Noor Riyadh returns to illuminate Saudi capital/node/2613764/art-culture
Noor Riyadh returns to illuminate Saudi capital
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Robert Wilson’s Palace of Light (2021). (Supplied)
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Ahaad Alamoudi’s Ghosts of Today and Tomorrow (2022). (Supplied)
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Installation of artwork Earth by artist SpY at King Fahd National Library in Riyadh as part of the Noor Riyadh Festival 2022. (Supplied)
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Yayoi Kusama’s Infinity Mirror Room — Brilliance of the Souls (2021). (Supplied)
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Christopher M. Bauder’s Axion (2022). (Supplied)
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Updated 9 sec ago
Arab News
Noor Riyadh returns to illuminate Saudi capital
More than 60 large-scale light installations to transform historic sites, urban landmarks, metro network
Minister of Culture Prince Badr bin Abdullah bin Farhan: Through Noor Riyadh we continue to deepen the role of public art in shaping cultural exchange
Updated 9 sec ago
Arab News
RIYADH: The public art initiative Noor Riyadh is returning for its fifth edition from Nov. 20 to Dec. 6.
Under the umbrella of Riyadh Art, the light art festival will once again transform the Saudi capital with groundbreaking installations by leading local and international artists.
“In the Blink of an Eye,” its theme for 2025, is inspired by Riyadh’s rapid transformation. It reflects the city’s evolving identity which juxtaposes its historic core with visionary infrastructure, including the newly launched metro system.
Noor Riyadh is part of the Riyadh Art program, one of four megaprojects in the capital launched by King Salman under the Vision 2030 plan.
As a pioneering cultural initiative, Riyadh Art is led by the Royal Commission for Riyadh City, which oversees strategic, multi-sector transformational programs to help position the capital as a global center for contemporary art and culture.
The program drives cultural innovation and supports economic diversification by embedding art in public spaces to enhance the urban experience.
Minister of Culture Prince Badr bin Abdullah bin Farhan, who also chairs the Riyadh Art program’s steering committee, said: “This year’s theme captures the momentum of change that defines Riyadh today.
“Through Noor Riyadh we continue to deepen the role of public art in shaping cultural exchange, enriching daily life, and positioning Riyadh as a creative capital on the world stage.”
Riyadh Art has showcased more than 550 artworks by more than 500 Saudi and international artists, attracting more than 9.6 million visitors through major programs, including Noor Riyadh.
This year’s edition further expands the festival’s curatorial ambition and aims to create meaningful moments for residents and visitors.
Noor Riyadh 2025 will feature more than 60 large-scale light installations, building on the success of previous editions and reaffirming its status as a leading platform for contemporary public art.
First launched in March 2021, it includes an exhibition alongside a public program of community activities such as educational workshops, talks, and performances.
The pen is Ahmad Haddad’s main instrument to explore the human body, identity, and cultural boundaries. (Supplied)
Updated 30 August 2025
Nada Hameed
Between pen and performance, a Saudi artist redraws boundaries
Ahmad Haddad casts a fresh eye on tradition, masculinity, and movement
Updated 30 August 2025
Nada Hameed
JEDDAH: For Ahmad Haddad, art is both a personal and cultural inquiry, with pen marks, traditional dress, and performance converging to question boundaries and preserve heritage through vivid experiences.
The 30-year-old Riyadh-based artist and certified arts educator grew up between Jeddah and Madinah, and works across drawing, digital collage, mixed media, and performance.
The pen is Ahmad Haddad’s main instrument to explore the human body, identity, and cultural boundaries. (Supplied)
The pen is his main instrument to explore the human body, identity, and cultural boundaries. His approach is shaped by his studies in psychology, landscape architecture, and marketing.
“I use art to make the unseen visible and to reimagine the familiar,” Haddad told Arab News. “I’m driven by questions like: What happens when the invisible becomes visible? And how do symbols and boundaries shape space?”
HIGHLIGHTS
• Ahmad Haddad has exhibited in more than 25 national and international exhibitions, including ‘The Lost Other’ in Paris (2025) and ‘Delicacy of Dualities’ in Riyadh (2024).
• He has also collaborated with Misk Art Institute, Misk Global Forum, Riyadh Art, and the Visual Arts Commission.
• He founded Haddad Studio in Riyadh’s Jax District; the space has hosted more than 120 workshops and programs.
