“I was interested in art from a young age, but I never really had the opportunity,” Alsaleh explains, reflecting on her early years in Riyadh. It wasn’t until she relocated to Jeddah and trained under artist Safeya Binzagr that her passion for art truly blossomed. After several years of training, traveling, and studying Islamic geometry, she found herself ready to showcase her work. By 2012, she participated in her first group exhibition, which marked the beginning of her career as a professional artist.

In 2014, Alsaleh made the decision to move to London and pursue further studies. Despite not being accepted into her desired Master’s program in Fine Art, she was offered a place in a Computational Arts program, which profoundly shifted her artistic direction. “I’m not an AI artist. I’m a visual artist,” she clarifies, emphasizing her approach to machine learning as one of many tools she uses, alongside traditional media.

Exploring Themes of Social Conditioning and Memory

Alsaleh’s work often delves into themes of social conditioning and the influence of media on memory. “I’m interested in social conditioning in the everyday—things we take for granted,” she says. This interest is evident in her work, which examines how media reshapes memories and the role of collective versus individual memory in society.

One of her early pieces, Restitution (2017), reflects these themes. The artwork features meticulously drawn Islamic patterns, interrupted by a bold, random brushstroke. “We can celebrate and appreciate history and tradition, but, at the same time, we really need to be open to change,” she explains.

Her later works, such as Sawtam—the winner of the 2019 Ithra Art Prize—and That Which Remains from the inaugural Diriyah Biennale, continue this exploration. The latter addresses the tension between collective and individual memory in a rapidly changing Saudi Arabia.

Machine Learning and New Forms of Expression

Alsaleh’s journey into computational arts and machine learning has brought a new dimension to her work. She applies these techniques to create installations like Evanesce, which uses deep fake technology to recreate scenes from Egyptian cinema’s Golden Age. This piece, like many of her others, critiques how media, even in conservative societies, shapes collective memories.

Her residency in AlUla in 2022 inspired the creation of Hinat, an installation that merges traditional landscapes with futuristic, machine-generated figures. By blending ancient and modern elements, Alsaleh draws attention to the evolving nature of culture and identity.

Alsaleh continues to challenge the boundaries of artistic expression, as seen in works like E Proxy, where she critiques the widespread use of emojis in modern communication, and The Gathering, which portrays the emotional experiences of women living in Riyadh.

“I’m asking what is happening here: Is it conditioning us into being less expressive? Or are we conditioning it to be a tool to help us express ourselves?” she questions, inviting viewers to reflect on the duality of tradition and innovation.

With a career built on a foundation of tradition and an openness to contemporary techniques, Alsaleh embodies the idea that change is not only inevitable but essential. Her works serve as a reminder that while we can honor the past, embracing the future is equally important

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Developed in partnership with global digital consultancy Monstarlab, the Digital Creative Economy 2024 white paper by d3 and Dubai Media City compiles feedback from engagements with more than 20 leaders and a survey of 400 UAE- and internationally-based design and media professionals to provide a holistic overview of growth opportunities in the global digital creative economy.

The white paper’s launch comes as Dubai reaffirms its position as the global capital of the creative economy, ranking first on the Foreign Direct Investment (FDI) Index for project inflows and job opportunities in the cultural and creative industries in 2023, according to the fDi Markets report by the Financial Times. 

The global digital creative economy is expected to note compounding growth of 11% each year to reach a valuation of AED 27 trillion by 2030, according to an innovative market sizing model built by Monstarlab that reflects the average combined sizes of the global design and media markets as well as verticals defined by global and UAE standards, including books, audio-visual media, culture and heritage, visual arts, fashion, and product design. 

The white paper’s findings come at a pivotal time for creative industries as the advent of generative AI breaks new ground in production processes to transform existing business models. Developed by d3 and Dubai Media City, two of TECOM Group’s 10 sector-specific business districts across Dubai, the paper explores how the accelerated trajectory of emerging technologies is influencing skills and services ranging from fashion design and architecture through to visual arts, advertising, and events. 

