{"id":146337,"date":"2025-09-16T02:14:17","date_gmt":"2025-09-16T02:14:17","guid":{"rendered":"https:\/\/www.newsbeep.com\/au\/146337\/"},"modified":"2025-09-16T02:14:17","modified_gmt":"2025-09-16T02:14:17","slug":"new-program-to-support-youth-in-gaming-industry","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/au\/146337\/","title":{"rendered":"New program to support youth in gaming industry"},"content":{"rendered":"


\n\tRIYADH: Diriyah Art Institute\u2019s inaugural exhibition \u201cContinuum\u201d opened on Saturday, presenting works by 11 international artists who form the first cohort of the Diriyah Art Futures residency.<\/p>\n


\n\tCurated by Irini Papadimitriou, the show brings together installations, audiovisual pieces, VR works and AI-generated art that explore themes of memory, identity, displacement, migration, environmental concerns and our relationship with technology.<\/p>\n


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\n\t\t\u2018Clastic Resonance\u2019 by UK-based artist William J. Brooks. (Supplied) <\/p>\n


\n\t\u201c\u2018Continuum\u2019 is an umbrella title that we\u2019ve decided to adopt for the program, and the exhibition is a celebration of the work that everyone has been creating and developing over a year at DAF,\u201d Papadimitriou said at the opening.\u00a0<\/p>\n


\n\tAmong the works is UK-based artist William J. Brooks\u2019 \u201cClastic Resonance,\u201d a sound installation built with Riyadh sandstone boulders.<\/p>\n


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\n\t\t\tHIGHLIGHTS \n\t<\/p>\n


\n\t\t\t\t\u2022 The artists\u2019 works collectively highlight the global and regional conversations shaping the future of art in a digital age. <\/p>\n


\n\t\t\t\t\u2022 Jordanian artist Aya Abu Ghazaleh\u2019s \u2018It Grows Within,\u2019 reflects on forced displacement through an immersive installation centered around a tree trunk built from wooden clothespins.\u00a0<\/p>\n


\n\tLow-frequency recordings of the mechanized rhythms of urban development, captured during the city\u2019s ongoing physical and cultural transformation, are transmitted as vibrations perceptible through direct touch.\u00a0<\/p>\n


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\n\t\t\u00a0\u2018Archiving Retention\u2019 by Tunisian artist Dhia Dhibi. (Supplied) <\/p>\n


\n\tThe piece reflects on impermanence and the sonic memory of place, drawing on the rhythms of the city\u2019s rapid transformation.\u00a0<\/p>\n


\n\t\u201cWe\u2019re in a specific moment in time in Riyadh, and Saudi in general, where there\u2019s a tremendous amount of construction projects occurring. I was particularly interested in the transient sonic output that comes from this,\u201d Brooks told Arab News.\u00a0<\/p>\n


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\n\t\t\u2018Tiyrist – Threads of Exile\u2019 by French Algerian artist Samia Dzair. (Supplied) <\/p>\n


\n\tAs visitors touch the rocks, they feel subsonic vibrations that ebb and flow, resembling the rhythm of breathing. Brooks uses the piece to question how construction sounds affect the surrounding environment and how an artist might respond to them.<\/p>\n


\n\t\u201cWhen I first came here, I became really aware of the ecology in Riyadh and the call to prayer, because I\u2019m not familiar with that. I became super conscious of the sounds occurring and the sheer volume of the city,\u201d he added.\u00a0<\/p>\n


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\n\t\t\u2018Majra\u2019 by Egyptian artist Salma Ali. (Supplied) <\/p>\n


\n\tAnother striking work is Jordanian artist Aya Abu Ghazaleh\u2019s \u201cIt Grows Within,\u201d which reflects on forced displacement through an immersive installation centered around a tree trunk built from wooden clothespins.\u00a0<\/p>\n


\n\tThe object, both ordinary and symbolic, represents the belongings left behind when uprooted.\u00a0<\/p>\n


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\n\t\tKorean artist Junsoo Kim’s \u20183^30\u2019. (Supplied) <\/p>\n


\n\tThe piece takes a circular form, spiraling around an invisible clothesline that holds traces of rust and embroidery. The design creates an enclosed loop that visitors cannot escape.<\/p>\n


\n\tShe said: \u201cIt\u2019s a trap, actually. You can never leave; the circularity.\u00a0 It\u2019s not typically the way you see clothes being hung, but now it\u2019s become more of a circular (experience) … You never sit in a corner, you just keep rotating.\u00a0<\/p>\n


\n\t\u201cIt\u2019s like someone is still looking for home and never stopping.\u201d<\/p>\n


\n\tThe installation incorporates sounds collected from the area, including Dabkeh chants, the call to prayer, and alarms, layering archival noise into the experience of loss and repetition.\u00a0<\/p>\n


\n\tTunisian artist Dhia Dhibi\u2019s \u201cArchiving Retention\u201d interrogates the fragile relationship between digital traces, historical memory, and online archives. Reflecting on the flood of images of war shared over the past year, he asked: \u201cWhat images are there to preserve afterwards? Or in other words, does it really matter to preserve any digital content online?\u201d\u00a0<\/p>\n


\n\tHis exploration took him back to 2010, when internet access in Tunisia first became more widely available.\u00a0<\/p>\n


\n\t\u201cIt actually kind of induced or helped the revolution to happen, because people were used to certain mass media images and then all of a sudden they were exposed to images or videos of protests that were unprecedented. For me, it\u2019s my sort of archeology of media, in a way,\u201d he told Arab News.\u00a0<\/p>\n


\n\tThe work builds on three elements: videos, posts, and sounds. Most central is a large 29-level pyramid-like piece, symbolizing the 29 days of the uprising, made of stills taken from videos that were posted during each day.\u00a0<\/p>\n


\n\tDeveloped in collaboration with Le Fresnoy Studio National des Arts Contemporains in France, the Emerging New Media Artists Programme provides participants with professional equipment, a production budget, and a wide range of multidisciplinary learning opportunities.<\/p>\n


\n\tThe first cohort includes artists from Saudi Arabia, Egypt, Algeria, Jordan, Tunisia, Morocco, Bahrain, Republic of Korea, the United Kingdom, and South Africa.\u00a0<\/p>\n


\n\tTheir works collectively highlight the global and regional conversations shaping the future of art in a digital age.<\/p>\n


\n\tThe exhibition will run until Nov. 15.<\/p>\n


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