS: Authorities in Greece have arrested six people on the island of Crete in connection with an alleged antiquities smuggling ring that was attempting to sell dozens of ancient artifacts, police said Thursday.
The arrests came after a sting operation on Wednesday, during which the suspects were reportedly trying to sell a collection of antiquities. Investigators say the group operated as a coordinated criminal network, with clearly defined roles, including a leader, go-betweens, and a designated transporter.
Among the recovered items were 15 ancient oil lamps, 17 figurines or fragments, several ceramic vessels, and a marble sculpture believed to depict a child’s head. All are thought to date from various periods of ancient Greek history and will be assessed by a state archaeological service.
Police also confiscated metal detectors and scanning equipment believed to have been used to locate buried relics, as well as firearms, ammunition, quantities of cannabis, and more than 3,000 euros ($3,200) in cash.
Greece, known for its rich archaeological heritage, has long battled the illicit trade in antiquities. Despite strict national laws, such artifacts remain highly sought-after on the international black market.
All six suspects are facing multiple charges, including membership in a criminal organization and breaches of cultural heritage protection legislation.


Printmaking takes center stage at JAX District exhibition

Printmaking takes center stage at JAX District exhibition
Updated 24 April 2025
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Printmaking takes center stage at JAX District exhibition

Printmaking takes center stage at JAX District exhibition
  • Live screen-printing studio teaches public about processes
  • Curator urges support and opportunities for local creatives

RIYADH: In a corner of JAX, Riyadh’s art district, there is an open-door policy for art enthusiasts and culture aficionados to explore the diversity of the printmaking world.

At Printworks — hosted by the Personage concept store and studio —artists, designers and architects are presenting their print-based creations to the public.

The aim is to celebrate the work of the artists and engage the public.

When curator Koren Dasoar and guest curator Dana Qabbani came together for the project, they had the aim of “really doing things that are not just for the sake of it.”

Dasoar told Arab News they are not seeking “applause, but really are conscious of people’s feelings, supporting people and building quality.”

They saw a gap in the art community: a space that caters to emerging artists.

Qabbani told Arab News: “Speaking with all of the young artists and the established ones, people are down.

“People feel they’re not doing enough to appear enough … We felt that there’s a disconnect, even with all the amazing things that’ve been happening in the scene.”

Dasoar added: “We shouldn’t wait for a large format activation or event to happen for creativity to happen.

“It’s about it being constant small- to mid-scale activities that allow people that have a growing creative practice to be able to constantly create and showcase.”

Printmaking itself is a unifier of crafts, the curators say.

It “makes you use your hands physically, and therefore the process is longer than just clicking ‘print’ and having the artwork come out.

“There is more of a practice; it’s more sacred because it slows you down. You’re making the art in slow motion,” Qabbani said.

Dasoar explained: “Print is something that I feel is completely interdisciplinary, multidisciplinary and cross-medium.

“It’s something that has value in the context of artists, architects, industrial designers, product designers, and even the broader creative spectrum of writers, printers, poets.

“Print is a medium that is far-reaching. It also is something that, from a functional standpoint, allows that to be a degree of repetition, meaning that we can create repeats.

“But it’s also something that I think is quite interesting in the contemporary context, for that it takes different mediums from different practices, funnels it through a digital and non-digital medium, and translates it into something that is physical.”

The initiative aims to bring people back to a core idea of loving creativity and making art, or simply having the desire to create.

For aspiring artists to truly thrive, “there needs to be multiple points of contemplation and multiple points of creation,” Dasoar said.

“There is space for everyone, and we have a shared responsibility to support talent, nurture growth, and create opportunities for success.”

These notions manifested in Personage having an open-door policy for such events.

In this edition, the featured artists include Hayat Osama, Naif Alquba, Mohammed Zkria, Abdullah Al-Amoudi, Salman Najem, Abdullah Al-Khorayef, the sibling-led collective TwoMeem, and Shaddah Design Studio’s Il Mushtarayat.

The program allows members of the public to see how their purchased pieces are produced, as each print is made-to-order. The event also creates a space to ask questions in a more conversational setting.

“Community isn’t built in rows of chairs,” Dasoar said.

Printworks functions in two sections. The first is in existing artworks created by the artist, studio, designer or practitioner, ranging from risograph prints, screenprints, and photographic print.

The other section is an on-site, live screen-printing studio where members of the public are able to drop in and learn more about the artists, the ink, and the printing process itself.

