Oman is returning to the Venice Biennale with Zīnah, an immersive installation by artist and curator Haitham Al Busafi that transforms a traditional form of horse adornment into a large-scale sensory experience.

Rooted in the Omani practice of Al-zaanah, where both horse and rider are equally adorned as a sign of mutual respect, the work reimagines this Middle East tradition as something visitors can physically enter.

Instead of viewing objects on display, people walk across a sand-covered space beneath suspended silver forms that move and produce sound in response to their steps. A sketch of the installation is provided above.

The result is a shifting environment where each visitor becomes part of the artwork. Movement creates sound. Paths form in the sand and over time, the installation evolves through collective participation rather than remaining fixed.

The piece was also shaped through community involvement in Oman, where artists and members of the public contributed markings to the silver elements. This idea of shared authorship continues in Venice, as each visitor leaves a trace through movement and interaction.

At its core, Zīnah is about rethinking value, extending ideas of beauty, care, and recognition beyond humans to include animals and the environment. It aligns with broader themes at the Biennale calling for more sensory, reflective forms of art rather than spectacle, says the artist.

Presented at the Arsenale in Venice from May to November 2026, the installation marks Oman’s continued effort to bring its cultural knowledge into global conversations.

About Haitham Al Busafi

Haitham Al Busafi (b. 1985, Muscat, Oman) is an interdisciplinary artist, architect, and curator whose practice operates at the intersection of architecture, art, and technology. Educated at the University of Applied Arts Vienna (dieAngewandte), his work foregrounds immersive environments, and the translation of cultural narrative into spatial experience.

Zīnah extends his ongoing investigation into how heritage knowledge can be activated through contemporary immersive form, moving from the participatory frameworks of Memory Grid into a fully kinetic and sonic environment.

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In Islamic tradition, there is a point where creation ends — a boundary at the 7th heaven that marks the limit of what any created being can reach. That boundary is called Sidrat al-Muntahā, translated as the Lote Tree of the Utmost Boundary.

The reference appears in the Qur’an in a short, concentrated passage in Surah An-Najm (The Star), describing a vision “at the Lote Tree of the most extreme limit.” The lote tree is known as the Sidr tree, from which the Yemenites make holy honey, and it is also believed to be the thorn worn by Jesus.

Where the lote shows up in Islam’s most famous ascent story

The boundary, or Sidrat al-Muntahā is most often discussed in connection with the Prophet Muhammad’s Night Journey and Ascension (al-Isrā’ wal-Mi‘rāj) to Jerusalem, which was a dream. For in reality, Mohammed never actually made it to Jerusalem, the Holy City. In a well-known narration recorded in Sahih al-Bukhari, the moment is described with a modest line:

Then Jibril took me till we reached Sidrat-ul-Muntaha … which was shrouded in colors indescribable.

In the same narration, the ascent is tied to the establishment of the five daily prayers — a reminder that the story returns to lived practice. In Judaism, the three-times daily supplication was inspired by the Jewish forefather Abraham, described as “standing” before God, interpreted as the first morning prayer (Genesis 19:27), and Isaac going out to “meditate” (or pray) in the fields and Jacob inspired by the evening prayers.

What “utmost boundary” means

In Islam, the Arabic name is descriptive: sidrah (transliterated with an h or without) refers to a lote tree, and muntahā means the farthest point or extremity — the tree at the limit. One academic treatment explores how “the lote tree of the boundary” functions as a threshold image in Islamic interpretive traditions.

Knowing about the concept of the Lote Tree of the Utmost Boundary helps explain a core idea in Islam: God is beyond creation, and there are limits to what humans — and even angels — can know. Islam doesn’t aim for union with God or endless revelation; it emphasizes humility, restraint, and knowing when to stop asking. The story of the Lote Tree shows why Islam values discipline and practice, like daily prayer, over personal mystical experience. Protecting the boundary between the divine and the human is seen not as restrictive, but as essential.

The sidr tree and the Lote Tree

The sidr tree is a real, familiar tree across Arabia and parts of the Middle East. And it makes great honey. In English it’s often called the lote tree or Christ’s thorn jujube (Ziziphus species). It grows in harsh, dry conditions, provides deep shade, edible fruit, and medicinal leaves, and is known for its resilience.

For centuries it has been part of everyday desert life — practical, tough, and unremarkable in appearance.

