Ali

At the opening of “The Buddhist Bug” at the Vincent Price Art Museum on Saturday, guests will see a 328-foot-long orange insect. Its body will coil around the museum’s gallery, lobby and atrium, and poke through the walls. The bug’s head, covered in a hijab, will be in one room, and its feet, which some might be tempted to tickle, will be in another.

The creature is occupied and controlled by Anida Yoeu Ali, a Cambodian-born artist who lives in Tacoma, Wash. Ali’s numerous performance-based exhibits explore her Cambodian-American identity and Buddhist and Muslim religions. The bug is her “totally humorous take on hybridity.”

As the bug, Ali doesn’t speak. She mostly stands or kneels and makes facial expressions in reaction to her surroundings and passersby. But she likes to engage with visitors, who can either touch her elaborate garment, talk to her, take pictures of her or simply observe her.

Artist Anida Yoeu Ali’s exhibit, “Anida Yoeu Ali: The Buddhist Bug,” features a 328-foot-long performance installation at the Vincent Price Art Museum in Monterey Park.

(Ariana Drehsler / For The Times)

“I get a lot of people who ask for a photo or they’ll ask for a hug,” says Ali. “There’s so many stories that get whispered into my ear. A lot happens when you can hold someone’s attention with just your eyes. There’s a vulnerability that happens when you make eye-to-eye contact without any words involved.”

Ali likes to use expansive spaces and incorporate fabrics and textiles, whether it’s a red, sequin-covered chador or a tubular-looking worm made out of polyester, Lycra and spandex. Such things make the petite artist feel “taller and larger than life.”

Ali will appear in the suit for only two hours during the show’s first and last days. But for the rest of the exhibit’s run, the museum will display the bug in its entirety, in addition to sculpture, photographs and video that document how Ali has spent the last 15 years becoming her creature alter ego.

Born in Battambang, Ali, 52, is of mixed Malay, Khmer, Thai and Cham ethnicity, and was raised Muslim in a country that’s 96% Buddhist. She and her family left Cambodia in 1979 to escape the genocide committed by the brutal Khmer Rouge regime and settled in Chicago. Ali studied at the University of Illinois Urbana-Champaign and the Art Institute of Chicago. She’s currently a senior artist-in-residence at the University of Washington Bothell.

Director of the Vincent Price Art Museum Steven Wong and Executive Director Sonia Mak of Asian Arts Initiative.

(Ariana Drehsler / For The Times)

Ali conceived one of her best-known performance-based works, “The Red Chador,” in 2014 after relocating to Cambodia for a few years. She wanted to address the rise of Islamophobia in the wake of major events happening at the time, including France’s ban on facial coverings (the country had already banned the hijab years prior) and the terrorist attacks on the French satirical magazine Charlie Hebdo. Ali also wanted to confront the politicization of Muslim women’s dress and contradict the “imagery of Muslim women as joyless and depressed.”

“It was an opportunity to put on a chador, but one of my choosing and one of my designs,” Ali says. “It was to also honor the Muslim women in my background. My mother, grandmother, aunties and cousins all covered and did so joyfully. That was never an issue for them.”

Ali wore the red sequin chador in 15 cities, including at the Palais de Tokyo in Paris in 2015, where, during a 12-hour performance, she threatened to chop off 99 baguettes. The installation was meant to challenge Muslim stereotypes while making a subversive nod to the bread as a famous French symbol. “The Red Chador” also made a stop earlier this year at the W. Keith and Janet Kellogg University Art Gallery at Cal Poly Pomona.

“The Buddhist Bug” was created in 2011, a few years before “The Red Chador,” and inspired by the pervasiveness of the saffron-colored robes worn by monks in Cambodia. The piece not only drew on the color orange but was also influenced by a collapsible play tunnel she received as a gift after giving birth to her first child.

A photo titled “Into Dreamland, The Buddhist Bug, 2015,” (photographed by Masahiro Sugano), and featured at the Vincent Price Art Museum as part of the exhibit, “Anida Yoeu Ali: The Buddhist Bug.”

