Madinah tops region, 73 percent of visitors choose as first destination
Madinah tops region, 73 percent of visitors choose as first destination/node/2620992/saudi-arabia
Madinah tops region, 73 percent of visitors choose as first destination
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Guests of Custodian of the Two Holy Mosques Program for Hajj Visit Quba Mosque, Mount Uhud. (SPA/file photo)
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Visitors throng Quba mosque, one of the popular visiting sites in Madinah. (SPA)
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Updated 21 sec ago
Rashid Hassan
Madinah tops region, 73 percent of visitors choose as first destination
The chamber said in its latest report that the holy city was the primary destination for visitors to the region
Updated 21 sec ago
Rashid Hassan
RIYADH: The holy city has topped cities across the region in visitors’ choice, according to the Madinah Chamber of Commerce.
The chamber said in its latest report that the holy city was the primary destination for visitors to the region.
Tourism performance indicators showed that 73.7 percent of visitors to the region choose Madinah as their destination, drawn by its combination of sacred significance and profound historical connection to Prophet Muhammad.
The report indicated that Madinah ranked among the top 100 global destinations and secured the seventh position worldwide in the tourism performance index, reflecting its status as a destination that combines spiritual significance with cultural and economic attractions.
The report also noted that 47.2 percent of incoming tourists visited AlUla governorate, thanks to its cultural events, historical experiences and UNESCO World Heritage sites, while 14.1 percent of domestic tourists chose Yanbu governorate for its beautiful beaches and marine and recreational services, making it a preferred family destination.
The chamber said that these indicators reflected the rapid growth in the tourism sector in the Madinah region, in light of the integrated efforts undertaken by the national tourism system to support destinations and enhance the Kingdom’s position on the global visitors’ map, in line with the objectives of Saudi Vision 2030.
The report also commended the efforts of the Madinah Region Development Authority in implementing qualitative development and tourism projects.
Ahmad Al-Otaibi, a Taif resident working in Riyadh, told Arab News: “Madinah has always been a city close to our heart. No city can compare to the peaceful atmosphere of Madinah, the people keep the city alive 24 hours and 365 days, and yet the atmosphere still calms you.”
He praised the Madinah Development Authority for their work and improving the infrastructure and services related to the hospitality and religious tourism sectors, as mostly religious tourists visit the holy city, and contributing to raising the quality of life and enhancing the tourism experience for both visitors as well as residents.
Madinah also topped cities across ֱ in occupancy rates for tourist hospitality facilities during the first half of 2025, reaching 74.7 percent, according to a report published by the Ministry of Tourism earlier this month.
The city’s licensed hospitality sector saw substantial growth, with total licensed facilities reaching 538, including 69 new licenses, and total hotel rooms of 64,569, including 6,628 newly added rooms.
The growth underscores Madinah’s position as a leading destination for religious tourism and reflects the impact of large-scale development projects that are enhancing accommodation capacity and service quality, aligning with the goals of Saudi Vision 2030.
Exhibition at Ithra explores the notion of home from the perspective of 28 Saudi artists
Updated 59 min 3 sec ago
Jasmine Bager
DHAHRAN: The King Abdulaziz Center for World Culture, commonly known as Ithra, this week presents “Echoes of the Familiar,” a new exhibition exploring the meaning of home. The exhibition runs from Oct. 31 to Sept. 1, 2026.
Although the official opening coincides with Halloween, it is not a haunted house — rather, it asks visitors to ponder what constitutes a Saudi home.
Gaida Al-Mogren, curator of the exhibition and artistic director of the Noor Riyadh Festival, spoke to Arab News about the project. An architect and a leading voice in Saudi contemporary art, she brings more than two decades of experience merging architecture, culture and art.
“We were thinking of the house and how the walls hold memory. And actually, in certain places, you can hear the whispers of these walls,” she said. “They can tell us the stories of the people that lived in it, and all the things that happened within these walls. And then, of course, we started thinking about walking on the tiles and the noises these places make. And so, from that, the echo started coming up.”
The exhibition opens with a vibrant red door, a stylistic choice that also serves as a transitional door, reflecting the era when Saudi homes moved from wooden doors in mud houses to aluminum doors with colored glass in concrete homes. Al-Mogren said the door was chosen to resonate across regions, connecting Najdi, Hasawi, and other traditional patterns throughout ֱ.
Gaida Al-Mogren, curator of the exhibition and artistic director of the Noor Riyadh Festival. (Supplied)
“Before we enter the exhibition, we have the timeline that tells you the story of Saudi, in the past century and all the changes, the big changes that we went through.”
Al-Mogren welcomed visitors by saying, “our house is your house.”
The gallery is divided into six sections: The Building, The Living Room, The Kitchen, The Hallway of Memories, The Bedroom, and The People of the Home.