In Islam, this ordinary tree is given extraordinary meaning. Sidrat al-Muntahā — the Lote Tree of the Utmost Boundary — takes its name from the sidr tree but is not simply a botanical reference. It marks the furthest limit of creation and knowledge, the point beyond which no created being, including angels, can go.

The Qur’an mentions it briefly, without description or symbolism piled on. That restraint is intentional. Islam does not turn the sidr tree into a symbol of God or a ladder toward divinity as the Jewish text goes – Jacob wrestling with the angel. Instead, it uses a known, grounded tree to mark a boundary. In Islam God remains beyond the created world, and knowing where that boundary lies is part of the faith.

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I live in the Mediterranean and this past winter (which is as warm as a New York spring) I had a cricket living outside my window. Every night at dusk he would start up his legs –– at first with a squeaky creak –– and he would ratchet it up to a steady sing for us a marvelous song that would last a few hours. I’d go out and check on him sometimes, hoping to keep him safe but eventually he moved on, or died. My friends say crickets in their garden is their bedtime nightmare. I was dreaming of keeping crickets for my lullabies and the scientists and musicians from Melbourne have helped my dreams come true.

In Venice, sustainability isn’t just a theme—it’s a living, breathing force at the 19th International Architecture Exhibition of La Biennale di Venezia, opening Saturday, May 10.

Among the standout exhibits this year is “Song of the Cricket”, a groundbreaking fusion of ecological conservation and interactive sound art brought to life by researchers from the University of Melbourne.

Set in the heart of the Venice lagoon, the installation highlights the precarious status of the Adriatic Marbled Bush-Cricket, a once-common singing insect whose habitat has been reduced to a mere 0.57 square kilometers. Fewer than 5,000 adults are estimated to remain. But this project aims to change that.

Led by Professor Alex Felson and the Urban Ecology and Design Lab at Melbourne, the team will collect, breed, and relocate these critically endangered crickets in an effort to reintroduce them into the Venice lagoon. At the same time, they will explore adaptive land-use strategies and smarter conservation approaches to help safeguard the species against future climate shifts.

“This is not just a temporary installation – it’s a step toward reconstructing vital cricket populations in the Venice lagoon,” said Professor Felson.

The exhibit features floating, mobile habitats that serve both as conservation tools and interactive sculpture. Each structure is designed to house the crickets while also offering an immersive audio experience for visitors. Blending science and sound art, the project creates a multisensory call to action for ecological stewardship.

Professor Julie Willis, Dean of the Faculty of Architecture, Building and Planning, praised the initiative as a vivid example of university-led innovation.

“‘Song of the Cricket’ showcases world-leading research from across the University. Combining art and science, the exhibit helps people to reimagine this iconic place as a living, responsive, and biodiverse city,” she said.

One of the installation’s most unique features is the interactive sound garden and cricket choir, designed by Associate Professor Miriama Young. Set against the backdrop of a 16th-century Venetian shipyard, the soundscape reawakens the natural chorus that once filled the city’s wetlands.

“Antonio Vivaldi’s Venice was once alive with the sounds of nature. This project re-imagines a healthy bioacoustic environment and develops synergies in ecological art practice through architectures of sound and sustainability,” said Young.

This exhibit joins other sustainability-focused pavilions at the Biennale, such as Australia’s “HOME,” which explores Indigenous environmental knowledge, and Seoul’s call for coexistence with nature in urban planning.

“HOME,” is showcasing Indigenous knowledge systems and their relationship with environmental stewardship. The exhibition invites visitors to engage with Australia’s natural environment through Indigenous perspectives, emphasizing the importance of sustainability and cultural heritage.

Together, these works underscore a larger truth: that architecture and design are no longer just about buildings, but about reviving the ecosystems and cultural soundscapes that make cities truly alive.

Sustainability Takes Center Stage at the 2025 Venice Biennale

The 2025 Venice Biennale is placing sustainability at the forefront, with several national pavilions and exhibitions highlighting environmental themes and practices.

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The seventh edition of the El Gouna Film Festival (GFF) has been officially announced, scheduled to take place from October 24th to November 1st. The festival disclosed the dates for the upcoming edition in a statement, reaffirming their dedication to bolstering the Arab film industry. The previous edition of GFF was held from December 14th to December 21st.