(Ariana Drehsler / For The Times)

Ali wears a hijab while in the suit and uses a second person, usually a model or intern, to provide the bug’s feet — though she insists that those are the “bug’s feet.” It’s a fun, childlike interpretation of the complexities of coming from two cultures and religions.

“I wanted to do something that was tapping into my diasporic identity or what I call the ‘diasporic dilemma,’” says Ali. “This notion of going back and forth and constantly feeling like you’re not enough in one country or one culture. The bug is the result of that. You look at it and it’s a big orange creature. But for me it’s more of a tunnel structure that can double as a bridge, an entity that can connect two points or two locations. That’s the poetic part of the project.”

Sonia Mak, who co-curated the exhibit at VPAM with museum director Steve Wong, invited Ali to show in L.A. after catching one of her performances at the Seattle Asian Art Museum in 2024.

Photographs in the installation — some taken by Ali’s husband, Masahiro Sugano — capture Ali dressed as the bug in cities all over the world. Some are placed on a sculpture resembling the Rub el Hizb, an Islamic star shaped like an octagram. The rest are mounted on the walls and show the bug in places like Battambang and the Cambodian capital, Phnom Penh, at a restaurant, in a classroom, on a boat and a bridge.

In one image, Ali rides in a bicycle carriage. In others she stands outside a mosque while kids play with the bug’s feet and sits in an abandoned movie theater, her tail wrapped around the seats. (Angelina Jolie, whose adopted son Maddox is from Cambodia, was recently photographed visiting these cinemas and is reportedly renovating the theaters.)

Ali envisions someday performing as the bug in the desert in the Middle East and maybe building a children’s public playground as a “fun manifestation” of the project.

“I come from a country with an awful, violent history,” she says. “I have a unique set of identities and perspectives that aren’t easily explainable, which is why I make art. I want people to think about how weird and strange the bug looks, but I want them to feel happy looking at the orange. I love it when the grotesque and the beautiful sit side by side. It makes for some magical artistic moments.”

Mark Williams pulled off a superb fightback to beat Shaun Murphy and book a spot in Sunday’s English Open final, where he will face Ali Carter.

Murphy, who had claimed a final-frame victory over Judd Trump in the quarter-finals, charged into a 5-1 lead over Williams on Saturday.

But this time it was the world number seven who was denied as Welshman Williams claimed five straight frames to snatch a 6-5 win.

Murphy looked set to clinch victory in the 10th frame with a break of 51 but handed Williams a lifeline and the world number nine took full advantage.

The 51-year-old made 65 to level things up and again prevailed in the decider, with a break of 69 completing the three-time world champion’s remarkable comeback.

Williams and Carter will now battle it out for their first English Open title at the Brentwood Centre in Essex.

In the first semi-final, Carter reeled off five frames in a row to claim a 6-2 win over China’s Ding Junhui, producing a highest break of 119.

The 47-year-old from Essex started the week 25th in the world rankings and will return to the elite top 16 if he beats Williams.

“To get in the top 16 at my ripe old age of 47 wouldn’t be too bad,” said Carter.

“There is a lot to play for tomorrow, but I’m going to be in there fighting.

“I’m still competing with the best players in the world and it is a feather in my cap.”

JEDDAH: More than five decades after the greatest heavyweight boxer of all time, Muhammad Ali, visited Al-Balad in Jeddah, the memory lives on through a small family business.

It was 1972 and Mohammed Ba Zaraah was sitting in his cafe, The Bird Shop, when in walked the legendary American fighter and sampled the traditional Hijazi drink, sobia.

It was during Ali’s first visit to the Kingdom to perform Hajj.

Ba Zaraah’s son, Khalid Najee, told Arab News that he was only 12 in 1972 and not in the cafe when the great man came to visit.

“But the story was passed down to me by my father and the shop has remained with the family for more than five decades,” he said.

“My father told me that Muhammad Ali suddenly entered his small shop. He described him as a big man with a nice smile.”