Each space reimagines familiar domestic environments as thresholds between the personal and the collective, where memory and identity continuously intertwine. Some will trigger a lived memory, others will evoke nostalgic vibes.
The exhibition features 28 Saudi artists: Ahmed Mater, Abdullah Al-Jahdhami, Abdullah Al-Othman, Abeer Sultan, Alaa Tarabzouni, Arwa Al-Neami, Palestinian-Saudi artist Ayman Yossri Daydban, and Daniah Al-Saleh, winner of the 2019 Ithra Art Prize. Others featured are Filwa Nazer from Jeddah, Hassan Jassim Al-Jassim from Al-Ahsa, Rashed Al-Shashai — founder of the Tasami Center for Visual Arts — and Obaid Al-Safi.
There are additional works by Maram Al-Suliman, Madhawi and Hayfa Al-Gwaiz, Noor Al-Saif, Nawaf Al-Dohan, and Meshari Abdulaziz Al-Dosari, with Dana Al-Turki, Norah Saud, Rashed Al-Subaie, Kawthar Al-Atiyah, Roaa Mofreh, Saad Al-Howede, Saddek Wasil, Shaima Saleh, Skna Hassan and Turki Al-Qahtani completing the line-up.
The artists represent diverse backgrounds, from boomers to Gen-Z, and come from various regions, including Sharqiya, Jeddah, and Riyadh, with work in various styles and mediums, reflecting the diversity of the Kingdom.
The exhibition explores domestic life as lived, remembered, and imagined, turning private spaces into layered stories.
Satellite dishes, once prominent fixtures on rooftops, are part of the narrative, evoking the past while highlighting how we interact with technology in our homes. Cassette tapes and VHS tapes recall the tactile memory of media.
Objects in the “junk drawer” illustrate everyday domesticity.
“I call it ‘the drawer of memories,’ because you have the stubs and receipts — we hold on to these things because it makes us feel safe,” Al-Mogren said.
The exhibition includes echoes of smells, sounds and textures: the lingering scent of cardamom, lost laughter, wiped fingerprints on doorknobs, and spaces that once held faces but now remain absent. As well as the philosophical spaces in between rooms — the hallways.
It is a live archive from the 1970s, ’80s, and ’90s, and a meditation on belonging.
Al-Mogren described the process of working with a multigenerational group of artists.
“My practice is the intersection between art, architecture, and culture. And so this project is exactly in that intersection,” she said. “And a lot of these artists they have practices that I was exposed to that have similar ideas. And so, I met with them, and we discussed how can we bring their practices and even create things that are out of the norm, but still stay true to them.”
Al-Mogren reflected on her personal journey and putting on the exhibition at Ithra — which is a true center of world culture, as its name alludes.
“I grew up in Sharqiya. So my home was here — so I’m coming back home. Full circle. My family had their older house, and then I got married, and I moved to the States, and I lived abroad. So for 16 years, I felt like I lacked that whole ‘feeling of home’ which I yearned for. And I had this longing to have an actual home instead of being in Europe, or in the States.
“When I moved back (to Saudi), my family moved to a new home. So I felt like I lost those whispers in the walls. I lost my memories, in a way, in that transition. And with me moving from one city to the other, I felt like I didn’t have one place to build that memory, as well. And even for my kids. So now, I’m working really hard to create these rituals and these things for my children to have that feeling of home.”
Reflection on her children’s concept of home, she said: “It’s funny, because they say ‘home’ is where you are, mommy. So it’s not about the space. It’s more about the people.”
‘Geometry of Beauty’ exhibition bridges art, science, spirituality
28 artists use the lens of Islamic geometry and Arabic calligraphy
Explores ‘universal’ forms of meaning, says gallerist Qaswra Hafez
Updated 31 October 2025
Afshan Aziz
JEDDAH: A new exhibition titled “Geometry of Beauty: A Language to Read or an Equation to Solve?” has opened at MNWR Space in Jeddah, bringing together 28 artists whose works explore art, science and spirituality through Islamic geometry and Arabic calligraphy.
Presented by MNWR in collaboration with Hafez Gallery and Makhtut Studio and curated by Abdelrahman Elshahed, the exhibition runs until Nov. 7.
Qaswra Hafez, founder of Hafez Gallery, outlined the aim of the exhibition.
“‘Geometry of Beauty’ is born from our dedication for uniting traditional and contemporary approaches, inviting artists to explore whether beauty is a language we speak or an equation we uncover; from the orbit of an atom to the sacred circle of the pilgrim’s tawaf (circumambulation around the Kaaba).”
Hafez said the collaboration with MNWR Space and Makhtut Studio “brings this exploration full circle, revealing how Islamic geometry and Arabic calligraphy address universal questions of form and meaning that can speak directly to today’s audience.”