Haddad has exhibited in more than 25 national and international exhibitions, including “The Lost Other in Paris” (2025), “Delicacy of Dualities” in Riyadh (2024), “Sindbad: I See the Land” in Jeddah (2023), and his solo show “Reflection” in Jeddah (2020).
The pen is Ahmad Haddad’s main instrument to explore the human body, identity, and cultural boundaries. (Supplied)
He has also collaborated with Misk Art Institute, Misk Global Forum, Riyadh Art, and the Visual Arts Commission.
He has twice taken part in the Intermix Residency. In Diriyah last year, he developed a research-based project on the boundaries of beauty in Eastern masculinity. In Paris earlier this year, he extended that inquiry to explore how traditional clothing shapes movement and presence.
The pen is Ahmad Haddad’s main instrument to explore the human body, identity, and cultural boundaries. (Supplied)
His Paris installation, “Ya Ibn ‘Ammi,” examined solitude and individuality through traditional symbols such as the agal.
Sound design linked Saudi and French cultural elements in the work. “It is almost unimaginable to see a traditional Bedouin man in a setting that compromises his dignity, moving with excessive fluidity or softness, or even lowering his gaze,” Haddad explained. “These unspoken codes profoundly shape our perception of a man’s role in society.”
The pen is Ahmad Haddad’s main instrument to explore the human body, identity, and cultural boundaries. (Supplied)
Haddad is preparing to publish his research on traditional dress, which he believes may lead to a follow-up study on how fabric, color, and comfort influence male personality and movement.
His visual language blends anatomy, Qur’anic symbols, geometry, subconscious marks, and forms inspired by Saudi culture and Hijazi heritage.
The pen is Ahmad Haddad’s main instrument to explore the human body, identity, and cultural boundaries. (Supplied)
His creative process often begins with a blue ballpoint pen, followed by acrylics, pastels, and collage on paper, fabric, cardboard, or digital screens.
“A pen records hesitation, weakness, strength, and confidence all at once,” he said. “As children, we weren’t allowed to use one until we turned 10. Unlike a pencil, a pen offers no eraser — its marks are permanent. That permanence became part of me.”
“I always seek the hidden form before the visible one appears,” he added.
Blue ink carries deep meaning for him: “I see it as the color of truth — the hue of universal laws before Earth existed. It’s the color I glimpse in the symbols behind my closed eyes: a blend of divinity, mystery, mortality, and truth.”
In addition to his art practice, Haddad founded Haddad Studio in Riyadh’s Jax District. The space has hosted more than 120 workshops and programs in 16 Saudi cities, fostering what he calls “sustainable creative communities.”
“Audience engagement is key in some of my projects,” he said. “I produce yearly works based on public interaction.”
Currently, he is building a strategic partnership to connect Haddad Studio with Paris. “I’m very selective about my inner circle, almost meticulously so — so it’s easy for me and my friends, despite living in different cities, to share experiences, organize activities, and create workshops that benefit people and exchange knowledge.”
From the permanence of a pen line to the constraints of traditional dress, Haddad is a Saudi artist challenging the boundaries between form, identity, and cultural memory.
Experts talk fashion investment at BRICS+ Fashion Summit
Updated 29 August 2025
Hams Saleh
DUBAI/ MOSCOW: With rising costs, shifting consumer habits and growing demand for sustainable practices, the fashion industry is facing a critical turning point.
That reality was front and center during “Market Privileges: How to Attract Investors to the Fashion Industry,” a key panel at the BRICS+ Fashion Summit in Moscow.
Held at the Zaryadye Concert Hall and running until Aug. 30, the summit brings together designers, creatives and industry leaders from more than 60 countries. Its mission; to spotlight emerging fashion markets, foster cross-cultural exchange and rethink how the global fashion system can evolve — particularly across the Global South.
The investor-focused session was moderated by Olga Migacheva, founder of BI Agency, and featured speakers including Tsgehiwot Haftu Geretsadik, head of the garment desk at Ethiopia’s Ministry of Industry; Pitro Polit, director of Quito Fashion Week; Kirill Chizhov, co-founder of Copplife; Yana Komarova, CEO of Zero VC; Alexey Kostrov, executive director of the fund supporting venture investments in small science and tech enterprises in Moscow; and Maxim Penkin, a Russian businessman and retail investor.
