Saudi artist Abdullah Al-Othman explores memory and urban change in 'Rhythm of Change'

In his exhibition «Rhythm of Change», Saudi artist Abdullah Al-Othman presents an exceptional visual experience that probes the layers of memory and monitors the rapid urban transformations that Saudi cities have witnessed over the past decades. The exhibition, which opened its doors to the public in the heart of the JAX District in Diriyah, was curated by art curators Rotana Shaker and Ahmed Al-Aqra.

The exhibition presents a creative blend of historical archives, photography, architectural elements, and industrial materials. Through this, Al-Othman seeks to deconstruct the impact of time on places and explore the hidden layers left by successive changes in the individual and collective memory of society.

Architecture is a Mirror of Time

Speaking about the exhibition's philosophy, artist Abdullah Al-Othman explains that his project stems from observing "change" as the only constant in this universe, exploring the dialectical relationship between time, considered a frozen space, and place, considered a static space.

Al-Othman said in an interview with «Asharq Al-Awsat» that he relied on research in more than one area for this project, adding: "I presented an archival work documenting the history of construction in multiple locations, where I drew my own artistic sentence on the building itself, as our relationship with architecture depends on common rules and constants found in many areas of life. Through the exhibition, I tried to convey what architecture reflects of the state of time and place, and to monitor the impact that time has left as a special characteristic on those structural elements."

The exhibition distances itself from traditional documentary narratives; it stems from Al-Othman's long-standing interest in place as the primary carrier of human experience. The works move within the framework of reading transformations and their flexible void by tracking small details and remaining traces.

In this exhibition, the "archive" transcends being a mere static record of the past; it is a living and open material for re-reading and contemplating the dynamic and changing relationship between humans and their geographical environment.

5 Spaces for Visual Dialogue

The exhibition «Rhythm of Change» is spread across five artistic spaces, where historical images intertwine with construction materials and compositional elements.

This distribution creates an extended visual dialogue between the past and the present, giving the visitor an opportunity to contemplate the structural and social transformations that have occurred in the local environment over time, exploring walls, metals, and materials that have withstood the passage of days to become eyewitnesses to history.

Abdullah Al-Othman is considered one of the most prominent names in the contemporary Saudi art scene. His career over the past years has been distinguished by presenting multidisciplinary artistic projects, focusing on issues of identity, memory, and cultural and urban transformations in the Kingdom.

Al-Othman's works have received significant attention in prominent local and international forums, having been displayed at the Diriyah Biennale of Contemporary Art, the Lyon Biennale in France, and qualitative art exhibitions and projects in Al-Ula Governorate, in addition to international art platforms and institutions in New York, London, and Paris.

The exhibition «Rhythm of Change» in the JAX District in Diriyah represents a new milestone in Al-Othman's career and an additional step in documenting Saudi Arabia's major transformations through the lens of contemporary art, which sees in walls not just stones, but successive chapters of the story of humans and places.

As the film «Safin Dogz» prepares to launch in 22 countries worldwide during the current month of June, its producers, British Ivan Atkinson and Cyrus Patel, confirmed that the experience has achieved record numbers and is considered one of the most ambitious Arab projects in recent years.

The importance of the experience is not limited to its record numbers or production scale, according to the producers' conversation with «Asharq Al-Awsat», but extends to what it represents as an attempt to redefine the boundaries of film production in the region and its ability to compete with major global works, with the participation of international stars like Monica Bellucci, alongside Egyptian stars Karim Abdel Aziz and Ahmed Ezz, and Saudi artist Nasser Al Qasabi.

Behind the massive scenes that the audience sees on screen, there was a long journey of planning, execution, and daily detail management, involving hundreds of workers from various nationalities and specializations.

The producers, who held key production and executive responsibilities during the work phases, reveal the behind-the-scenes story of «Safin Dogz» coming to light, the challenges faced by its creators, and how Saudi Arabia became a platform for hosting one of the largest cinematic projects in the region.

British producer Ivan Atkinson affirmed that the primary bet from the outset was not to present a limited-scope Arab film or a global film detached from its environment, but to produce a work that combines both at the same time. He pointed out that large projects usually face direct comparisons with Hollywood productions, especially when they involve huge budgets and large-scale action scenes. However, the team was keen not to let the obsession with comparison become a burden affecting the nature of the project; this did not occupy us.

Cyrus Patel said that "the real challenge was not in imagining what the film could deliver on screen, but in turning this ambition into a reality that could be implemented daily during the months of filming." He explained that "any project of this magnitude requires more than just creative ideas; it requires an integrated infrastructure, precise timelines, a large number of workers, and a complete system of organizational and logistical procedures."

Patel explained that one of the most exciting aspects of the experience was the ability to transform Riyadh into multiple worlds within the film. He noted that he arrived in Saudi Arabia with Atkinson in the early stages of preparation and quickly discovered the great potential the city offers for implementing diverse visual concepts. This required tremendous coordination between the set design, construction, lighting, cinematography, visual effects, and action teams, as the transition from one world to another within the film required complex work behind the camera.