Curator Abdelrahman Elshahed explained that the exhibition grew from a single question linking devotion, science, and visual logic. (Supplied)
Elshahed said: “The show began with a simple question: is beauty a language we learn or an equation we measure? From the atom’s orbit to the pilgrim’s tawaf, circular motion, proportion, and repetition tie science to devotion and to the visual logic of Islamic art.
To select the participating artists, he sought those who could “activate that triangle — heritage, inquiry, and experiment,” considering mastery of calligraphy or geometry, conceptual clarity, technical skill, and a balance between generations, genders, and artistic disciplines.
He said: “We built coherence through shared ‘keys,’ the circle, the grid, and the golden ratio, sequencing works in constellations, calligraphy beside abstraction, manuscript ornament beside sound and light, so motifs echo across media.”
He added that his background as an artist and calligrapher trained him “to see structure inside emotion, line as breath, spacing as silence, proportion as meaning.
“That sensibility guided the curation, privileging works where craft and concept are inseparable, while ensuring the process, hand-dyed papers, ruled geometries, algorithmic patterning, and embodied gestures, is legible so viewers can ‘read’ how beauty is built.
“Above all, I hope visitors leave sensing continuity between their heartbeat and a compass-drawn rosette, between cosmic order and everyday care, and see faith, reason, and creativity not as separate rooms but as one house with many doors.”
Among the featured artists is Ehab Mamdouh, who spoke about his series “Reflection of the Soul.”
Among the featured artists is Ehab Mamdouh, whose series “Reflection of the Soul” explores the principle of reflection as both a spiritual and aesthetic act. (Supplied)
“‘Reflection of the Soul’ is a meditation on the principle of reflection: just as clear water reflects everything around it and a mirror reflects whatever stands before it — what happens when words themselves are reflected?”
His paintings, inspired by the verse “In the name of God, the Most Gracious, the Most Merciful” and the divine name “Al-Raheem,” extend from what he calls his “own artistic school grounded in the Law of Uniqueness and Repetition.”
“Amid the demands of my daily work as the director of a media company and filmmaker, I find in art a profoundly personal space to express and reveal the reflections of my soul, away from market requirements,” he said.
Mamdouh added about the exhibition: “From the moment one enters the gallery, a palpable sense of serenity and spirituality emerges, alongside a refined artistic diversity that highlights the interplay and cohesion among the works.”
He praised Elshahed’s curation that creates “a vibrant dialogue between the Islamic visual heritage and contemporary modes of scientific thinking.
“Geometry, calligraphy, and ornamental heritage are read through the lenses of mathematics, algorithms, and data, generating bridges of knowledge that connect intuitive sensibility with scientific method.”
For artist Basmah Al-Saqabi, whose work focuses on the Arabic word “Allah,” the exhibition embodies the meeting of sacred light and structured form.
“At the center of this piece lies the Arabic word ‘Allah,’ radiant as the essence of divine light that rises above all else. Surrounding it are interwoven colors and geometric lines — symbols of the vast universe with all its diversity and reflections,” she said.
Inspired by her late father, pioneering calligrapher Mohammed Al-Saqabi, her piece merges deep spirituality with geometric abstraction.
“Being part of ‘Geometry of Beauty’ feels like entering a galaxy of luminous minds, where each artist forms an orbit of thought and vision. The exhibition does not merely gather artworks; it creates a new map of beauty that connects art, science, and the human spirit,” she said.
For Al-Saqabi, geometry offers a path to transcendence. “I treat precision as a means of honoring chaos. Geometry, to me, is not a limitation but a gateway to contemplation, giving creativity a framework through which it can breathe,” she explained.
Artist Abdulrahman Al-Kabran has contributed a work titled “Between Earth and Sky,” a visual meditation on the spiritual journey of humankind.
Artist Abdulrahman Al-Kabran contributes a work titled “Between Earth and Sky,” a visual meditation on the spiritual journey of humankind. (Supplied)
“I used the pilgrim’s ihram (two pieces of unstitched cloth) as a symbolic surface representing purity and detachment, transforming it into a visual tapestry of dots and buttons that signify the collective movement and rhythm of the crowds circling the Kaaba.
“The diverse colors merge harmoniously, reflecting the unity of world cultures,” he said. “I balance precision and creativity by transforming geometry into a spiritual language.
“It symbolizes cosmic order, yet I introduce handmade materials that break its rigidity and restore the human touch, allowing the work to become a dialogue between mind and spirit,” he said.
He said such exhibitions “revive the essence of Islamic art. When viewers see how lines and forms evolve into a harmonious system, they realize that science and art speak the same language — the language of creation and divine order.”
Artist Maha Khogeer, whose work “Siyah va Sefid” (Black and White) reinterprets calligraphy as pure form, and explained that her approach seeks to liberate letters from linguistic function.