“There has been a seismic shift in how content is produced, distributed, and monetised over the past decade, and the rapid pace of this convergence demands tomorrow’s talent is armed with the necessary skills and training to unlock its full potential,” said Majed Al Suwaidi, Senior Vice President of Dubai Media City, at TECOM Group. 

“AI, Web3, and virtual reality are swiftly pushing the horizon of what’s possible for the future of media, but this tech-driven landscape demands a deep, holistic understanding of the implications of these new tools. Strategic support, be it through Dubai Economic Agenda ‘D33’ or Dubai Media’s vision to champion homegrown content creation, is crucial to nurturing such innovation-led creativity, and Dubai Media City is committed to enhancing the local media sector’s value chain by contributing to these programmes. It’s an exciting era for content creators as technology redefines every facet of our lives, and our white paper provides a blueprint for a new breed of creative innovators to chart their future success.”

“The creative industries are an undeniable springboard for economic growth,” said Khadija Al Bastaki, Senior Vice President of Dubai Design District (d3), at TECOM Group. “Strategic support in our city, too, is geared towards helping to unlock the potential of the creative sector. This is apparent in the Dubai Creative Economy Strategy, which aims to raise the GDP contribution of creative industries to 5% by next year.

“Strategic initiatives, targeted development and pro-business policies, and a diverse, multicultural population are cultivating an outstanding global creative community, which has been instrumental to Dubai’s status as a UNESCO City of Design and driving FDI in the creative sector. To build upon Dubai’s flourishing contribution to the global design sector, we must continue to look forward and prepare for the next priorities courageously, collaboratively, and innovatively. This white paper demonstrates our deep commitment at d3 to championing this vital conversation and ensuring an even stronger future that is informed, favourable and progressive for all our creative stakeholders.” 

As global creative talent taps into the transformative potential of generative AI to automate, optimise, or innovate its work, the white paper explores how the trend is helping the ‘creator economy’ reshape content generation and enabling customer-centricity in commercial applications. More than 42% of design and 46% of media professionals surveyed for the white paper expect advanced emerging technologies and the adoption of AI solutions to impact their field of expertise in the coming years. 

The study also explores the UAE’s role as a contributor to the global creative industry, particularly as the fastest mover within the GCC to grow and digitise its creative economy. The majority of design (83%) and media (77%) of professionals surveyed for the white paper agree Dubai and the UAE provide well-developed infrastructure to enable creative excellence.

Benchmarking Dubai against global design capitals like Milan and London as well as media centres such as Manchester and Los Angeles, d3’s and Dubai Media City’s white paper finds Dubai has established itself as a global player through key levers nurturing the digital creative economy, including talent, government support, innovation, and infrastructure. 

Events like Dubai Fashion Week, co-founded in February 2023 by d3 and the Arab Fashion Council, have firmly established the city’s position on the global creativity landscape. Strategic visions like Dubai Economic Agenda ‘D33’, Dubai Creative Economy Strategy, and Dubai’s Universal Blueprint for AI (DUB.AI) – as well as the establishment of the Virtual Assets Regulatory Authority, the first of its kind in the GCC – are accelerating the integration of AI across all facets of Dubai’s diversified economy. 

Furthermore, initiatives like ‘We the UAE 2031’ and the UAE Cabinet’s decision to implement a CEO for AI across ministries and federal entities are fostering an environment conducive to developing and strengthening the local value chain for future-focused creativity. 

Click here to download your copy of the Digital Creative Economy 2024 white paper presented by Dubai Design District (d3) and Dubai Media City. 

The white paper’s launch follows the announcement of an expansion plan for d3, which enhances the creative economy by elevating local, regional, and international designers, creating synergies between global ecosystems to inspire, connect, and grow creatives at all stages of their journey with a dedicated industry ecosystem that features flexible offices, coworking spaces, in5 Design – the dedicated industry vertical of TECOM Group’s start-up incubator in5 – and a packed calendar that turns d3 from an address for businesses to a living, breathing ecosystem. 

In August 2024, TECOM Group commenced the development of six Grade-A office buildings within Phase 2 of d3 as the destination remains a sought-after address for customers across the design, fashion, and creative sectors, including Chopard, Zaha Hadid Architects, Chalhoub Group, and Burberry.

