Dubai: DSS to kick off on June 27 with discounts, exclusive offers, concerts
Dubai Festivals and Retail Establishment said that DSS 2025 will kick off on June 27 and will last until August 31.
Over the course of 66 days, it will feature three major retail campaigns, each packed with exclusive offers, rewards, and interactive mall activations.
The Summer Holiday Offers (June 27–July 17), the Dubai Summer Mega Sale (July 18–August 10), and Back to School (August 11–31) are designed to provide unbeatable deals across Dubai's premier shopping destinations.
Foodies will be in for a treat during Dubai Restaurant Week from July 4–12, featuring curated menus at top restaurants, while shoppers can look forward to daily 12-hour flash sales and exclusive limited-time offers.
For those who are into music, the city will host live performances for artists including Banah, Adnan Sami, Adonis, and Shreya Ghoshal. Additionally, Dubai Opera will host a theatrical show called Made in Kuwait on August 29 and 30.
DSS will also offer special hotel packages, family deals at major attractions, and raffle draws with high-value prizes.
The full calendar of events will be unveiled soon, showcasing a comprehensive guide on how to make the most of summer in Dubai.
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The National
30 minutes ago
- The National
No Trespassing: Dubai exhibition challenges contradiction between gallery and street art
When curator Priyanka Mehra invited Fathima Mohiuddin to create works for a summer exhibition at the Ishara Art Foundation, she sensed a certain hesitation – a diffidence that suggested the street artist was out of her element. Mohiuddin, who goes by the moniker Fatspatrol, is known for her sprawling bold murals. She has covered the facades of buildings in the UAE and Canada with her work. A famous local example is For the Love of Birds, where she decked seven buildings on Yas Island, Abu Dhabi with images of birds found in the UAE. But the Mohiuddin in the gallery space was not the same artist that Mehra had become familiar with over the years. 'She produced some designs on what she was planning to do in the space,' Mehra says. 'But in my head I thought 'this isn't the Fatspatrol I know'. She's a strong player with scale, but that wasn't coming out.' Mohiuddin's timidity was understandable. After all, a street artist in a gallery setting is a bit of an oxymoron. Street art, by definition, is inextricable from the urban environment. It responds to the architecture, the social fabric, the noise, grime and politics of public space. By contrast, galleries are curated and controlled, even relatively sterile. If anything, galleries can be antithetical to the core ethos that drives street artists. When street art enters a gallery setting, the immediacy that gives it its edge is blunted. It becomes sapped of its subversive spirit. But the new exhibition at Ishara Art Foundation challenges (or even embraces) this inherent contradiction between the gallery and street art. No Trespassing is the first summer exhibition to be held at the foundation. Running until August 30, it brings six artists into the gallery – not to simply pin their works in the white space, but to treat it with the same way they would an open urban environment. 'I told Fatspatrol to think of the space as a playground, not a white cube space,' Mehra says. A week later, just before work on the exhibition was due to start, Mohiuddin returned from a trip to India with a 'radical idea' of painting the space using a broom similar to those used by street sweepers. The result was a moving, even awe-inspiring gestural trail, with bold, fervent strokes from which emerge forms, like birds, faces and stop signs. It is a thought-provoking work, particularly with the use of a broom – a tool used to sweep and clean – to imprint marks in the gallery. The work, dubbed The World Out There, also incorporated several scavenged objects, from discarded street signs and license plates to posters and scraps of wood. 'She could have gone very abstract with it, because it's easier to just make marks with the brooms. But then she has this beautiful, expressive quality,' Mehra says. Mohiuddin's work can be seen as the curatorial nucleus of No Trespassing. It is at the very centre of the exhibition, and is one of the few that is not in direct dialogue with adjacent works. But each work in the exhibition responds similarly to the gallery space. Some leave marks and even stage protests, whereas others speak out by removing elements. Take the works in the opening space as examples. Kiran Maharjan, a street artist from Nepal who goes by H11235, presents two pieces that face one another. On the right is a collage that has many of the hallmarks of his oeuvre – blending photorealism with the digital while drawing parallels between architectural elements in the UAE and Nepal. The work is the concept Maharjan had initially planned to paint in the space. However, as the artist wasn't able to travel to the UAE due to visa issues, Maharjan as well as the Ishara team improvised, taking the initial design and abstracting it further. 