Throughout the discussion, panelists explored how designers can secure funding while retaining creative control, what makes fashion appealing to investors and which financial tools are most effective.
“Fashion is more than just relativity, it’s an economic player that boosts it. It’s a huge industry that can attract investors,” said Penkin during the session. “This panel discuss best practices to work holistically.”
Polit emphasized fashion’s broader economic impact. “The key thing to relating to fashion week and the privileges and opportunities implies direct access to global market. Fashion mean diversification, and growth. It’s not only relevant to the textile section but several sectors of the economy,” he said.
He added that events such as the BRICS+ Fashion Summit are essential platforms to showcase the value fashion offers to investors and governments alike.
The conversation also addressed challenges that fashion entrepreneurs face today. Penkin pointed to rising operational costs and changing consumer habits as major hurdles. “Demand over 12 months has gone down. The traffic in shopping malls has decreased from 30 to 50 percent in Moscow. Designers need the help of high-quality investors.”
Representing institutional backing, Kostrov explained the role of the Moscow Venture Fund in strengthening creative industries. “The fund was created to financially support companies that are growing quickly. Yesterday we received news that the companies are producing twice as much and the turnover is fantastic. The capitalization is impressive,” he said. “We see our role in easing the activities of the industry, we have a project for companies to use new technology. Now, it is all in place. We invest for companies that deal with tailormade projects. In our portfolio we have several projects, we will support more new projects.”
From the investor’s perspective, Komarova noted the complex post-pandemic landscape. “In 2022–2023, over 500 new logo brands appeared. In 2025 everything changed. Fashion will be one of the most technological sectors,” she said.
Recommended viewing: Arab News writers pick some of their favorite comedy movies
From hapless vampires to a classic crime caper, here are our tips for a fun evening in
Updated 29 August 2025
Arab News
‘This is Spinal Tap’
Rob Reiner’s 1984 mockumentary about a middle-aged heavy metal band desperately trying to stay relevant is so crammed with gags — visual and spoken — that you can watch it repeatedly and still not catch them all. Even more impressive is the fact that those gags were mostly improvised by Reiner (playing filmmaker Marty Di Bergi) and the rest of the cast, including the band members — frontman David St. Hubbins (Michael McKean), lead guitarist Nigel Tufnell (Christopher Guest) and bassist Derek Smalls (Harry Shearer). The chemistry between those three — childhood friends who’ve never really progressed beyond adolescence — is utterly believable and the film nails the ego battles, highs and lows, and camaraderie of any long-term creative collaboration. It’s also a supremely confident takedown of the inherent ludicrousness of fame, muso pretentiousness, the monetization of music, and music documentaries. The numerous quotable lines and scenarios have become part of the vocabulary of bands around the world.
Adam Grundey
‘What We Do in the Shadows’
No, “What We Do in the Shadows” is not some kind of gritty, explicit cinema verité. It’s a mashup of “The Office” and “The Blair Witch Project.” A mocumentary that follows four vampires sharing a flat together in New Zealand, and their day-to-day (or night-to-night, to be more accurate) activities. From feasting on after-hours club dwellers to stalking their octogenarian former lovers — all while steering clear of the werewolves (not scarewolves). Each of these eccentric bloodsuckers comes with their own personal baggage, from dreams lost to lovers killed, but you can’t help but laugh at the mundanity of their lives.
Tarek Ali Ahmed
‘Dazed and Confused’
Richard Linklater’s sophomore feature manages to feel both timeless and effortlessly real. Linklater’s direction, as he captures a group of students on their last day of high school in the Seventies, is so unobtrusive you can hardly feel it. He lets the characters and their ordinary moments of teenage life unfold naturally. That light touch elevates the film and makes the laugh-out-loud moments even funnier. The cast is equally great. Matthew McConaughey’s endlessly quotable turn as Wooderson (“Alright, alright, alright”) has become pop-culture legend, while a young Ben Affleck perfectly embodies the overzealous bully. Even beyond the two (now-) big names, the spectacular ensemble and Linklater perfectly capture the awkward chaos of the teenage school experience, from the carefree freedom to the confusion, the friendships and rivalries, and the way one summer’s night can feel like the center of the universe.