Artist Abdulrahman Al-Kabran contributes a work titled “Between Earth and Sky,” a visual meditation on the spiritual journey of humankind. (Supplied)
Artist Abdulrahman Al-Kabran contributes a work titled “Between Earth and Sky,” a visual meditation on the spiritual journey of humankind. (Supplied)
Artist Abdulrahman Al-Kabran contributes a work titled “Between Earth and Sky,” a visual meditation on the spiritual journey of humankind. (Supplied)
Among the featured artists is Ehab Mamdouh, whose series “Reflection of the Soul” explores the principle of reflection as both a spiritual and aesthetic act. (Supplied)
Among the featured artists is Ehab Mamdouh, whose series “Reflection of the Soul” explores the principle of reflection as both a spiritual and aesthetic act. (Supplied)
Among the featured artists is Ehab Mamdouh, whose series “Reflection of the Soul” explores the principle of reflection as both a spiritual and aesthetic act. (Supplied)
Among the featured artists is Ehab Mamdouh, whose series “Reflection of the Soul” explores the principle of reflection as both a spiritual and aesthetic act. (Supplied)
Among the featured artists is Ehab Mamdouh, whose series “Reflection of the Soul” explores the principle of reflection as both a spiritual and aesthetic act. (Supplied)
“My piece is a balanced visual composition between blackness and whiteness. The piece re-contextualizes calligraphy as an independent element, transcending its traditional linguistic function to become a visual expression rich in contrasts,” she said.
Khogeer believes that art inevitably mirrors life. “Every artist is a product of the culture, history, and civilization in which they were born and raised. It’s clear that their work is a reflection of the ideas, feelings, and experiences shaped within the context of their time and place.”
She added: “Exhibitions like ‘Geometry of Beauty’ are essential in the contemporary art scene.
“The displayed works open up a space for dialogue, convergence, and interaction between ideas and cultures, highlighting the richness of the arts and showcasing the inherent beauty within them,” she said.
The meeting at the Jeddah governorate’s headquarters was attended by Japanese Consul General
Updated 31 October 2025
Arab News Japan
JEDDAH: Tokyo Gov. Yuriko Koike met with her Jeddah counterpart Prince Saud bin Abdullah bin Jalawi on Wednesday during her regional tour aimed at strengthening cooperation between Japan and the Arab region.
The meeting at the Jeddah governorate’s headquarters was attended by Japanese Consul General in Jeddah Daisuke Yamamoto and members of Koike’s delegation.
Koike had visited Riyadh this week for the Future Investment Initiative 2025, where she outlined Tokyo’s ambitions to become a global financial and creative hub.
At the conference, she participated in a panel alongside “Captain Tsubasa” creator Yoichi Takahashi, and highlighted how Japan’s manga and anime industries can fuel creative investment and tourism.
Koike began her Gulf tour in the UAE, where she attended the “Discover the Culture of Tokyo” event in Abu Dhabi.
Koike will visit Kuwait and Egypt before heading back to Japan.
Saudi, Colombian culture ministers sign deal to boost cooperation
Updated 31 October 2025
SPA
RIYADH: Saudi Minister of Culture Prince Badr bin Abdullah bin Farhan and his Colombian counterpart, Yannai Kadamani, have signed an agreement to promote cooperation between the two countries.
The deal was struck on the sidelines of a visit to the Kingdom by Colombian President Gustavo Petro for the Future Investment Initiative in Riyadh.
The deal outlined several areas of cooperation, particularly in the cultural field. These include the exchange of expertise related to cultural systems, regulations, and policies, working together on cultural residency programs involving governmental, civil and nonprofit institutions, mutual participation in festivals and cultural events and facilitating communication between cultural organizations.
The sides also agreed to host visits by each other’s delegations from the culture sector, organize training programs, workshops and capacity-building initiatives and stage seminars.
HADHRAMAUT: The King Salman Humanitarian Aid and Relief Center has delivered modern agricultural equipment to farmers in Yemen’s Hadhramout governorate. This initiative is part of a sustainable agriculture and fisheries support project to support the country’s people.
The project included the delivery of 55 diverse agricultural machines, including hand tillers, threshing tools for separating grain from chaff, and farm-spraying and cutting machines.
A training program was also conducted to help farmers operate and maintain the equipment, and fuel supplies were provided to ensure effective use of the machinery.
This project aims to boost farmers’ productivity and streamline agricultural efficiency through modern mechanization, facilitating plowing and harvesting while significantly reducing costs and labor.
Meanwhile, the KSrelief Masam Project continues to clear explosives in Yemen, most recently dismantling 805 devices during the last week of October, including 676 items of unexploded ordnance, 102 anti-tank mines, 25 anti-personnel mines, and two explosive devices.