The El Gouna Film Festival (GFF), founded in 2017, in Egypt serves not only as a platform for cinematic celebration but also as a catalyst for addressing pressing global issues, particularly those concerning sustainability and the environment. Amidst its vibrant tapestry of films, the festival emphasizes the power of art to foster awareness and dialogue about ecological challenges while promoting cultural exchange and understanding.

This year is a good time to support the film festival with a visit because the Hamas attack on Israel has desatbilized the region and tourism has tanked in Egypt.

Within the realm of Arab cinema, there has been a notable emergence of films that delve into themes of ecology, the planet, and renewable energy, shedding light on the intricate relationship between humans and the natural world. These cinematic works not only entertain but also provoke thought and inspire action towards a more sustainable future.

Consider Arab films like Theeb, a Jordanian drama set against the backdrop of the Arabian Desert during World War I, offers a compelling exploration of humanity’s impact on fragile ecosystems. As the character embarks on a perilous journey through the unforgiving landscape, the film confronts themes of survival, exploitation, and the consequences of environmental degradation. By immersing viewers in the harsh beauty of the desert, Theeb prompts reflection on the need for responsible stewardship of natural habitats and resources.

Sand Storm, an acclaimed drama from Israel’s Negev Desert, delves into the complexities of gender dynamics and environmental conservation within Bedouin society. Through its intimate portrayal of a mother-daughter relationship and the tensions that arise when tradition clashes with modernity, the film offers insights into the socio-cultural forces shaping attitudes towards the environment. Sand Storm underscores the importance of fostering inclusive dialogues and empowering marginalized communities to participate in efforts towards sustainable development.

There is Raha Shirazi’s film Acqua, almost guaranteed to make you never take water for granted again. In it, a woman walks through snow in search of water with a jar on her back. Everywhere there is water, but after reaching a specific destination, she experiences some kind of trauma that especially resonates with us given the region’s tremendous water scarcity.

Beyond the realm of narrative cinema, Arab filmmakers have also embraced the documentary format to explore environmental issues in depth. For instance, Rafea: Solar Mama follows the journey of a Bedouin woman from Jordan as she trains to become a solar engineer, challenging gender norms and advocating for renewable energy solutions in her community. Through her inspiring story, the documentary showcases the transformative potential of renewable technologies in empowering marginalized populations and mitigating the impacts of climate change.

The El Gouna Film Festival serves as a platform for amplifying voices that champion environmental stewardship and sustainable development in the Arab world and beyond. By showcasing films that tackle ecological issues with nuance and empathy, the festival harnesses the power of art to inspire collective action and promote a deeper understanding of our interconnectedness with the planet.

While the festival isn’t selling itself as an eco film festival, artists can certainly exert their influence by submitting films of this nature. The festival does offer a $10,000 prize for films in the “green star” category. More on that here.

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After finishing reading your newspaper, have you ever wondered what to do with it? This is given that you are reading a print edition: Well, a Japanese publisher of The Mainichi Shimbusha newspaper has introduced a novel initiative called the ‘green’ newspaper, offering a unique solution: you can plant the newspaper once you’re done with it. It has seeds embedded in the paper.

Why was this concept developed? As a means of tidying up urban areas while also contributing to environmental efforts, the Green Newspaper by the Japanese Daily was conceived. it’s a way to also teach people about climate change and sustainability issues.

If you’re inspired by the innovative spirit behind Japan’s plantable newspaper, you might also explore how language and sustainability connect in your own career. For those fluent in Japanese, there are growing opportunities to find remote Japanese language jobs on Jooble. Whether you’re passionate about translation, teaching, or support roles, these positions allow you to leverage language skills while contributing to diverse fields.

First introduced on ‘Greenery Day’ on May 4th, 2016 in Japan this special edition was dedicated solely to environmental news and printed on 100% biodegradable paper with plant-based inks. Each page contained embedded seeds that, when planted, would sprout into flowers attracting butterflies and other pollinators.

Some copies even had seeds for growing herbs! Instructions were included for tearing used newspapers into smaller pieces and planting them in soil. With print advertising’s branding being 185% stronger than digital according to Newswoks’ report on Print vs Digital Advertising (2020), incorporating plantable pages adds an extra allure to the printed word.