Shyama Krishna Kumar
‘Animal House’
It’s unlikely anyone in my home country, the UK, had heard of a toga party before 1978; by the time I attended university four years later, we were invited to at least one a week. Such was the influence of “Animal House,” the film that arguably launched the “gross-out” genre beloved by undergraduates. Directed by John Landis, written by Harold Ramis, Douglas Kenney and Chris Miller, and starring Tim Matheson, a pre-“Amadeus” Tom Hulse, Donald Sutherland, and the incomparable John Belushi, the film somehow taps into the nostalgia of 1973’s “American Graffiti” — also set in 1962 — while changing film comedy forever. No mean feat.
Boasting a soundtrack by legendary composer Elmer Bernstein, the whole experience is art disguised as mayhem, or is it the other way round? Like “Airplane,” which came along two years later, “Animal House” changed the world for the better. What’s not to like?
Nick Wood
‘The Italian Job’
The original (1969) version of “The Italian Job” is 96 minutes of sheer brilliance capped by one of the greatest car chases — iconic in the truest sense — in the history of cinema, as a fleet of Mini Coopers tear through the streets of Turin; a triumph for director Peter Collinson. The central character, Charlie (a young Michael Caine) has just come out of prison. He learns of a friend’s (fatal) failed attempt to carry out a gold heist in Italy (he was assassinated by the Mafia, who saw a foreigner’s plan to steal Italian gold as an insult), and is persuaded by his friend’s widow to put a team together and carry out the job himself. The crew’s training scenes are hilarious, prompting Caine’s most-quoted line “You’re only supposed to blow the bloody doors off” in the film’s literal cliffhanger climax.
Peter Harrison
‘The Mummy’
Brendan Fraser stars as a charming ex-soldier who guides a curious scholar and librarian (Rachel Weisz) and her clumsy brother to uncover the lost ancient city of Hamunaptra. What starts as an archaeological dig in Egypt quickly turns chaotic when they accidentally awaken Imhotep, a cursed priest with supernatural powers who begins to wreak havoc as he searches for the reincarnation of his long-lost love. With a stellar cast and a perfect mix of comedy, action, and just enough horror, “The Mummy” stays endlessly entertaining. The visual effects were cutting-edge for the time and still hold up surprisingly well, especially during those epic mummy battles. The film also offers a light (if Hollywoodized) dive into ancient Egyptian myth and legend. But it’s Fraser’s effortless blend of humor and heroism that make this film a hit.
Sherouk Maher
‘Dirty Rotten Scoundrels’
A wonderfully witty 1988 comedy about two con artists in a battle of charm and trickery. Set on the French Riviera, it follows suave, sophisticated Lawrence (Michael Caine) and brash, over-the-top Freddy (Steve Martin) as rivals competing to swindle an heiress. Their schemes become increasingly elaborate, culminating in a final twist that’s as satisfying as it is surprising. The movie’s strength lies in the perfect contrast of Caine’s refined elegance versus Martin’s manic energy. Their chemistry drives the story, with Glenne Headly as their target providing the perfect foil. The script balances sharp dialogue with physical comedy. Director Frank Oz gives the film a polished, stylish feel that complements the glamorous setting while never losing sight of the humor. The film remains fresh all these decades later thanks to its combination of sophistication and silliness. It’s both smart and laugh-out-loud funny, with a clever payoff that rewards the audience.
From AI to upcycling: What to expect at the BRICS+ Fashion Summit in Moscow
Updated 31 August 2025
Arab News
MOSCOW: The BRICS+ Fashion Summit kicked off this week in Moscow, running from Aug. 28 to 30 at the Zaryadye Concert Hall.
The platform brings together designers, industry leaders and creatives from over 60 countries, with the aim of spotlighting emerging fashion markets and fostering cross-cultural collaboration.
The event features a program of panel discussions, exhibitions and educational events that seek to decentralize the global fashion industry and promote regional diversity, while addressing key topics such as sustainability, innovation and economic opportunity.
On Friday, a session titled “Creative originality vs. AI: What is important for the consumer” explored how artificial intelligence is reshaping the fashion industry, examining its impact on everything from trend forecasting to design generation.
Panelists discussed how to strike a balance between technological innovation and the emotional value of human-made design, what future skills designers will need, and whether AI can evolve from a mere tool into a true creative collaborator.