Its sister destination Dubai Media City is the cradle of the UAE and the region’s creative economy and provides a platform for high-quality media and content production as the regional address of industry giants like CNN, Thomson Reuters and OSN. Alongside Dubai Production City, which is home to in5 Media – TECOM Group’s dedicated vertical for the media industry under the in5 umbrella – and Dubai Studio City, the destination creates an integrated media ecosystem that is home to more than 3,500 customers and over 38,000 creative professionals.

Dubai Design District (d3) and Dubai Media City are among TECOM Group’s portfolio of 10 business districts, including Dubai Internet City, Dubai Production City, Dubai Studio City, Dubai Knowledge Park, Dubai International Academic City, Dubai Industrial City, and Dubai Science Park.

The post Global digital creative economy to reach AED 27 trillion by 2030, Dubai Design District (d3) and Dubai Media City study finds appeared first on Magzoid Magazine.

The 18th edition of this bi-annual event invites artists from across the region and around the world to participate and transform MEASA’s leading financial district into a captivating canvas of creativity just in time for DIFC’s 20^th anniversary celebrations. 

DIFC Art Nights will showcase a diverse range of artistic expressions, including visual arts, painting, sculpture, photography, design, murals, interactive workshops, panel talks, and music. This immersive experience will captivate art enthusiasts and the public alike, offering a unique opportunity to engage with established and emerging talents for an extended period of time. 

To participate in DIFC Art Night artists are invited to submit a portfolio of their best work to artnights@difc.ae, including high-quality images, a brief profile, and relevant details about each piece. Each entry will be reviewed by DIFC and the most outstanding artistic submissions will be selected for display. 

Categories include, but are not limited to, visual arts, painting, sculpture, photography, design, murals, mixed media, interactive workshops, and music. All submissions must adhere to the DIFC guidelines, available for download on the DIFC website.

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Horn’s work, characterized by its enigmatic and ritualistic quality, is highly regarded in Germany and beyond. Her art, featured in prominent exhibitions such as Documenta and the Venice Biennale, has left a lasting mark on the international art scene. Horn’s influence extends to contemporary artists like Matthew Barney and Pipilotti Rist.

Rebecca innovative performance art of the 1960s redefined perceptions of the female body, with her later mechanized sculptures incorporating metal, mirrors, and liquid to explore the boundary between human and non-human forms. Horn’s art, often described as ritualistic, was intended to evoke visceral experiences rather than straightforward meanings.

In a 2006 interview with Frieze, Horn explained her artistic vision: “Alchemy is a visualizing process, but in the end, it serves to take your consciousness to a higher plane.”

Among her notable works is the “Personal Art” series (1968–72), which featured performers wearing bizarre “body extensions” like horns and feathers. In her 1972 performance “Pencil Mask,” Horn wore a fabric mask lined with pencils, creating marks on a wall as she moved. This work exemplifies her blend of eroticism and conceptual art.

Horn’s career also included performances where she engaged in unconventional acts, such as eating flowers and creating pianos that spat out their keys. Her art frequently addressed dark themes from postwar Germany, with pieces like “Die Chinesische Verlobte” (The Chinese Fiancée) immersing viewers in a sensory and emotional experience.

Rebecca was born in 1944 in Michelstadt, Germany, Horn was deeply influenced by the works of Johann Valentin Andreae and Raymond Roussel.

Her early fascination with these figures shaped her unique approach to art. Horn studied at the Hochschule für Bildende Künste in Hamburg, although her education was interrupted by a lung condition.

Horn’s work gained international acclaim in the 1980s and 1990s, with major exhibitions in the US, including a 1993 showcase at the Guggenheim Museum. Her innovative pieces, such as the Paradiso (1993) installation, demonstrated her exceptional ability to blend performance and sculpture.

Throughout her career, Horn received numerous accolades, including top awards at Documenta and the Carnegie International. Her work continued to captivate audiences, with recent exhibitions like the Haus der Kunst retrospective.

Rebecca Horn’s art, characterized by its complexity and emotional depth, remains a powerful testament to her creative genius. “Confusion,” she once said, “I like that.”