Who came up with this idea? The concept originated from Dentsu Inc, one of Japan’s largest advertising agencies, collaborating with The Mainichi, publisher of The Japanese Daily.

Has it been effective? The Green Newspaper is not the first environmental initiative undertaken by The Japanese Daily. They’ve earned a reputation through previous campaigns, such as water donation drives for populations facing drought and unsafe drinking water.

Their eco-friendly newspaper has seen significant success, with a daily circulation exceeding four million copies nationwide and revenues surpassing eighty million yen, equivalent to over £500,000.

The initiative has involved schools, educating children and raising awareness about current environmental issues, thereby instilling the importance of recycling in the next generation.

The Japanese Daily isn’t alone in embracing sustainable planting initiatives. With Europe boasting a recycling rate of 74%, innovative recycling methods are gaining popularity. Plantable greeting cards are increasingly common in stationary shops and supermarkets. Businesses are also adopting eco-friendly promotional materials like seed sticks and plantable papers for business cards, leaflets, and flyers. Plus, you can make them at home. Or make seed bombs which also fun.

How is seed paper made?

Seed paper isn’t a novel concept but rather a slow-growing trend. It’s a simple mixture of recycled paper, water, and small flower or herb seeds. You can even make it at home. Here are the steps:

1. Tear up your old paper of choice and put it in a blender.
2. Fill blender with warm water.
3. Blend until there are no visible paper chunks.
4. Stir in the seeds. Choose tiny seeds like parsley, lettuce, or za’atar –  or flowers.
5. Strain the mixture to remove excess water. Very important.
6. Spread the pulp thinly to dry.
7. Once dry, use it for various purposes like cards or tags, knowing that wherever it ends up, it will eventually bloom into flowers.

So, next time you’re done with a newspaper or come across one during your travels, consider recycling it into something new. And for special occasions, opt for plantable cards, knowing you’re contributing to the planet’s well-being, one page at a time. Oh and kids love making paper. It’s the number one activity we have done with kids over the years. Consider turning your paper into greeting cards, birthday cards or Ramadan cards.

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Did you know that humans produce 2.6 trillion pounds of trash per year? Waste is one of the many significant problems that is damaging our environment. Pollution, whether it’s in the air, water, or soil, each pollution holds an equal and tremendous hazard to people, land, animals, and the entire ecosystem. While air and water pollution are more difficult for an individual to control, the daily garbage waste that an individual creates is easier to control. While recycling, not using plastic, and composting are great ways to help reduce waste, it is not incentivizing enough for all people. Therefore, I will tell you some ways in which you can reduce your waste, but in a fun way.

Repurpose old bottles and cans

How often are you constantly discarding your used toiletry bottles? Make use of your old, shampoo, conditioner, or any bottle and cut the top off and use it for anything. There are so many things that just lay around without a place and this is an easy and effective way to organize your items. You can also paint and decorate the bottles after you cut the top off. Keep your pens, makeup brushes, or cooking utensils in these and you will feel much more organized in an environmentally friendly way.

Candles from old jars

Making candles is super easy and always looks great. All you need is a wick, wax, and some scissors. Take your old jar and stick the wick to the bottle of the jar with a piece of tape.

CreatCreaMelt wax on the stove and then pour it into the jar, making sure to hold up the top of the wick. Fill it to the top keeping some of the wick above and that’s it! You can even add some fragrance and essential oils to the melted wax if you like a scented candle. Another easy one is the orange peel candle.

https://www.greenprophet.com/2016/10/the-orange-peel-candle-a-how-to-guide/

Vase from plastic or glass bottle

This one is a great alternative to buying a vase, is good for the environment, and can be created into however you’d like it. Buy a bunch of colorful gems and decorate the outside of the bottle, or paint the bottle with fun designs and artwork. However you like your art to be, do it on a bottle. Then, cut the top of the bottle off, or leave it as is and put some flowers in it. Or how about making a mini vase you can wear with a tiny boutonniere.

CD art

Have a ton of old CDs just lying around? Instead of throwing them out, make some fun art out of them. Just grab a bunch of acrylic markers or paint and get creative!

The post ​​​​​​4 Fun Crafts to Reduce Waste appeared first on Green Prophet.

Love letters to unrequited loves or appeals to companies may usually seem like a one-way conversation. That’s what Nitsan Mayost, a student at the Bezalel Arts Academy in Jerusalem documents as he uncovers scandalous amounts of food waste near a supermarket called Shufersal, in his neighborhood store in Jerusalem.