Speakers included Maria Shevchenko, creative director of 3D Couture; Karina Diaz Vargas, president and CEO of Costa Rica Fashion Week Forever Green; Emmanuel Muchindu Miyoba, director of Lusaka Fashion Weekend; and Akashdeep Singh, president of the Indian Business Council.
“AI helps in fashion, whether it’s in demand or to avoid mistakes. The spread of operation with the help of AI has sped up. We can launch something new in two weeks and manufacture in a couple of months,” Shevchenko said during the discussion.
Sessions throughout the summit are covering a range of pressing topics shaping the global fashion industry.
The upcoming panel titled “Market privileges: How to attract investors to the fashion industry” will explore strategies for drawing investment into the sector, addressing concerns such as market volatility and trend unpredictability. Speakers are set to discuss what makes fashion appealing to investors, how designers can raise funds without losing control, and which financial tools are most effective.
Another session, “Closed-loop fashion: How to sew, wear, and regenerate,” will focus on the urgent need for sustainability, highlighting the environmental impact of fast fashion and the growing importance of circular production, recycling, and mindful consumer practices.
Also on the agenda is “From gloss to mass market: How styling helps sell,” which will examine the evolving role of stylists as visual storytellers and brand strategists. The panel will look at how styling influences consumer behavior, boosts visibility, and blends luxury with accessibility to drive sales, particularly in the social media space.
A separate panel titled “From logos to meaning: How to build a cultural brand” will explore how branding is shifting in an era of digital saturation. Rather than relying solely on visual symbols, successful brands are now defined by their cultural relevance, shared values and ability to foster communities.
Saturday’s program will feature a range of panels covering key developments in the fashion industry. The session titled “Her rules: Women are the creators of the fashion industry” will spotlight the growing influence of women as leaders, focusing on how they are shaping the Russian market through brand building, education, and innovation.
Another panel, “Anti-trends in education: What to unlearn in fashion,” will explore the evolution of fashion education in response to industry shifts toward AI, 3D design, and sustainability. As programs adopt hybrid models, the session will address the rising demand for cross-disciplinary skills and how automation is transforming future career paths.
The BRICS+ Fashion Summit is taking place alongside Moscow Fashion Week, which runs through Sept. 2. The event offers a multifaceted program that includes runway shows, expert lectures, a fashion market, a business showroom, and the World Fashion Shorts film festival.
The event brings together over 65 designers from Moscow and across Russia, including participants from the Made in Moscow project, an initiative that supports local brands. While more than 40 of the selected brands are based in the capital, designers are also representing cities as far apart as Vladivostok in the far east and Arkhangelsk in the north.
Represented cities include Moscow, Saint Petersburg, Yekaterinburg, Simferopol, Donetsk, Vladivostok, Kazan, and Ulan-Ude, among others.
A key feature of this season’s edition is the Moscow Fashion Week Market, a public-facing retail space located at the Parking Gallery of Zaryadye Park. The market offers visitors the opportunity to shop for exclusive clothing, footwear and accessories created by designers from around 20 Russian cities.
Recipes for Success: Chef Francesco Luigi Carusi offers advice and a savory pan brioche recipe
Updated 29 August 2025
Shyama Krishna Kumar
DUBAI: At The Rustic Bakery in Riyadh, the scent of freshly baked sourdough greets every visitor. But for its executive chef, Francesco Luigi Carusi, it’s another aroma that lingers deepest in his memory.
“The smell of trippa in my grandma’s kitchen. For the non-Italians: trippa is cow’s stomach lining, slow-cooked with tomato sauce, carrots, and celery. Sounds scary, but trust me, it was always a celebration dish in my family,” he tells Arab News. “Every Sunday lunch we had it, all of us around the table. That smell is basically the smell of my childhood.”
That early connection to food was the seed of a journey that would eventually see him work in more than 50 venues worldwide, and earn recognition in the Gambero Rosso Guide and a UNESCO endorsement for sourdough bread.
The Rustic Bakery in Riyadh. (Supplied)
But Carusi reveals his path wasn’t always destined for the kitchen. “It just sort of happened. My original plan was to become a lawyer. But after school, I used to help my father in our family bakery in Tuscany, and slowly, I fell in love with the craft,” he says. “So let’s just say law’s loss was baking’s gain.”
The Rustic Bakery, he says, takes “a slow-food approach, where ingredients are always the star.”