The post Renowned Artist Rebecca Horn Passes Away at 80 appeared first on Magzoid Magazine.

At the heart of Richardson’s artistic philosophy lies a deep reverence for the wonders of nature and the human experience. Through her art, she seeks to celebrate the infinite nuances of life, from moments of pure joy and happiness to those of sorrow and longing. For Sara Richardson, true understanding and appreciation of life come from embracing the full spectrum of emotions, acknowledging that the true essence of existence is revealed through the interplay of light and shadow, happiness and sorrow.

In Richardson’s work, one can discern a subtle yet powerful exploration of the dichotomies that define the human condition. She believes that it is impossible to fully appreciate joy without also acknowledging sadness, or to understand beauty without confronting roughness. It is this juxtaposition of contrasting emotions that infuses her art with depth and resonance, creating a dynamic interplay that draws viewers in and invites them to contemplate the complexities of their own lives.

Through her art, Richardson seeks to evoke a sense of reverence and awe for the world around us. Her works are imbued with a sense of homage, love, and hopefulness, reflecting her deep connection to the natural world and her unwavering belief in the power of art to inspire and uplift. Each piece is infused with a poetic sensibility, a reflection of Richardson’s desire to capture the fleeting moments of beauty and grace that define the human experience.

In Richardson’s hands, art becomes a vehicle for exploration and self-discovery—a means of delving into the depths of the human soul and uncovering the hidden truths that lie within. Her work serves as a reminder of the interconnectedness of all things, and the profound beauty that can be found in even the most ordinary moments of life. Through her art, Richardson invites viewers to embark on a journey of introspection and contemplation, embrace their own humanity’s fullness, and find solace and inspiration in the ever-changing tapestry of existence.

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Kisoo’s ability to draw was evident from an early age, as he turned ordinary walls into colourful canvases that demonstrated his growing skill. His official Fine Art education at Seoul’s Hong-Ik University acted as a furnace for his creative ardour, developing his abilities and fostering his inventive spirit.

In his mid-forties, Kisoo moved his family to the sunny coasts of California, starting a transpacific voyage. Here, in the Golden State, with its endless creative possibilities, Kisoo was surrounded by a cacophony of stimuli. Every element—from the untamed landscapes to the varied wildlife, from the play of sunshine to the soft breezes—came together to inspire his creative inventiveness.

Having taught for more than thirty years, Kisoo’s artistic career has been as much about sharing knowledge as it has been about perfecting his skill. His extraordinary sketching abilities, honed over years of commitment and practice, have not only graced exhibitions but also functioned as a model for up-and-coming artists.

Kisoo’s artistic pursuits have shifted in the past few years to focus on examining the fundamental nature of humanity. He aims to depict the fleeting beauty seen in human gazes and gestures using colour and brushstrokes. The goal is to capture fleeting moments that speak to universal truths and to capture the essence of human emotion on canvas.

Kisoo’s preference for a palette dominated by black and white or monochromatic tonalities is fundamental to his artistic style. He uses this purposeful decision as a canvas to investigate the relationship between light and shadow, carefully probing the depths of human experience.

Kisoo Chai’s work is a tribute to the resilience of the human spirit, as he continues to explore the infinite possibilities of artistic expression. He asks us to stop, think, and be in awe of the beauty that is contained in the passing moments of our lives through the brushstrokes. In a world full of noise, Kisoo’s artwork invites us to witness the magnificent magnificence of what it is to be human by whispering truths that cut beyond language.

The post Kisoo Chai: Capturing Humanity’s Essence Through Charcoal appeared first on Magzoid Magazine.

Umińska’s artistic career started with a deep understanding of its historical background. Equipped with a Polish degree in art history and enhanced by a Master’s degree in Advanced Studies in art history from the University of Barcelona, she devoted herself to the theoretical investigation of art, finding inspiration in the works of the great artists of history. However, it was her natural desire for artistic expression that ultimately inspired her to leave the academic setting and pursue a career as an artist.

