A liminal space: The soft power of Saudi’s growing art scene

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Basmah Felemban’s work takes a closer look at the journey of a species of fish from their own home to the Najd desert. (Abdulrahman Shalhoub)
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Updated 18 November 2022
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A liminal space: The soft power of Saudi’s growing art scene

  • In this time of great change in Saudi Arabia, and an age of technology, the Kingdom might show us whether art still has the power to influence and shape societies

RIYADH: Art has been known throughout history to reflect, or even elicit, social, cultural and artistic change in cultures. The Renaissance period in Europe beginning in the 14th century, for example, or India’s Bengali Renaissance in the 19th century.

Now, Saudi Arabia, a country that was founded only 90 years ago and is currently undergoing a period of great transformation under its Vision 2030 diversification and development program, finds itself in a liminal, or transitional, space bordered on one side by historical behaviorism and on the other by the dawn of the future. As such, one can only wonder if the Kingdom’s experience will show us whether, in an age of technology, art still has the power to truly influence our societies?

In common with many other aspects of Saudi society, the arts sector is experiencing a period of rapid development and growth. Thanks to the establishment of a variety of arts festivals, increased government funding, the launch of exhibitions, and the introduction of public art installations, the country is slowly embracing, or rediscovering, its own local, traditional art forms, creating new ones, and opening the door to cultural-exchange opportunities by hosting exhibitions of international art.

The second annual Noor Riyadh festival of light illuminated the streets of Riyadh this month, for example. Staged under the auspices of Riyadh Art under the theme “We Dream of New Horizons,” this year’s event was three times bigger than the inaugural festival in 2021, with works by more than 120 local and international artists on display in public spaces at 40 locations across the city.

Architect Khalid Al-Hazani, Riyadh Art’s program director, said the festival aims to create joyful experiences for the people of Riyadh by highlighting the beauty of their city’s natural landscapes and cityscapes.

“The reality of Noor Riyadh 2022 is that through a sense of wonder, the artists are exploring the use of illumination, luminosity and their own encounters with materials as staging relations to otherness and hope in the form of light,” Al-Hazani told Arab News.

The festival therefore looks to a more hopeful future after the trauma caused by the COVID-19 pandemic. It imagines a city without borders, art without frames and poses a crucial question: Who is Noor Riyadh for?

“Our main purpose is to reach the widest audience possible, going beyond traditional art audiences to the wider public,” Al-Hazani said.

During this period of transformation in Saudi society, contemporary artists throughout the country are seizing the opportunity to slowly normalize certain ideas that were previously considered controversial by societal standards.

Saudi artist Daniah Al-Saleh said her first exposure to contemporary art was in the early 1990s during a visit to the Venice Biennale. After an undergraduate education in Riyadh that exposed her only to classical, impressionist and modern art, she said she was enlightened by the malleability of artistic expression.

“That just opened doors for me and made me reflect and think about what art can be,” she told Arab News.

Her own artistic practice often utilizes aspects of computing and machine learning to translate abstract ideas into reality. She said she aims to push the boundaries with artworks and installations that combine traditional forms of art such as paintings, with more innovative content such as computer programming code.

One of Al-Saleh’s installations at Noor Riyadh, “Love Stories,” is on display at Oud Square in the city’s Diplomatic Quarter. It examines the traditional resistance to public displays of love and affection in conservative societies.

“There’s this tension and double standard between the things that we know are okay in songs and poetry but not okay in real life,” she said.

Her artwork is comprised of multiple figures, generated by artificial intelligence and projected onto pillars, that lip sync to 26 well-known Arabic love songs that feature lyrics about public declarations of feelings of love. Al-Saleh said the reaction to the work was unexpected.

“I saw people, non Saudis, sitting and smiling, because I translated the lyrics in English,” she said. “For me, as an artist, to see people sitting by an installation for more than five or 10 minutes, it’s a huge deal.

“For the Arab population, they sat and sang with these AI characters; you see them smiling … it’s such a powerful feeling and brings people and communities together.”

Al-Saleh’s second installation at Noor Riyadh, “Delicate,” which is on display in the Jax District, considers ideas of hierarchy and inequality through a skeptical eye. Inspired by the words of Adrienne Maree Brown in her book “Emerging Strategy: Shaping Change, Changing Worlds,” the artwork is based on biomimicry: The process of emulating natural elements to solve global problems.