'We had to change the approach, because none of us can do this and paint like he does,' Mehra says. Instead of rendering the hands and buildings with the photorealistic touch Maharjan is known for, the team replaced the design with materials, like corrugated steel and wood, blending them with acrylic panels. Thus, the project became at once a juxtaposition between what-is and what-could-have-been, while simultaneously testing the definition of authorship. While Maharjan's work is a vivid display of how an artist can leave a mark – even through their absence – Rami Farook does so by pulling elements out. The Emirati artist has removed a significant portion of one of the gallery's walls, baring its metal framing and insulating wool. The gypsum board that was removed leans against the perpendicular wall – the dust from the removal process still left on the floor. The work is a thought-provoking example of intervening through erasure. 'It is a very conceptual piece,' Mehra says. 'It is talking about extraction, and this is the only work that is an extraction, as compared to putting something on the surface, which also brings us down to ownership.' The rest of the works in No Trespassing spotlight other public and personal interactions with urban landscapes. In For a Better Modern Something, Emirati artist Sarah Alahbabi presents cement blocks printed with maps and superimposed by LED strips that run the surface of the wall and floor. The work draws from Abu Dhabi's urban fabric and came as a result of Alahbabi's experiences as a pedestrian in the city. The final space of the exhibition features two complimentary works. In Heritage Legacy Authentic, Palestinian-Filipino artist Khaled Esguerra reflects on the urban transformation of historic neighbourhoods. Sheets of ordinary copier paper are plastered on the floor, forming a surface that actively invites interaction. Viewers are encouraged to stomp, tear, or even skid over the sheets. As the top layers strip away, words like Quality, Indulge and Fresh emerge, bringing to mind the sanitised rhetoric of billboards and commercial advertisements. These fragments of marketing-speak crowd the floor over the course of the exhibition, alluding to the takeover of gentrification. The surrounding walls, meanwhile, are the work of Palestinian artist Salma Dib. Her layered, fragmented, and faded messages evoke the raw immediacy of graffiti – recalling how walls, in contested spaces, often become platforms of resistance for the voiceless. The work is inspired by the walls of Palestine, Jordan and Syria. The work, Mehra says, is rooted in Dib's own experiences while visiting refugee camps, 'waking up to something and by the night it isn't there any more'. The work, Mehra says, took the longest time to produce in the exhibition. 'Because she first spray painted the words, then sands it, and then she puts posters up and spray paints a bit more,' Mehra says. 'It took three weeks to make.' Collectively, the works in No Trespassing prompt a reconsideration of the everyday aesthetic of the streets. By bringing elements like copier paper, construction materials or faded wall markings into the gallery, the exhibition shows how torn flyers and weathered signs are not just happenstance noise in urban life, rather carriers of memory and resistance.
Gulf Today
an hour ago
- Gulf Today
Hala Badri, Dubai Culture DG, speaks at London Art Biennale on art scene
Dubai's creative spirit took the spotlight at the London Art Biennale (LAB, July 16-20) as Hala Badri, Director General of Dubai Culture and Arts Authority (Dubai Culture), delivered a keynote address reflecting on the city's transformation into a global centre for the arts. She spoke about Dubai's innovative approach to cultural policy, noting how public art, a vibrant programme of exhibitions and supportive frameworks, is helping shape a dynamic ecosystem for emerging talent. Hosted at the historic Chelsea Old Town Hall, this year's Biennale brought together 350 artists from 60 countries for a museum-quality showcase of contemporary artwork. The event provided a space for artistic dialogue, attracting practitioners, collectors, and visitors from around the world. With UAE-based contributors among the participants, it strengthened the nation's cultural ties worldwide and encouraged meaningful exchange between the Gulf and the wider global creative community. The Gagliardi Gallery, London. In her address, Hala Badri highlighted the momentum behind Dubai's growing arts scene, underlining Dubai Culture's strong support for both homegrown talent and international collaboration. 'We aspire to make creativity part of the everyday experience — to transform the entire city into a living canvas where expression and imagination are not confined to galleries, but encountered everywhere,' she said. She also pointed to recent milestones, such as the introduction of the Dubai Cultural Grant and the long-term cultural visa, as well as the UAE's emergence as a sought-after venue for major international events. During the Biennale, she toured the exhibition with Aarien Areti, Deputy Mayor of the Royal Borough of Kensington & Chelsea, and Peter Gagliardi, Director at Gagliardi Gallery and a member of the Biennale's curatorial team. While also in London, she joined a guided tour of the Victoria and Albert Museum Storehouse, led by Isabella Valentini, City & Partnerships Officer at