The turning point was when Kasia Umińska set out on a radical artistic journey in 2016 and sought direct instruction from well-known modern artists. Her artistic development was accelerated by this all-encompassing experience, which encouraged her to experiment with novel methods and viewpoints. She adopted charcoal and graphite as her main media and set out to meticulously capture the spirit of reality, adding a feeling of mystery and fascination to every brushstroke.

Umińska’s unique style of figurative realism, in which the lines between the actual and the imaginary blend together to create an enthralling illusionistic tapestry, is what distinguishes her work. She creates images with such skill and attention to detail that they appear to float beyond the boundaries of the canvas, luring viewers into a world where fantasy and reality collide.

Kasia Umińska sums up her artistic philosophy thusly: “I think the artist’s imagination fills his works with creativity and turns them into unique and mysterious creations.” She sees art as a gateway to other realms where the bounds of possibility are pushed to the absolute, rather than just a representation of reality.

One finds a symphony of contrasts in Umińska’s creations: the commonplace and the sublime, the tangible and the ethereal, and the familiar and the otherworldly. Every piece she creates demonstrates her ability to transcend the constraints of traditional representation by fusing diverse aspects into a beautiful whole.

Presently situated in the picturesque environs of Ibiza, Umińska persists in pushing the limits of her artistic manifestation, finding motivation in the island’s abundant cultural diversity and scenic splendour. She immerses herself in the creative process in her studio, which has a view of the Mediterranean Sea, incorporating the essence of her environment into her artwork.

One thing is guaranteed as Umińska’s artistic journey develops: her capacity to enthral and motivate audiences with her moving works. She invites us on a voyage of discovery where the boundaries between reality and fiction dissolve and the commonplace is elevated to the extraordinary via her mastery of deception and her steadfast devotion to creative integrity.

Umińska’s artwork reminds us of the limitless possibilities of human imagination, shining like a beacon of beauty and wonder in a world where reality often feels fractured and ephemeral. She is a tribute to the eternal ability of art to transcend the limitations of the every day and uplift the human spirit. With every brushstroke, she encourages us to gaze beyond the veil of the commonplace and glimpse the hidden depths of existence.

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Yayoi Kusama: Yayoi Kusama’s immersive installations and signature polka-dot themes have captivated audiences worldwide. Kusama’s strong use of colour and pattern continues to push the boundaries of modern art, influencing future generations of artists and collectors.

Banksy: Banksy’s enigmatic street art and politically charged statements have made him a global celebrity. Owning a Banksy piece is more than just a statement of taste; it also reflects social consciousness since his works continue to command attention and impact popular culture.

Kehinde Wiley: Kehinde Wiley’s vivid images question traditional notions of power and identity. Wiley’s work, known for its larger-than-life paintings showing characters from underrepresented areas, addresses modern societal themes of race, class, and representation.

Ai Weiwei: Ai Weiwei’s practice is multidisciplinary, encompassing sculpture, installation, and social action. Ai Weiwei’s challenging artworks, address topics of human rights, freedom of expression, and political protest, continue to stimulate thinking and inspire change worldwide.

Kaws: Kaws’ whimsical but subversive approach to pop culture has gained him a devoted following among art collectors and enthusiasts. Kaws’ artworks, which include renowned Companion figures and collaborations with major companies, blur the barriers between high and low culture, questioning traditional concepts of art and consumerism.

Yayoi Deki: Yayoi Deki’s abstract paintings investigate the interplay of colour, form, and emotion. Deki’s works, with their expressive brushwork and dynamic compositions, convey a sense of energy and movement that captivates the observer.

Amoako Boafo: Amoako Boafo’s expressive photographs highlight the beauty and endurance of Black identity. Boafo’s works, which use brilliant colours and gestural brushstrokes, capture the spirit of his themes with warmth and emotion, gaining him considerable respect in contemporary art.

Toyin Ojih Odutola: Toyin Ojih Odutola’s elaborate pen and ink drawings address issues of race, gender, and identity. With her rigorous attention to detail and deep storytelling, Odutola’s works urge viewers to engage with complicated storylines and question conventional ideals of beauty and belonging.

Tschabalala Self: Tschabalala Self’s bright collages and textile-based works showcase the breadth and depth of the Black female experience. Self’s artworks, which use vibrant colours and textures, challenge preconceptions and elevate disadvantaged voices in modern art.