Al-Saleh’s mixed-media work was created using wood, wool, digital computations, paper, canvas and one of the world’s oldest materials, felt, all of which work together, she said, to create a suspended ecosystem of beauty and self-sustainability.

Saudi artist Bashaer Hawsawi said the first step toward bigger changes in attitudes toward art in a society is to encourage greater public engagement with the local art scene.

“The simplest form is photographs of pieces of art on social media,” she said. “It’ll spread around, people will see that this is happening, they’ll talk, ask and want to know more.”

Hawsawi’s work “Early Ripening” adds a private angle to public art. It portrays methods of pickling lemons and was inspired by her own early memories of watching her mother carrying out the process. She said the work aims to highlight the simplicity of everyday tasks in public spaces but also the substantial role they play in local culture. Scattered across the landscape of Wadi Hanifa, the artwork uses fiberglass lemons to depict the pickling process, the products of which are used in some Saudi communities as tonic to aid recovery.

Saudi artist Basmah Felemban told Arab News: “We’re in an interesting position where all of us should talk about all of our experiences, away from necessarily any forced discourse from the international conversations that are happening.”

Felemban’s works explore ideas of ethnicity, immigration and cultural origins, topics traditionally rarely discussed publicly in the region. She said she hopes to spark conversations and answer questions about her own history.

In her work “The Eleventh View of Time,” the viewer observes, through projected images at Wadi Hanifa’s Ringing Bird Lake, the journey undertaken by another species, which has parallels with the artist’s own story of immigration, ethnicity and ancestry, stretching from Indonesia to Saudi Arabia,.

Conversations about cultural diversity are more common in the West, and the artist believes that the Middle East needs to develop its own ways to address these topics “that adhere to our historical backgrounds.”

With the aim of helping to transform the art world from a perceived image of elitism to populism, the artworks at Noor Riyadh are designed to present new ideas and spark cultural discourse on a local and global scale.

“Good art inspires but great art activates,” said contributing Dutch artist Daan Roosegaarde.

His artwork “Waterleight,” on display at Salam Park, uses a captivating and mysterious laser show to call attention to the effects of climate change. It shows the potential global results of rising sea levels, against the backdrop of plans for a greener, more sustainable future under Vision 2030.

His native Netherlands, he said, would already be underwater without the application of technology, science and creativity.

“The world is changing, so we have to somehow adapt … I think it’s important to realize that we have to invent, imagine and create that new world — it doesn’t happen by itself — (and) learn from the mistakes that we’ve made,” Roosegaarde said.

Cultural exchange is a crucial element in an evolving art scene, according to renowned artist and lighting designer Marc Brickman, who served as a consultant on the plans for the landmark Al-Faisaliyah building 24 years ago.

Now, he has created a 2,000-drone light show that uses science and technology to encourage us to question our need for order in a chaotic world.

“I think art throughout the ages has always been the leading element because it deals with people’s imaginations and the way they think,” Brickman said.

“And a lot of times they’ve tried to stamp it out and conform it but it always rises back to the top.”


AlUla’s rawi historians tell tales as old as time

Updated 6 sec ago
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AlUla’s rawi historians tell tales as old as time

  • Storytellers keep oral tradition alive by guiding tourists in ancient city
  • Reciters of poetry tell the stories of historic sites 

JEDDAH: In the timeless landscape of AlUla, stories are not only carved or marked into rock — they are carried in the hearts and voices of its people.

Among those preserving and sharing memories is Aljawharah Ibrahim Abdulkarim, a rawi — or oral storyteller — in the heritage, culture and events department at the Royal Commission for AlUla.

She told Arab News: “Several years ago I took a number of tour guiding courses and decided to pursue a career in this field. I was born and raised in AlUla, so I grew up hearing stories and learning about AlUla Old Town from my parents and relatives who lived there, which allowed me to better understand the history of the site.”

Storytelling for Abdulkarim is not just a job, but a mission. As a native of AlUla, she offers a rare blend of authenticity and academic insight, which she weaves into the tours she leads.