All the works, including the print-on-demand pieces, which will be available on a limited-run basis, are part of an exhibition running until the end of April.

“We have a portion of the artists that are just in the exhibition segment, and we have several artists that have been the collaborators on the screens that are on the print and demand,” Dasoar said.

The event has talks and workshops by various creatives including Dasoar and Cristian Checcanin, the art director at TOLD, the agency behind the design of Saudi Arabia’s riyal logo.

While this is the first edition of Printworks, the goal is to create an event every month with a new, diverse set of artists and curators who can bring in fresh ideas and concepts.

This type of activation is connected to a core pillar of Personage’s mission and identity.

As a space that exists at the intersection of concept store, creative studio, and cultural platform, Personage is fundamentally about bringing people together — bridging disciplines, creative practices, and perspectives.

“We believe that the creative industry truly blossoms when we support its practitioners, while also allowing patrons and buyers to grow, connect, and engage through experiencing — and investing in — the outcomes of creativity.

“In this way, we nurture both the creators and the community that surrounds and uplifts them,” Dasoar said.


Daniah Alsaleh discusses her Art Dubai installation ‘Shams’ 

Daniah Alsaleh discusses her Art Dubai installation ‘Shams’ 
Updated 24 April 2025
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Daniah Alsaleh discusses her Art Dubai installation ‘Shams’ 

Daniah Alsaleh discusses her Art Dubai installation ‘Shams’ 
  • The Saudi artist showed off work created during a residency in AlUla 

DUBAI: “Sunsets are always mesmerizing to me no matter how many times you view them,” said Saudi artist Daniah Alsaleh, standing next to her installation “Shams” (sun in Arabic) — presented at the booth of Art on 56th in the digital section of Art Dubai this month.  

Alsaleh called the work “a meditation on time, transformation, and the ways history can be reinterpreted through technology.” 

“Shams” consists of a projector playing a looped video, surrounded by overlapped photographs of images of the mountains of AlUla — included shots of a multitude of sunrises and sunsets that Alsaleh shot from various locations in AlUla, Saudi’s ancient desert region. But the sun was not the only influence on the work. Alsaleh was also inspired by carnelian, reddish-brown semiprecious stones that have been found at numerous ancient sites in AlUla and nearby Tayma, a large oasis.  

“The work is inspired by carnelian beads excavated from archaeological sites,” Alsaleh told Arab News. “Through my research, I discovered that there are a lot of associations and symbolism between carnelian stones and the sun, especially the ancient sun goddess. Captivated by this symbolism, I filmed sunrises in AlUla and used machine-learning interpolation to create a video of a moving sun in a parallel universe. The shifting hues of the sun in ‘Shams’ mimic the warm browns and deep reds that appear when light passes through carnelian, connecting ancient materials with contemporary digital processes.”  

In ancient Egyptian mythology, carnelian gemstones represented the sun god Horus and the fertility goddess Isis. Carnelian was believed to help encourage an understanding of the cycle of life and remove fear of death. 

“I discovered that many carnelian beads were found in excavation sites in AlUla and Tayma that date back to the early Bronze Age,” Alsaleh told Arab News. In Tayma, she said, a carnelian bead factory with millions of shards of carnelian has been uncovered, along with unfinished beading products and flint drills, some dating back to around 4,000 BCE, suggesting the area was once a major production center for carnelian jewelry that likely played a role in the ancient trade networks and cultural exchange that connected AlUla and the surrounding area with much of the world.  

“According to several theories I read, raw carnelian came through the trade routes with the Indus Valley; beads were manufactured in Tayma and then exported to the Levant and Egypt,” Alsaleh said.  

While the research behind “Shams” explored the ancient world, its incorporation of digital technology gives the piece a contemporary, avant-garde edge. 

“I don’t always necessarily incorporate digital into my works,” Alsaleh explained. “It depends on what is the perfect fit for that project or installation. Sometimes I work purely with digital; sometimes I work purely with paint on canvas. It really depends on the context and the project I'm working on.” 

“Shams” was created in 2024 during a residency supported by the German Archaeological Institute and the Goethe Institute in AlUla at the end of 2023 that Alsaleh completed alongside German artist and photographer Susanne Kriemann.  

The works they created were displayed in the exhibition “ALAAMAT” at ATHR Gallery’s AlUla space, which ended on March 26 and celebrated the connections between art, archaeology and cultural exchange.  