He started learning about the problem of food waste during the Covid lockdown, during a Zoom lesson. He then noticed the food bin behind a supermarket nearby was loaded with food. He started picking up food that was thrown out because of a sticker that was damaged, like yoghurts. Soon his fridge was full and he started offering the food to friends. 

Every day he went to the bin and documented it in letters to the CEO pf Shufersal, describing in detail what he found that day like “143 happy cucumbers.” Or “14 packages of mozarella fingers.”

He tried offering the food to the workers but they often yelled at him telling him to get out of the bins. 

The event culminated on the eve of Passover where Mayost invited the CEO of Shufersal to dine with him on thousands of vegetables he’d found in the bin. That’s the image above. The CEO never showed up.

In one moving letter he wrote:

“Challah bread does not take up the whole bin, but they do take up the whole of my heart. There were 14 of them and they were next to tomatoes and peppers and packaged sausages (that I don’t like) and cottage cheese and some quick-salad vegetables and about twenty cartons of milk. But the Challah?

“I don’t know about you, but as for me – the more the bin is filled with food, the more my soul empties in the same proportion.”

Challah is the bread Jews eat to sanctify the Sabbath.

Through a series of quiet letters, and sent daily, he asked the CEO of the major Israeli supermarket food chain to make some room in his schedule for overloaded food waste in the supermarket’s food bins. Mayost used old-fashioned letters, made from found materials, to prank the store he was documenting. The suit he wore, and the food laid out, were all found in trash bins.

Dumpster diving was a thing already 20 years ago. Now it’s becoming outrageous to a younger generation that this food is ever dumped in the first place. This artist is ultimately seeking revenge and waits until unveiling his final exhibition documenting the problems of food waste in Israel, and also the world.

He said he doesn’t mean to criticise the store specifically but the food waste problem in general.

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The sheep of the Levantine and Middle East regions of Lebanon, Israel, Syria and environs are not like the sheep in New Zealand or New York. The Awassi sheep are a breed of their own. They are used for fashion, warmth and food. Their tail fat is used as a hearty seasoning in Bukharian food traditions and in maqluba. And when weaved, braided and spun, the Awassi is a wool like no other with memories of its place. Like the Babaa sweaters made in Spain. 

A textile artist in Beirut explores the local sheep as culture and identity that he weaves into his creations. 

The Awassi is a local sheep breed in South-West Asia originated in the Syro-Arabian desert. Other local names can also be Arab, Baladi, Deiri, Syrian, Ausi, Nuami, Gezirieh, or Ivesi. It is a fat-tailed type and is multi coloured: white with brown head and legs. The ears are long and drooping.

A local Levantine artist Adrian Pepe in Beirut, Lebanon explores the ancient textiles produced in the Levant region from the sheep. He works to unearth ancient craft practices and to weave into them a contemporary message.

Throughout his work, he performs a sort of creative shadowgraphy, crafting objects and experiences as tools to enable an open discourse on materiality, our morphing cultural landscape, and our present condition.

This body of work begins with an ancient animal: the Awassi sheep, bred in the Levantine region for over five-thousand years. This particular breed of sheep is a central figure in the human narrative, traditionally within the contexts of biblical fables and ritualistic practices of Abrahamic religions.

Through the process of spinning, weaving, braiding, and felting, the wool is transformed into artefacts laden with perspiration and emotions, mythologies and symbolism.

It is an “intimate association that transpires between the craftsperson and the crafted object, as the raw material becomes large scale tapestries that summons themes of trans-corporeality and biocentrism,” says Pepe, who has also worked with human hair.

The Lebanese have a strong desire to promote local craft. After the explosions in Beirut, see how it banded craftsmen and women together. 

Adrian Pepe’s work was displayed at Dubai Design Week earlier in November, 2021. You can also find him here.

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We turn to vending machines to offer us a quick fix: a hot chocolate, a pack of ear buds, a bag of chips, or a gold bar if you are in the United Arab Emirates. There is even a kibble vending machine for stray animals. But two Emirati female friends thought of using the vending machine concept to poke a bit fun at their local culture and also to dispense acts of kindness.