She added: “Since I’ve lived in AlUla my entire life, I’ve witnessed its amazing transformation over the years. Through my work as a rawi I’ve also seen firsthand the exciting future that lies ahead for this unique place. All of these experiences have helped enrich my personal story of AlUla.”

The rawi has historically played an important role in Arab culture, serving as a reciter of poetry and stories.

A trilingual speaker — fluent in her native Arabic, as well as in English and French — Abdulkarim represents the next generation of rawis that will show, and tell, the tales of their ancestors.

She said: “I first started learning English in AlUla. Later, I had the opportunity to travel to France on an RCU scholarship created especially for AlUla students. While there I learned French and obtained my master’s degree in international hospitality management.”

Her ability to connect with international visitors became a key asset, and she added: “The fact that I am a trilingual rawi helps me to better understand the different tourists that come to AlUla, offer more personalized responses to their questions, and share with them the special story of AlUla.

“I’ve also had the chance to represent AlUla and my colleagues across several conferences and campaigns in the Kingdom and globally, connecting me with an even broader audience.”

While much research has been devoted to ancient sites like Dadan and Hegra, Abdulkarim is passionate about shedding light on AlUla — especially the human stories of AlUla’s Old Town.

She said: “There is a lot of available historical information and research for different ancient civilizations, especially for sites in Dadan and Hegra. However, when it comes to places like AlUla Old Town, it is quite different as we are talking about contemporary history.”

What sets her storytelling apart is her commitment to blending historical accuracy with personal memory — without conflating the two.

She said: “The people who once lived there are still with us today, and they’re able to share their stories in their own words.

“During my tours I usually start by sharing historical facts, and then I include memories from my father and family. I make sure to keep the two separate, so the history and personal stories are both respected and clearly understood.”

Beyond those narratives, Abdulkarim regularly invites other community members to lend their voices to the tours.

She added: “During our tours we also invite members of the local community to participate by sharing their stories and knowledge, helping us to tell the broader history of AlUla, through the voices of those who have lived it.”

These efforts are especially resonant during themed tours in which the history is deeply personal.

She added: “For example, during one of our special tours in Ramadan, called Ramadan Memories, my father contributed by sharing how the people of Old Town used to spend the holy month, recounting their daily routines, the food they prepared, their work, and their cherished traditions. In doing so, we offer our valued guests a truly unique and personal experience.”

Preserving and presenting heritage in such moments is more than recounting stories — it is about keeping the very culture and voice alive for future generations.

She said: “Sharing our heritage with people is crucial to prevent it from being lost, especially as elements of heritage can also be intangible.

“AlUla is a jewel to us, and persevering the heritage of the city not only helps to protect our past but also safeguards our present and shapes our future.”

That future is being actively protected, and she added: “Today, for example, we have the first Saudi Heritage Ranger team that are working hard to protect our tangible heritage in our historical and archaeological sites for the coming generations.”

In AlUla, the past is not forgotten: It is spoken, heard and passed down with pride. Through voices like Abdulkarim’s, these stories — some as old as time — are finding new ears.


Tourism minister launches Saudi Summer program

The event brought together more than 120 partners from across the Kingdom’s tourism ecosystem.
Updated 12 min 15 sec ago
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Tourism minister launches Saudi Summer program

  • New campaign features six destinations, 600 experiences, and aims to welcome 41m visitors
  • Program highlights include Esports World Cup, new resorts, and cultural festivals across the Kingdom

RIYADH: Minister of Tourism and Chairman of the Saudi Tourism Authority Ahmed Al-Khateeb launched the Saudi Summer program under the theme “Color Your Summer” at a workshop recently organized by the authority in Riyadh.

The event brought together more than 120 partners from across the Kingdom’s tourism ecosystem, including representatives from both the public and private sectors.

The workshop fostered collaboration ahead of the summer season, aligning efforts to achieve the program’s goals and maximize its economic and tourism impact.

Running from May to September 2025, the Saudi Summer program will feature six distinct destinations — from the moderate coastal escapes of Jeddah and the Red Sea to the cool, scenic highlands of Taif, Baha, and Asir.

Key highlights include the Esports World Cup in Riyadh from July to August, along with the vibrant Jeddah and Asir seasons, offering diverse events, activities, and promotional campaigns.