Additional works Alsaleh made during the residency in the form of intricate abstract and realistic images incorporating crushed carnelian stone on watercolor paper were shown in that exhibition alongside “Shams,” and, like the latter, they underline the lasting and crucial impact that nature and the land have had on ancient and modern lives.  


Scene Acting Institute holds its first workshop in Saudi Arabia’s Alkhobar

Scene Acting Institute holds its first workshop in Saudi Arabia’s Alkhobar
Updated 24 April 2025
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Scene Acting Institute holds its first workshop in Saudi Arabia’s Alkhobar

Scene Acting Institute holds its first workshop in Saudi Arabia’s Alkhobar
  • Led by renowned academic adviser Emily Tambour, the workshop saw the participation of notable Saudi actors, including Mila Al-Zahrani and Sarah Taibah
  • Institute plans to hold monthly workshops covering various acting techniques, each designed to enhance the skills and creativity of aspiring artists

DHAHRAN: The newly opened Scene Acting Institute in Alkhobar hosted its first workshop on April 22, focusing on the Meisner technique. 

Led by renowned academic adviser Emily Tambour, the workshop saw the participation of notable Saudi actors, including Mila Al-Zahrani and Sarah Taibah. 

The institute plans to hold monthly workshops covering various acting techniques, each designed to enhance the skills and creativity of aspiring artists.

Scene opened on April 18 with an event hosted by the Khobar Cinema Association.

The grand inauguration took place at Cinematheque in Alkhobar, attended by a diverse audience of cinema and theater enthusiasts eager to embrace a new era of artistic expression.

The opening ceremony featured artistic performances that captivated attendees, including three moving acting demonstrations accompanied by live music. 

An exhibition highlighting the history of acting was curated and presented by renowned Saudi actor Baraa Alem.

Mujtaba Saeed, the visionary Saudi film director and one of the founders of the Scene Acting Institute, described the launch as a groundbreaking moment for the Saudi art scene. 

“This institute signifies a response to the vibrant artistic renaissance currently taking place in our country,” he told Arab News. “With cinema and theater flourishing, we are proud to establish the first institute focused specifically on the art of acting.”

The institute’s curriculum has been meticulously crafted, drawing from both well-established acting techniques and Saudi cultural nuances. 

“Our programs are designed around an academic framework that incorporates both international acting approaches, such as Meisner and Stanislavski’s actor preparation, and our local traditions,” Saeed explained. 

“We envision this institute as a nurturing home for every passionate artist,” Saeed said. “Actors are the heart of our storytelling, bridging the gap between us, our scripts, and our aspirations.”

Saeed highlighted the need to redefine the relationship between actors and their audiences, aiming to enhance both cinema and theater with authentic voices that resonate with today’s society.

“Our institute aims to graduate a generation of actors who can express their unique stories and identities, contributing to a richer, more diverse artistic content in Saudi Arabia,” he said.

This initiative promises to make Saudi cinema and theater more accessible and relatable, both locally and worldwide.

As it embarks on this groundbreaking journey, the institute is setting the stage for a flourishing era of creativity and storytelling in the Kingdom.


Abu Dhabi gears up for 7th Culture Summit 

Abu Dhabi gears up for 7th Culture Summit 
Updated 23 April 2025
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Abu Dhabi gears up for 7th Culture Summit 

Abu Dhabi gears up for 7th Culture Summit 
  • 3-day program will feature keynote speeches, panel discussions, artist talks, and workshops
  • Impact of AI on the creative industries among wide range of topics to be discussed

DUBAI: The UAE capital is preparing to host the seventh edition of Culture Summit Abu Dhabi, a global forum for cultural exchange and dialogue, from April 27-29 at Manarat Al-Saadiyat. 

Organized by the Abu Dhabi Department of Culture and Tourism, the three-day event will bring together policymakers, artists, scholars, and innovators to explore the theme “Culture for Humanity and Beyond,” focusing on the intersection of culture, technology and global governance.

The program will feature keynote speeches, panel discussions, artist talks, and workshops. 

Confirmed speakers include Mo Gawdat, former chief business officer at Google X; philosopher Susan Buck-Morss; Prof. Iyad Rahwan from the Max Planck Institute; and Glenn D. Lowry, director of MoMA.

Other prominent voices set to appear include Sir William Sargent of Framestore, and Koyo Kouoh, executive director and chief curator of Zeitz MOCAA.

The panels will explore a wide range of topics, including the impact of artificial intelligence on the creative industries.