“It’s built on a simple idea: from the people, for the people,” Carusi says. “The purpose is to let the raw material shine. Everything we do is long- and cold-fermented, sourdough-based, and as authentic as possible.”
When you started out, what was the most common mistake you made?
Following recipes instead of creating them. Especially in baking, people tend to just Google recipes, but it rarely works. Flour in Tuscany is not the same as flour in Riyadh, and every ingredient behaves differently. Recipes are guidelines, not the law.
The Rustic Bakery in Riyadh. (Supplied)
What’s your top tip for amateur chefs?
Success isn’t about the recipe, it’s about technique. Learn the moveset. Gentle hands, the right folds, the right touch. YouTube is full of great videos to train your moves. Once you get the feel, you’re unstoppable.
What one ingredient can instantly improve any dish?
Sourdough powder. Sprinkle it into anything and it gives flavor, depth, and a natural prebiotic boost. It’s like fairy dust for food.
When you go out to eat, do you find yourself critiquing the food?
I try to be kind. I know what it means to run a business in F&B, and I know the pain of standing behind the counter. Be kind to restaurant people — they’re killing themselves to make you happy.
What’s the most common issue you find in restaurants?
Neglect of carbs. Bread, pizza, focaccia… if you don’t have the expertise, outsource from a good artisan. Don’t just throw bread on the table for decoration, it deserves respect.
What’s your favorite cuisine to eat?
I’m a simple guy. Give me a clean, rare steak or a plate of pasta al pomodoro, and I’m happy. Basically, I like food that’s honest — not drowned in spices, creams, or heavy sauces.
What’s your go-to dish if you have to cook something quickly at home (say, 20 minutes)?
Caesar salad or chicken soup. Told you, I’m a simple guy.
What customer behavior most annoys you?
Honestly, nothing. Everyone’s different, and I try to fulfill every request. But if I had to pick one thing, I’d say when people try to “customize” authentic products. Just trust the bakery, we’ve got your back.
What’s your favorite dish to cook and why?
Tiramisu. It’s simple, quick, and magical when you use high-quality ingredients. It’s the kind of guilty pleasure you can keep forgiving yourself for.
What’s the most difficult dish for you to get right?
With effort and control, nothing’s impossible. But if I had to pick one: panettone. It’s a beast, it reacts to humidity, temperature, even mood swings. But soon, it’ll be on our menu.
What are you like as a leader? Are you a disciplinarian? Or are you more laidback?
I grew up with the Montessori method: no shouting, no punishing. You won’t find me yelling like a madman. Bread rises better in a calm kitchen.
Chef Francesco’s savory pan brioche
Chef Francesco’s savory pan brioche. (Supplied)
Ingredients (Dough)
Wheat flour (13% protein): 1 kg
Fresh whole milk: 0.5 L
Water: 0.3 L
Sourdough starter (100% hydration, active): 160 g
Eggs: 50 g
Butter: 100g
Parmigiano Reggiano (grated): 40g
Extra-Virgin Olive oil: 20g
Sugar: 80g
Salt: 20g
Procedure – Sourdough Version (preferred)
Mixing: In the mixer bowl, add fresh milk and dissolve the sugar. Add flour, grated Parmigiano, and sourdough starter. Mix until a rough dough forms. Gradually incorporate the eggs one by one. Add butter in small pieces, followed by olive oil. Finally, add salt and continue mixing until the dough is smooth, elastic, and extensible. Keep dough temperature under 26–27°C to protect gluten development.
Bulk Fermentation: Cover the dough and leave to ferment for 3–4 hours at 26°C, with one fold halfway through.
Pre-shaping & Proofing: Divide the dough into 125 g pieces, shape into smooth balls, and place 6 balls per mold (22x12x10cm). Proof at 26°C, covered, until the dough reaches about 1 cm below the mold edge. With sourdough, this may take 6–8 hours, depending on starter activity.
Baking: Preheat oven to 180°C with minimal ventilation. Bake 10 minutes at 180°C, then lower to 170°C and continue for 40–45 minutes. Internal temperature should reach 92–94°C.
Alternative with Fresh Yeast
Replace sourdough with 30g fresh yeast or 15gr dry yeast.
Reduce fermentation times: Bulk proof: 45–60 minutes at 26°C. Final proof: 2–3 hours at 26°C, or until 1 cm from mold edge.