the World Cities Culture Forum (WCCF), exploring East Bank with Tamsin Ace, Director of East Bank, where she visited Sadler's Wells East, followed a public art trail, and attended student showcases by the London College of Fashion (LCF). The London College of Fashion. LAB is a museum level award exhibition curated by the International Confederation of Art Critics (ICAC), the Chianciano Art Museum and Gagliardi Gallery. The show is not theme based; so all artistic movements and styles are presented. The focus is on painting, works on paper, sculpture, applied arts and digital art, professionally curated to give viewers and collectors an exciting yet coherent experience, brought together in the iconic Chelsea Old Town Hall. Galleries, critics and clients are able to view and appreciate artworks from all over the world, from the UK to the USA, China to South Africa, and from Norway to Italy, with different cultures, styles, ideas and artistic expressions on view that represent the art world in its global entirety. London galleries are regularly invited to see the Biennale. It is LAB's tradition to give help to people in need. Over the years, tens of thousands of pounds have been raised and donated to Rotary International's 'End Polio Now' Charity, London's Air Ambulance and Age UK, among others. ICAC is an organisation that brings together professionals with expertise in art history, curatorial studies, and related fields. It aims to promote art criticism, ensure ethical and professional standards for art critics, facilitate international communication and exchange, and contribute to the understanding of diverse cultures within the art world. It offers services such as curatorial support, graphic design and catalogue realisation, for art events and publications. Victoria and Albert Museum, main entrance. The Chianciano Art Museum houses a series of collections ranging from Asian art to contemporary art. Approximately a thousand works of art are on display. The museum houses works by artists like Salvador Dalí, Mario Schifano, Frances Turner, Brian Willsher, Tom Nash, Damien Hirst, and Albert Louden; drawings from Guercino to Tiepolo, Munch, Magritte, and Guttuso; historic works from royal collections and etchings and engravings by great masters like Dürer and Rembrandt. Since its inception, the Gagliardi Gallery has been promoting innovation and tradition in the contemporary art scene. It has been involved in organising significant exhibitions not just locally, but internationally, partnering with institutions such as the Victoria and Albert Museum. The collaborations have helped bring diverse artistic expressions to a broader audience, enhancing the cultural landscape of London and beyond. Hala Badri speaks at London Art Biennale. Founded by Roberto Gagliardi, the Gagliardi Gallery grew from the shared dreams of Roberto, hailing from Italy, and Marie, originally from Sweden; the couple found a common passion in the world of art, which led them to establish the Gagliardi Gallery in the heart of London's prestigious Chelsea district. The gallery extends its influence beyond conventional gallery bounds, by orchestrating major art events like the London Art Biennale and the Chianciano Art Biennale. The prestigious events, held in collaboration with the Chianciano Art Museum in Tuscany, Italy, gather talent from around the globe, offering artists a platform to showcase their work and engage with the international art community. The Gagliardi Family created the Chianciano Art Museum to house their collections. Dubai Culture and Arts Authority (Dubai Culture) enables and develops the cultural and creative sectors in the emirate as the custodian entity, helping the emirate to define it in both local and global contexts. It manages five of the city's notable heritage monuments, six museums, and eight branches of Dubai Public Libraries.
UAE Moments
3 hours ago
- UAE Moments
♌ Leo Daily Horoscope for July 29, 2025
You're feeling bold, Leo — and the universe is vibing with your energy. Today's planetary shifts are all about momentum and motivation, helping you break through any lingering stagnation. Whether it's love, work, or personal wellness, lean into confidence (you wear it well). Career: You're in boss mode today. Your leadership skills are on fire, and people are paying attention. Use this energy to pitch that bold idea or take charge of a group project — just avoid being too overbearing. ❤️ Love: You're magnetic, but don't let ego drive the conversation. Singles could meet someone who actually keeps up with them, while couples find new sparks by doing something spontaneous together. Body: You have tons of energy — but remember, even lions need rest. Schedule some movement, but don't overdo it. Your body will thank you for balancing strength with stillness. Mental Health: Confidence is great until it becomes a mask. Check in with your deeper feelings and make sure you're not powering through something that actually needs healing. Pro Tip: A bold move made with grace wins hearts (and maybe promotions). Just don't confuse volume with value. Join our FREE WhatsApp channel to dive into a world of real-time engagement! This article was previously published on qatarmoments. To see the original article, click here