Atkinson explained that "this process represents part of what filmmakers describe as the 'magic of cinema', where a single location can serve multiple roles and give the viewer the impression of moving between different countries." He emphasized that making the most of available locations is one of the most important elements of filmmaking, especially when the goal is to build a vast and diverse visual world.

Atkinson attributed the film''s success in maintaining the human element amidst this large volume of action scenes largely to the actors' performances, noting that "having actors who possess a deep understanding of their characters makes the job of directors and producers easier, because the audience does not just react to explosions and chases, but to the characters at the heart of these events."

Atkinson paused at the scene of the massive explosion, which has become one of the most prominent promotional elements for the film, through which the film entered the 'Guinness World Records' as the largest single explosion in a scene. He confirmed that "executing this scene was one of the most complex stages organizationally, because attempting to execute an explosion of this magnitude imposed unprecedented levels of planning, safety procedures, and coordination between different departments on the team. Reaching the final result was the fruit of months of preparation," he said.

Patel said that the risk facing any large-scale production is not only financial cost but also the loss of time without achieving the desired results, as every hour of filming on a film of this size is associated with significant costs including actors, technical crews, equipment, visual effects, transportation, and support services. Therefore, maintaining time efficiency was a daily priority for production.

Atkinson believes that "Safin Dogz" represents an important milestone in the development of Arab cinema, but he does not think that one film alone can change the entire landscape. He emphasized that the importance of these types of projects lies in their ability to generate new ideas and inspire other projects to follow the same path, as every successful experience opens the door for bigger and more ambitious experiences.

Patel agreed with this view, stressing that the film sends a clear message that the Middle East is no longer just a filming location or a funding market, but has become capable of hosting, managing, and executing large productions according to international standards. Continued investment in infrastructure, training of cadres, and strengthening international cooperation can change the world's view of the Arab film industry in the coming years.

In conclusion, Atkinson and Patel emphasized that what was achieved in "Safin Dogz" goes beyond the boundaries of a single film, considering the experience proved that the region possesses the ambition, cadres, and capabilities necessary to undertake more daring projects in the future. They affirmed that the film represents a new step in the path of an Arab film industry seeking to expand its global presence, not only through the stories it tells but also through its ability to execute them at the highest professional and technical levels.

The activities of «Street of Art», organized by the Egyptian Ministry of Culture through the Academy of Arts in downtown Cairo, continue, presenting its fourth week with diverse segments ranging from classical and traditional arts, folk arts, drawing, and painting. These activities extend for three days a week, from Thursday to Saturday, while fine arts activities continue throughout the week.

Through the diverse segments offered by the activities, the idea of "spectacle culture" in the Egyptian street is revived, which was once known for public performances in streets and squares, or in open spaces in villages and various cultural sites in the governorates. However, it returns this time to assert its presence in the heart of Khedival Cairo, which has been developed to become like an open museum.

The fourth week of activities includes various events, including music and singing arts, popular instrumental music, and performance arts from the Higher Institute of Folk Arts, a Spanish performance presented by the Higher Institute of Ballet, in addition to theatrical performance arts in which the National Circus and folk storytelling participate within the «Street of Art» activities.

Egyptian art critic Mohamed Abdel Rahman views the «Street of Art» activities as one of the most prominent projects in recent times. He told «Asharq Al-Awsat» that the supervision of the Academy of Arts over the project provides it with great quality and remarkable diversity, especially since the Academy of Arts has diverse specializations and can present street arts. He pointed out that "the Prime Minister's inauguration of the project gave it a strong boost as a state-level project, and it is important to establish foundations that allow it to proceed at the same rate and regularity for long periods."

Egyptian Prime Minister Mostafa Madbouly attended the launch of the «Street of Art» project in mid-May, emphasizing the importance of continuing to organize such initiatives that contribute to attracting tourists, promoting the spread of art among citizens, and preserving Egyptian cultural identity.

During these activities, the Academy of Arts was keen to cooperate with various institutions in last week's performances, including the National Circus and the Puppet Theater, to add a festive atmosphere to the events through theatrical performance arts. The activities also include a fine arts exhibition in cooperation with the Syndicate of Plastic Artists, featuring works in the fields of drawing, sculpture, ceramics, photography, graphics, and printing.

Egyptian art critic Ahmed Saad El Din describes the «Street of Art» initiative as "an important space for interaction with art and folklore performances in Khedival Cairo." He added to «Asharq Al-Awsat» that "spectacle culture and field performances have been achieved to a great extent, with remarkable momentum in downtown Cairo, which enhances the idea of spectacle culture and interaction with performances, especially in the streets of Khedival Cairo, which are thirsty for these arts."

He pointed out that the choice of location is very important, "because the Khedival Cairo area is associated in the minds of Egyptians with art, from architecture to folk art," he said.

The «Street of Art» initiative comes as part of "a highly ambitious plan to elevate public taste, spread the culture of art, and generalize the values of beauty and creativity as a visual identity for historic Cairo," according to a previous statement by the Egyptian Academy of Arts.