UK Marks First Anniversary of Queen Elizabeth II's Death

Queen Elizabeth II died on September 8 last year at her Balmoral estate in northeast Scotland. Jane Barlow / POOL/AFP
Queen Elizabeth II died on September 8 last year at her Balmoral estate in northeast Scotland. Jane Barlow / POOL/AFP
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UK Marks First Anniversary of Queen Elizabeth II's Death

Queen Elizabeth II died on September 8 last year at her Balmoral estate in northeast Scotland. Jane Barlow / POOL/AFP
Queen Elizabeth II died on September 8 last year at her Balmoral estate in northeast Scotland. Jane Barlow / POOL/AFP

Britain's King Charles III on Friday thanked the public for their support in his first year as monarch, as he marked the one-year anniversary of the death of his mother, Queen Elizabeth II.

In a short statement, the 74-year-old British head of state recalled the "great affection" for his mother, her life and public service, AFP said.

"I am deeply grateful, too, for the love and support that has been shown to my wife and myself during this year as we do our utmost to be of service to you all," he added.

Commemorations will be low key on Friday, with the king -- who is at his sprawling Scottish Highland estate of Balmoral -- not expected at any official engagement.

He and wife Camilla will attend nearby Crathie Kirk, the late queen's place of worship, for private prayers and a moment of reflection.

His mother, who was on the throne for a record-breaking 70 years, died at Balmoral aged 96 after a period of declining health.

Throughout her reign she did not publicly mark her accession, as it was also the anniversary of her own father King George VI's death in 1952.

Last year, when she began her Platinum Jubilee year on February 6, she spent the day in private at her Sandringham estate in Norfolk, eastern England.

- Gun salutes -

In London, the King's Troop Royal Horse Artillery will mark Charles's accession by firing a 41-gun ceremonial salute in Hyde Park from 12:00 pm (1100 GMT).

Members of the Honorable Artillery Company -- the oldest regiment in the British Army -- will fire a 62-gun salute from the Tower of London from 1:00 pm.

Both regiments were involved in firing the Death Gun salutes to mark the queen's death, and the Proclamation salutes to mark Charles's new reign.

The king's eldest son and heir, Prince William, and his wife, Catherine, will commemorate the anniversary with a small private service at St Davids Cathedral in west Wales.

William's estranged younger brother, Prince Harry, was in the UK for a charity event on Thursday but was not expected to meet members of his family.

"As you know, I was unable to attend the awards last year as my grandmother passed away," Harry told the charity event.

"She would have been the first person to insist that I still come to be with you all instead of going to her, and that's precisely why I know exactly one year on that she is looking down on all of us tonight, happy we're together."

Relations between Harry and his father and brother have been strained since he and his wife, Meghan, quit royal life and moved to North America in 2020.

Ties have been frayed further by their criticisms of the family in television interviews, a docuseries and Harry's autobiography.

Memorial
Elizabeth II's death was a seismic event in British life. For most Britons alive, the queen was the only monarch and head of state they had ever known.

During the 10-day official mourning period, tens of thousands of people queued for up to 25 hours to file past her flag-shrouded coffin as it lay in state in Westminster Hall at the Houses of Parliament.

Even more packed the streets of London and the route west to Windsor Castle for the state funeral, which was beamed around the world to a television audience of millions.

The queen was interred in the King George VI Memorial Chapel, Windsor, alongside her late husband, Prince Philip, who died in 2021, her father and mother and the ashes of her younger sister, Princess Margaret.

Earlier this week, the government announced that a national memorial to the late monarch will be commissioned "in due course".

In London on Thursday, there were mixed views about Charles's first year.

Some felt he had been right not to introduce sweeping reform too early. "He's got a hard act to follow but he will, I think change things," Joanne Hughes, 61, told AFP outside Buckingham Palace.

But despite 161 official engagements and tours of all four nations of the United Kingdom, others were indifferent about the new king -- and the monarchy in general.

"The monarchy is dying," said nursing student Mimi Jaffer-Clarke.

"If he wants it to not die, then he needs to try to get the younger generation to like him -- and we just don't."



Alla Abdunabi: Solo Show Transformed How I Engage With My Work

Artist Alla Abdunabi discusses her works with visitors at the exhibition (421 Arts Campus)
Artist Alla Abdunabi discusses her works with visitors at the exhibition (421 Arts Campus)
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Alla Abdunabi: Solo Show Transformed How I Engage With My Work

Artist Alla Abdunabi discusses her works with visitors at the exhibition (421 Arts Campus)
Artist Alla Abdunabi discusses her works with visitors at the exhibition (421 Arts Campus)

Libyan-British artist Alla Abdunabi is elated by the success of her debut solo exhibition, hosted by Abu Dhabi’s 421 Arts Campus as part of its 2025 winter season.