They started an Instagram project in 2020 during a lockdown and their culture-connecting Wild Arab West account has grown into a clothing and lifestyle business featuring products that fuse the east and the west. The Arabian Middle East culture is not commonly known to poke fun at itself although here and there standouts appear like No Woman No Drive from Saudi Arabia. 

Their interactive installation in a vending machine was on display at Dubai Design Week. And it will compliment you in Arabic and English and aims to improve mental health. 

At the press of a button, a small, colored box delivers cards from a vending machine with sayings like “I would give up coffee for you” and “Has anyone told you how great you are?” written on them.

Some parts of the installation aim to explain what’s going on between the lines in the Middle East, like “chicken nugget” an expression for a local who speaks and acts “western”.

Stationed streetside at Dubai Design District, the WAW Machine churns out compliments in Arabic and English, seeking to spread some positivity and put a smile on people’s faces.

“There was just last month mental health awareness week, and it’s definitely something that we wanted to focus on, especially now that everything’s going back to normal regarding COVID,” cofounder Almidfa told Al-Monitor, a local newspaper.

“We felt like we needed to start off with something positive. Our main aim behind all of our initiatives is basically to brighten people’s day and just lift people up because I feel, especially after COVID, we really need some self-love and to be kind to one another.”

WAW went on to exhibit artworks related to their “Wild Dictionary” series, which Almidfa describes as the “Urban Dictionary of the UAE.”

They take every day Arabic words or pop culture references and give each an English translation so everyone can understand it. Some of these words are printed on merch you can find in their online shop. 

::Wild Arab West

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The Beit Guvrin caves in southern Israel in the Negev Desert have sheltered human activity since ancient times. Byzantines, Jews, Romans, Moslems, and other peoples passing through left remains of ancient industries and homes there. The Nabateans connected to Petra are part of that story. There’s ancient art, too: the walls of Phoenician burial caves bear impressively preserved paintings. Recently, some of the caves came alive to art again, with an extraordinary 21st-century art installation created by sculptor Ivo Bisignano.

The caves, an intricate underground labyrinth, are part of Israel’s Nature and Parks Authority and a UNESCO World Heritage Site. They had been closed to the public for 25 years, except sometimes to mountain climbers and rappellers. 

But visiting multi-media artist Ivo Bisignano immediately grasped the visual and emotional impact his humanoid sculptures would have if placed in the cavernous spaces where light and shadow sweep in and out throughout the day. He persuaded the park authorities to host the large wooden sculptures in several of the southern caves.

Green Prophet has already reported on human sculptures in natural settings with the  intricate sand sculptures on the Ashkelon beach.

Video projection and wooden sculptures in ancient Beit Guvrin caves.

The exhibit, “Human Forms,” comprises five videos projected on the cave walls and seven standing humanoid figures. You recognize human poses of sadness, contemplation, hubris, conventionality and desire for connection. Placed against the infinitely old cave walls, they at once contrasted and conciliated ephemeral humanity with eternal nature.

“I want these human forms to be completely comfortable in these caves,” Bisignano said. “Art was first created in caves.”

Bisignano created the exhibit in his Tel Aviv studio. He had been given permission to place the bulky wooden figures in a specific cave area, but plans were derailed when the cave’s ceiling collapsed, and then again when Covid-19 brought everything to a standstill.

In August 2020, Bisignano was at last able to move the exhibit into a cave even larger than the original one. In an interview with The Observer, he said, “If the other cave was like a church, this was like a cathedral. It’s 120 feet high and double the space.”

And indeed, the photographs show something of the echoey feeling of a cathedral as visitors stepped from space to space inside the caves. “Human Forms” was professionally illuminated by light designer Felice Ross.

Bisignano hopes that going through the exhibit, visitors will waken to a new appreciation nature itself.

“The cave has been transformed into a natural museum and this means that we need to feed our vision perhaps by going outside the box, outside the social networks and many other traps that block our points of view.”

For a while, the caves hosted a museum where air moves freely through the grounds and people could appreciate the art while staying socially distant. The exhibit in Beit Guvrin closed at the beginning of November, but Bisignano hopes to take his solo show around the world from one UNESCO World Heritage site to another.

“In each site, I wish to show through my work the possibilities of human forms in nature. I want that my work will erase the borders between humans and nature,” he concludes.

::Ivo’s website

Photography: shai epstein 

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