Julie Mehretu: Julie Mehretu’s vast abstract paintings investigate topics of globalization, urbanization, and societal change. Mehretu’s layered compositions and dynamic mark-making create a visual discussion about the intricacies of our interrelated world.

Each of the above artists contributes a distinct viewpoint and voice to the contemporary art scene, allowing collectors to connect with various storytelling and aesthetic experiences.

The post 10 Must-Have Artists for Every Art Collector’s Portfolio in May appeared first on Magzoid Magazine.

Devitt’s miniature open house poignantly reflects the challenges faced by Brighton residents amidst record-high rental prices and escalating living expenses. With a keen eye for social commentary, she endeavours to capture the absurdity of the current renting crisis and its profound impact on the local community.

Speaking about her inspiration for the project, Devitt expressed her frustration with the exorbitant costs of living in Brighton, which have outpaced wage growth. She remarked, “Renting in Brighton has always been difficult, but with the cost of living rising, it has become ridiculous.” This sentiment echoes the sentiments of many residents grappling with the financial strain imposed by the housing market.

The Portable Open House serves as Devitt’s creative response to the prevailing housing crisis, offering a platform to engage with the community and foster dialogue about the pressing issue. Through her miniature artworks, she invites viewers to contemplate the broader implications of the housing crisis while celebrating the resilience of creativity in the face of adversity.

Devitt’s project has garnered attention as a cathartic outlet for both the artist and her audience, offering a form of escapism amidst the challenges of everyday life. By sparking conversations and encouraging participation, the Portable Open House becomes more than just an art installation—it catalyses social change and collective action.

Featuring miniature artworks contributed by Brighton, Sussex artists and beyond, the portable open house exemplifies the diverse talents and perspectives within the artistic community. As part of this year’s Artist’s Open House programme, the exhibition embarks on a city-wide tour, engaging audiences and prompting reflection on the housing crisis from different viewpoints.

In a time marked by uncertainty and upheaval, Bryony Devitt’s miniature open house serves as a beacon of creativity and resilience, inviting viewers to confront pressing societal issues through the lens of art. As the exhibition traverses the city, it not only showcases the power of artistic expression but also underscores the vital role of artists in advocating for social change and fostering community solidarity.

In the miniature world of Bryony Devitt’s Portable Open House, the housing crisis looms large. However, amidst the intricately crafted artworks, there is hope for a brighter future—one where creativity thrives, and conversations spark meaningful change.

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From a young age, Graeber was immersed in a world of creativity, spending his days building forts, treehouses, and coasters with his siblings. His early exposure to craftsmanship and design laid the foundation for his future artistic endeavours. Although initially drawn to architecture, Graeber’s academic journey took a different path, leading him to study printmaking, jewellery, painting, and sculpture.

By his second year of college, Graeber had already established a studio devoted to painting in downtown San Marcos, signalling his commitment to the artistic process. His early exhibitions and recognition, including being curated into the Texas Painting and Sculpture Exhibition at the Dallas Museum of Fine Arts, provided validation for his creative pursuits.

Over the years, Graeber’s artistic practice has evolved, encompassing a wide range of mediums and techniques. From sizable steel sculptures to intimate paintings, his work reflects a deep exploration of form, texture, and personal perspective. His exhibitions and accolades, including major solo shows and inclusion in prominent publications like “Art at Our Doorstep” and “Texas Abstract,” attest to the impact of his artistic vision.

In addition to his own creative endeavours, Graeber has also ventured into curatorial work, mounting exhibitions like “Margins” at UTSA and participating in collaborative projects such as “Formal Proof” at Blue Star Contemporary with Sterling Allen.

As he continues to explore the boundaries of art and personal expression, Larry Graeber remains dedicated to mining his own perspective for cognitive contemplation. His work serves as a testament to the power of creativity to transcend boundaries and spark meaningful dialogue, inviting viewers to engage with the world through his unique lens. In a career spanning decades, Graeber’s artistic legacy shines bright, a testament to the enduring power of artistic exploration and self-discovery.

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