“Bringing together our partners each year through this workshop is a testament to our shared commitment to shaping the future of the Saudi tourism industry,” Al-Khateeb said.

He added: “This year, we are encouraged to see the private sector contributing more than SR300 million ($80 million) in preparation for what promises to be an incredible summer. With its rich culture and breathtaking diversity, Saudi Arabia continues to inspire travelers from around the world while fueling a vibrant domestic tourism scene.”

Al-Khateeb noted that summer is more than just a peak travel period — it is a key opportunity for the sector to innovate, grow, and make a lasting impact.

“This year, we aim to welcome more than 41 million visitors from 18 countries and achieve SR73 billion in total tourism spending. These numbers reflect Saudi Arabia’s growing reputation as a world-class destination, offering unforgettable experiences year-round,” he said.

Fahd Hamidaddin, CEO of the Saudi Tourism Authority, emphasized the transformational nature of the Kingdom’s tourism offerings: “Saudi is redefining how the world views summer travel. In partnership with more than 120 stakeholders, this summer will introduce more than 600 unique tourism products and experiences, along with more than 250 special offers.”

He added: “From the pristine islands of Shebara and Umhat along the Red Sea, to iconic new luxury resorts such as St. Regis and Desert Rock, to five new beaches in Jeddah, and the cool retreats of Asir, Taif, and Baha — Saudi Arabia is turning every visit into a vibrant summer highlight reel.”

The program’s theme, “Color Your Summer,” reflects the diversity of Saudi Arabia’s tourism assets. It is designed to meet the expectations of various types of tourists, offering coastal and mountain destinations, international events, exclusive offers, and a wide range of tourism experiences across the Kingdom.


Eco-friendly and safer walkways expanded by 33% at Makkah Hajj sites 

Updated 25 May 2025
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Eco-friendly and safer walkways expanded by 33% at Makkah Hajj sites 

  • Roads made of flexible rubber asphalt expanded to 33 percent this year
  • Walking on regular roads linked to 38 percent of foot and ankle injuries during Hajj

MAKKAH: Muslims performing Hajj this year will enjoy better quality and safer walkways in Makkah, thanks to the increased use of a new road construction technique.

Saudi authorities have announced a 33 percent expansion of roads made of flexible rubber asphalt this year, with work on the road extending from Namirah Mosque to Al-Mashaer train station in Arafat, raising the total area to 16,000 sq. meters.

“Instead of accumulating used tires, which are a major source of air pollution when burned, this technology recycles them and transforms them into a flexible asphalt layer that absorbs impact and provides comfortable walking paths,” the Saudi Press Agency reported on Saturday.

The report quoted the Kingdom’s Roads General Authority who said tests on asphalt surfaces and regular sidewalks showed that they “cause strong reactions on pilgrims’ ankles and feet, especially the elderly, who constitute 53 percent of pilgrims.”

About 38 percent of foot and ankle injuries that are dealt with by healthcare facilities during Hajj have been attributed to walking on regular walkways.

As explained, smart surfaces that use flexible rubber asphalt help absorb shock and relieve pressure on the body’s joints, especially the ankles and feet.  

The RGA experiment is in line with Saudi Arabia’s Vision 2030 commitment to sustainable development, smart cities, and enhancing the safety and comfort of all residents and visitors.

Saudi officials expect the number of pilgrims for Hajj this year to surpass last year’s figure, which the General Authority for Statistics counted at 1.83 million. Of that number, 1.61 million arrived from outside the Kingdom, while 221,854 were internal pilgrims, including citizens and expatriates.

Hajj 2025 is expected to start on June 4, subject to confirmation by Saudi Arabia’s official moon-sighting authorities.

As of May 21, 2025, 755,344 pilgrims had arrived in the Kingdom from abroad through air, land and sea entry points, according to the General Directorate of Passports, also known as the Jawazath.

Indonesian pilgrims are expected to form the biggest delegation again for Hajj 2025. Last year, 221,000 Indonesian pilgrims arrived in the Kingdom for Hajj, followed by Pakistan with 180,000. India was third at 175,025, Bangladesh was fourth at 127,198, and Nigeria completed the top five with 95,000 pilgrims.