Exploring the concept of simulacra (how symbols evolve and shape cultural narratives) and how colonial history has shaped practices of care within museums, the exhibition runs from January 30 - May 4. 

Abdunabi is among the emerging artists supported by 421 Arts Campus, an independent platform in Abu Dhabi dedicated to fostering creative talent.

This year, the institution spotlighted her work with her first solo exhibition, ”Are your memories of me enough for you?”, offering audiences an intimate glimpse into her artistic journey.

Speaking to Asharq Al-Awsat about her experience in Abu Dhabi, Abdunabi reflected on her participation in the 2025 cycle of the 421 Artistic Development Program and the launch of her first solo exhibition.

She said the program was a turning point for her, and that it gave her the chance to grow an artistic practice in a space of dialogue with other artists and mentors.

Working on a solo exhibition changed the way she engaged with her own work, she explained.

One of the key lessons Abdunabi learned was understanding how different bodies of work interact—conceptually and spatially. That added layers of complexity she found exciting, opening up new possibilities for exploration.

Conceptual Approach

Abdunabi’s academic background is not strictly in fine arts. She studied interdisciplinary design, focusing on motion graphics, spatial and experimental design, and art installations.

Her artistic practice has expanded beyond the existence of objects themselves to how they interact with the surrounding space—whether inside a white-walled gallery or in a public setting.

For Abdunabi, engaging with an artwork is as significant as the piece itself.

Research through design was a core part of her studies and remains central to Abdunabi’s approach today.

Even though the work has a conceptual nature, it always begins with research, using the history of objects to better understand the world we live in.

In “Are your memories of me enough for you?” Abdunabi examines the concept of false resemblance, questioning how truth is constructed and how objects shape specific versions of reality through their symbols.

She explores how these icons are preserved, restored, and reinterpreted over time, prompting reflections on how contemporary audiences engage with such narratives.

Her work draws from the theories of French philosopher Jean Baudrillard, who argued that in today’s world, images do not merely reflect reality but create their own, blurring the lines between authenticity and illusion.

In an era flooded with visual representations, Abdunabi investigates how individuals discern between the real and the fabricated.

Through her exhibition, she challenges the conventional role of images and symbols, positioning them as active agents in shaping truth rather than simply depicting it.

By presenting alternative narratives, the show encourages visitors to reflect on how easily new realities can be constructed through visual culture.

Abdunabi sees art as a fundamental force in shaping how history is remembered and interpreted. Cultural symbols, she argues, carry layers of meaning that evolve over time, influencing collective memory in ways that are not always immediately visible. Her work explores how these symbols are preserved, repurposed, or erased—and what those choices reveal about the narratives societies choose to uphold.

Her exhibition also raises critical questions about how institutions handle objects tied to histories of violence. It challenges audiences to consider how museums, archives, and galleries frame and present artifacts with legacies of displacement, destruction, or exploitation.

While these institutions often portray themselves as neutral spaces, they actively shape meaning through preservation, display, and classification.

Rather than offering definitive answers, Abdunabi’s work seeks to expose these underlying systems and interrogate the very concept of preservation. It questions whether preservation can, at times, serve as a form of erasure or control.

The exhibition also examines the relationship between objects and the spaces they inhabit—whether in public settings, artistic contexts, or museum collections—highlighting the complexities of storytelling across these different environments.

Blending Research and Artistic Experimentation

For Abdunabi, research is always the starting point of her creative process—but it extends beyond gathering information. Her approach involves complicating historical narratives and engaging in speculative and imaginative interventions through art.

Rather than treating research and artistic practice as separate processes that need balancing, she sees them as part of an ongoing dialogue. Research informs artistic decisions, while artistic interventions, in turn, open new perspectives for inquiry.

Material experimentation is also central to her practice. She combines academic research, rooted in literature and historical analysis, with sensory and experimental exploration—emphasizing the importance of physical interaction with objects and materials. This interplay between intellectual inquiry and hands-on experimentation shapes the depth and complexity of her work.

Looking Ahead: Expanding Artistic Exploration

Abdunabi aims to deepen her exploration of the themes she has been working on while pushing them into new forms. Recently, she has been reflecting on how history is confronted both within institutional spaces and beyond.

She is also keen to experiment with different media, particularly spatial and immersive approaches that enhance the experience of interacting with objects and images.

Ultimately, her goal remains the same—to continue asking questions and engaging with the world in ways that are both direct and necessary.