When Sabrina Amrani invited me to join the art travel program her gallery was organising in Saudi Arabia, I didn’t hesitate for a moment. “I’m in,” I told her immediately. Amrani has long been a vital insider within the country’s burgeoning art scene with her deep knowledge of Saudi artists—including Manal AlDowayan, who represented Saudi Arabia at the Venice Biennale in 2024.
For years, I had been intrigued by Saudi Arabia, described by many as the new “Art Frontier,” a title that stems from Crown Prince Mohammed bin Salman’s transformative Vision 2030. This initiative seeks to reduce the country’s dependence on oil and cultivate a dynamic, creativity-driven economy. Preparing for the trip, I immersed myself in Art in Saudi Arabia: A New Creative Economy by Rebecca Proctor and Alia Al Senussi, a well-researched study of how art and culture intersect with economic development in a rapidly transforming society. Reflecting on my readings, I grappled with critical questions about the authenticity of Saudi Arabia’s cultural initiatives. Were these efforts a strategic manoeuvre to position the country as a global power, or were they genuinely aimed at reforming a society deeply rooted in oil dependency? These questions remained with me as I set off to explore the evolving art landscape of the Kingdom.
My journey began with the Jeddah Biennale, a showcase of Saudi Arabia’s commitment to its cultural renaissance. The second edition of the Diriyah Biennale Foundation’s Islamic Arts Biennale was held in the iconic Hajj Terminal, designed by Skidmore, Owings & Merrill in 1981. This space, inspired by Bedouin tents and built to accommodate Muslim pilgrims travelling for Hajj and Umrah, is itself a monumental fusion of tradition and modernity. Under the evocative theme “And All That Is In Between,” the biennale aimed to explore the multiplicity of what it means to be Muslim today, encompassing diversity and inclusivity. The curatorial team, led by British scholar Julian Raby, included luminaries like Amin Jaffer, Abdul Rahman Azzam, and Saudi artist Muhannad Shono, who served as the Contemporary Art Curator.
This ambitious exhibition brought together over 500 objects from 20 countries, including sacred artefacts from the Vatican, alongside 30 contemporary works. The juxtaposition of historical and modern pieces fostered a dialogue that illuminated the complexity and richness of Islam. Walking through the five pavilions and the garden was an intensely spiritual experience. One of the most striking pieces was the Kiswah—the black damask cloth embroidered in gold that adorns the Kaaba in Mecca—displayed outside its traditional context. For the first time, women had participated in its creation, adding a poignant layer of progress to this iconic object. Louis Guillaume’s installation, When We Still Let the Wind Pass, stood out in the garden. This sun-shaped mashrabiya, an eight-meter-wide woven structure, brilliantly captured harmony and resilience. Constructed from stipa seeds, it seemed almost alive, a testament to the delicate balance between art, nature, and architectural heritage.
Another memorable installation was Asim Waqif’s Min Rukam. Composed of bamboo harvested in India, the work invited visitors to engage physically—stepping over bamboo and tapping the walls to create an improvised symphony. This participatory piece added a playful, immersive dimension to the biennale.
Later, I had the privilege of visiting the private collection of Basma Al Sulaiman, a pioneer in championing Saudi art. For over 30 years, she has supported artists like Shadia Alem, Manal AlDowayan, and Abdulnasser Gharem. Her home in Jeddah, a treasure trove of Saudi creativity, offered a more intimate understanding of the country’s evolving art ecosystem.
The second phase of my journey took me to AlUla, an unparalleled fusion of natural grandeur and cultural significance. Nestled in the desert, AlUla is home to the UNESCO World Heritage Site of Hegra, the vibrant AlUla Arts Festival, and Desert X. This once-forbidden area, now rediscovered and revitalised, was historically a crossroads of trade and cultural exchange. Today, it symbolises the merging of ancient heritage with contemporary artistic ambition.
Upon arrival, I attended a performance by Lebanese electroacoustic composer Tarek Atoui. His piece unfolded in the old city centre of AlUla. Atoui’s sound manipulation offered an auditory experience as intricate as the desert landscape. The artist has initiated a three-year project in AlUla called Al Ghasaq, aiming to establish a dialogue between traditional and contemporary approaches to sound, performance, and craftsmanship.
AlUla’s historical centre hosted a remarkable preview of James Turrell’s forthcoming Wadi AlFann commission. This monumental project will feature interconnected chambers carved into a canyon, designed to immerse visitors in “the thingness of light.” Turrell’s vision for AlUla exemplifies how the region aspires to position itself as a global art destination.
Another standout experience was NEUMA: The Forgotten Ceremony, a performance that reimagined pre-Islamic rituals through a contemporary lens. Created by Sarah Brahim and Ugo Schiavi as part of the Villa Hegra collaboration, the piece utilised light, breath, and movement to evoke the spirituality of ancient ceremonies. The accompanying film involving local performers, which can be viewed at Dar Tantora, deepened the connection between past and present.
Beyond the grand exhibitions, AlUla also fosters grassroots creativity. The N.E.S.T (New Experimental Salon for Travelers), founded by artist Abdulmohsen Albinali, showcased an exhibition curated by Hafsa Alkhudairi. Bilal Allaf’s video work particularly struck me, Chapter 7: Volt, where the dancer and choreographer engage in a ballet with a robotic dog. This intimate space reminded me that Saudi Arabia’s art renaissance extends beyond its headline-making festivals and biennales.
However, the highlight of my journey was Thikra: Night of Remembering, a collaboration between Akram Khan and Manal AlDowayan involving the local community. Set against the desert’s backdrop, the performance was a hauntingly beautiful meditation on AlUla’s heritage. Using their hair as a central motif, Khan’s dancers created a mesmerising narrative under the starlit sky. This powerful imagery resonated deeply in a country where women’s hair once symbolised repression but is now celebrated as a form of expression.
During my week in Saudi Arabia, I was constantly inspired and admiring of the women I encountered—their strength, optimism, and energy. Deeply rooted in their culture, they are determined to move their country forward. Both Manal AlDowayan and Basma Al Sulaiman perfectly exemplify this spirit: art and women as drivers of change and modernism.
My time in Saudi Arabia culminated in an awe-inspiring hot-air balloon ride over Hegra’s Nabataean tombs. As I floated above this ancient landscape, I reflected on the role of art and culture in civilisation’s history. Saudi Arabia’s embrace of art as a tool for transformation felt genuine, driven by a youthful population eager to engage with creativity. This artistic revival is not just an instrument of soft power but a testament to the Kingdom’s desire to move forward and redefine its place in the modern world.
Words and photos: Virginie Puertolas-Syn ©Artlyst 2025
Islamic Arts Biennale 2025 – 25 January – 25 May 2025
AlUla