Ali was accompanied by high-ranking Saudi officials and neighbors soon realized that a famous visitor had entered the shop.

Ba Zaraah responded to the unexpected encounter with a gesture of traditional hospitality.

“He immediately offered him sobia,” Najee said. Sobia is a cold drink often made using barley, brown bread or oats soaked in water, with sugar and spices such as cinnamon and cardamom.

For Ba Zaraah, serving Ali a traditional beverage was an instinctive act of hospitality. But after the boxing legend left the visit took on a life of its own in the neighborhood.

“The neighbors started calling my father ‘Clay’ after Muhammad Ali,” Najee said. Ali was born Cassius Marcellus Clay Jr., before adopting the name Muhammad Ali after converting to Islam.

His 1972 pilgrimage to Makkah is well documented, including photographs taken during Hajj.

Asked if he has a photo of the historical visit, Najee said: “Unfortunately, there is no photograph of Ali with my father.”

“There was no camera in the tiny shop that day and the encounter was never expected to become a piece of family history. Instead it survived through memory.”

The old cafe still exists and is currently undergoing restoration as part of the wider preservation and regeneration of Jeddah’s historic district.

For Najee, the restoration project represents an opportunity to carry his father’s story into the future.

“I want to name (it) Clay Sobia,” he said. “It is a tribute to my father and to a moment that connected a small Jeddah shop with one of the world’s greatest sporting legends.”

Israeli attacks come a week after it said to have established operational control over the strategic ridge.

The Israeli military says it has destroyed Hezbollah’s underground infrastructure at a key site in southern Lebanon, with Israeli government officials adding that the operation consolidated its so-called security zone in the area.

In a joint statement, Prime Minister Benjamin Netanyahu and Defence Minister Israel Katz said on Thursday that Israeli forces would remain in the area to prevent the Iran-aligned Hezbollah militant group from re-establishing its presence and rebuilding its capabilities.

The Ali al-Taher ridge, about 15 km (10 miles) from the Israeli border, has become one of the most contested areas of the war between Israel and Hezbollah. Katz claimed last Friday that Israeli forces had driven Hezbollah fighters out of what he said was a network of tunnels ⁠⁠under the disputed highland.

Reuters reported that Hezbollah is believed to have built an underground command centre and weapons stores there in July, quoting unnamed Lebanese security sources.

Lebanon’s National News Agency said that the Israeli military carried out a powerful blast at the ridge, with tremors and the sound of the explosion felt across Nabatieh and surrounding areas in southern Lebanon.

Hezbollah has yet to respond to the recent Israeli attack.

The Israeli military said its forces had established “operational control” over the ridge, both above and below ground, before dismantling the infrastructure. The network extended for more than 2 km (just over 1 mile) and contained dozens of rockets, missiles and drones, as well as anti-tank missiles, mines and explosive devices, it said.

The military said a central command complex belonging to Hezbollah’s Badr unit was located within the underground infrastructure. The complex contained command centres, weapons storage rooms and living quarters that allowed fighters to remain underground for extended periods, it said.

Iran reportedly warned the United States last month that it would respond forcefully if Israeli attacks on the ridge continued.

Over the last weeks, Israeli strikes and ground operations around the Ali al-Taher ridge continued despite a ceasefire agreed in June, after Israel gained control of nearby Beaufort Castle and part of the higher ground overlooking much of southern Lebanon and northern Israel.

A US-brokered framework agreed after a June ceasefire — between Lebanon and Israel, without negotiating with Hezbollah — called for Israeli forces to gradually withdraw from southern Lebanon while Lebanese troops disarm Hezbollah.

The process has stalled, however, with Hezbollah refusing to give up its weapons and Israel saying it will not withdraw until the group disarms.

Since 2023, Israel has pushed into southern Lebanon and seized several strategic positions, occupying swathes of land, which it now increasingly says it needs to maintain a so-called buffer zone between Israel and Hezbollah positions in Lebanon.