Sessions such as “AI Revolution: Redefining Creativity in the Age of Machines,” “Should Governments Regulate AI to Compensate the Creative Industries?” and “The Double-Edged Sword of AI in Cinema” will address the growing role of generative technologies in reshaping artistic expression, intellectual property and creative labor.

The summit will also revisit cultural policy discussions, hosting the second edition of the Mondiacult Ministerial Dialogue. The two-part session will bring together more than 10 ministers of culture to explore the influence of AI on culture and the role of the arts in peacebuilding and sustainability. 

Another key session will examine the implementation of the UNESCO Framework for Culture and Arts Education, building on outcomes from a related global conference held in Abu Dhabi in early 2024.

Highlighting culture as a public good, the summit will include sessions on environmental sustainability, heritage preservation, and cultural governance. Sessions will include “Turning Green: What Happens When Cultural Leaders Take Action for the Planet” and “From Ruins to Resilience: A New Era of Heritage Rehabilitation.”

Creative voices such as Thomas Heatherwick, Colleen Atwood, Refik Anadol, and Herbie Hancock will participate in artist talks and panels. The program will also feature conversations between prominent figures, including philanthropist Maja Hoffmann, architect Hashim Sarkis, and director Sir John Akomfrah, as well as a session on jazz and humanity led by Hancock and journalist John Ridding.

Attendees will also be able to engage with the work of regional talents, including poet and artist Alia Al-Shamsi, designer Omar Al-Gurg, and architect Abdalla Almulla, offering insights into the UAE’s growing creative sector.

The event’s global partners include UNESCO, The Economist Impact, Design Museum, Google, Solomon R. Guggenheim Museum and Foundation, and the Recording Academy. Additional collaborators range from regional institutions such as Louvre Abu Dhabi and Cultural Foundation to international cultural bodies such as Institut du Monde Arabe, TeamLab and the Herbie Hancock Jazz Institute.


Japan’s Kaneko Masakazu explores memory, myth and nature in intimate Saudi Film Festival talk

Japan’s Kaneko Masakazu explores memory, myth and nature in intimate Saudi Film Festival talk
Updated 22 April 2025
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Japan’s Kaneko Masakazu explores memory, myth and nature in intimate Saudi Film Festival talk

Japan’s Kaneko Masakazu explores memory, myth and nature in intimate Saudi Film Festival talk

DHAHRAN: Japanese filmmaker Kaneko Masakazu — known for his cinematic exploration of nature, memory, and myth — captivated audiences at the 11th Saudi Film Festival (SFF) with an intimate and insightful conversation about the deep connections between culture and storytelling.

Masakazu was joined on stage by Abdulrahman Al-Qarzaee, a fluent Japanese speaker from Saudi Arabia who served as translator with cultural commentator Showg AlBarjas acting as moderator.

The conversation delved into how landscapes, folklore and cultural identity shape cinematic storytelling, facilitating a thoughtful exchange of ideas that spanned cultural boundaries.

During this session, Masakazu shared his approach to filmmaking, particularly in “River Returns” (2024), his third feature film. It was shown just days earlier at the SFF, which is set to wrap up on April 23.

The film, a stunning blend of fantasy and drama, takes place in a rural Japanese village and tells the story of a young boy’s perilous journey to a seemingly haunted body of water. There, he hopes to calm the grief-stricken spirit responsible for devastating floods that have plagued the village. The story is set during the 1958 typhoon, which serves as a backdrop to the boy’s journey.

Masakazu revealed how his work has always been centered on the relationship between humans and nature.

“My work deals with the relationship between nature and humans as its central theme. It tells these stories in a poetic, almost mythical style,” he said.

In “River Returns,” the boy’s journey to the mountain pool is not just a physical one, but a spiritual and emotional quest, too.

The film captures how natural disasters can be viewed as manifestations of spiritual unrest, a concept in Japanese folklore that seemed to resonate with Saudi audiences.

The film’s breathtaking cinematography beautifully contrasts the serene landscapes with the looming, furiously violent storm, underscoring the dynamic between the gentle and the destructive forces of nature.

“The meaning of the narrative is ultimately left to the viewer — whether they experience sadness, love or the echo of an ancient tale,” Masakazu shared. “In the end, it becomes a transmission of culture, a passing down of folklore, all leading back to a shared emotional core. At the same time, I’m interested in how people respond — how a non-Japanese audience might engage with it.”