Over 1,245 wild animals resettled so far in Saudi Arabia’s largest natural reserve

Updated 25 May 2025
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Over 1,245 wild animals resettled so far in Saudi Arabia’s largest natural reserve

  • More than 120 wildlife births also recorded at King Salman bin Abdulaziz Royal Natural Reserve

TURAIF: Saudi Arabia’s largest wildlife park, the King Salman bin Abdulaziz Royal Natural Reserve, has so far resettled more than 1,245 wild animals, according to the Saudi Press Agency.

The reserve has also recorded more than 120 births among its wildlife, SPA reported, citing KSRNR Development Authority records as it marked International Day for Biological Diversity on May 22.

Situated in the Kingdom’s north, the reserve is home to more than 290 species of migratory birds, more than 550 types of wild and grazing plants, and over 350 species of various mammals, reptiles and amphibians.

KSRNR is home to over 290 species of migratory birds. (SPA photo)

Among these animals are the rare Arabian gazelle, the Arabian oryx, and the kestrel, a medium-sized bird of prey.

KSRNR covers an area of 130,000 sq. kilometers, spanning the provinces of Hail, Tabuk, Al-Jouf, and the Northern Borders.

Map of King Salman bin Abdulaziz Royal Natural Reserve. (Courtesy of KSRNR)

The reserve features a range of physical geography, consisting of 14 geographic formations of mountains, plains, and plateaus, and rare monuments dating back to about 8,000 BC.

Also within the reserve are towns such as Al-Qurayyat and Tubarjal in Al-Jouf and Turaif in the Northern Borders.

The authority said the reserve is dedicated to preserving unique natural habitats, forming a haven for wildlife, a crucial stopover for migratory birds each year, and a natural sanctuary with its balanced environment and diverse landscapes.

Since its inception, the authority has focused on raising environmental awareness in the local community to bolster its conservation efforts.

Citizens participate in the KSRNR's vegetation program as part of the national effort make the Kingdom greener and combat desertification. (SPA photo)

Last year, the KSRNR authority reported having planted more than 2,400,000 seedlings, rehabilitated 700,000 hectares, removed 119 tonnes of hazardous waste, and scattered four tonnes of local seeds in the reserve.

The voluntary seed-scattering initiative covered six valleys on reserve territory, including Nayal Valley of Niall Shuaib Abu Talihat, Fager Valley, Shaib Al-Qilayyib, Sarbout Plath, Mot and Masaha valleys.

“The two-month initiative aims to develop vegetation and increase the green area of the reserve, with the participation of several voluntary associations and volunteers, by scattering an estimated four tons of seeds,” the authority posted on its website.


The Saudi artist giving traditional crafts a new voice

Updated 24 May 2025
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The Saudi artist giving traditional crafts a new voice

  • Fatimah Al-Nemer honors generational knowledge through collaborations with Saudi craftswomen

RIYADH: What if traditional crafts were not relics of the past but blueprints for the future? Saudi artist Fatimah Al-Nemer, whose work is on show at Riyadh’s Naila Art Gallery, transforms ancestral materials into contemporary narratives, blending palm fronds, clay, and wool with concept and meaning.

For Al-Nemer, heritage is not something to simply preserve behind glass. It is something to touch, reshape and retell. And traditional crafts are far more than manual skills; they are living archives.

“In the Arabian Peninsula, people adapted to their environment by turning clay, palm fronds, and wool into tools for survival and then into objects of timeless beauty,” she told Arab News.

Saudi Arabia’s traditional crafts, shaped over generations, carry stories that Fatimah Al-Nemer reinterprets through contemporary art techniques. (Supplied)

These crafts, shaped over generations, carry stories that Al-Nemer reinterprets through contemporary art.

Her project, Al-Kar, exemplifies this approach. Named after the traditional climbing tool used by date harvesters, the piece was created in collaboration with Saudi craftswomen.

Al-Nemer transformed humble palm fibers into a three-meter-long rug, elevating simple material into a conceptual installation.

HIGHLIGHTS

• Through her work, Fatimah Al-Nemer dissolves the boundaries between craft and art, heritage and modernity.

• Those curious about the artist’s work can view some of her pieces at solo exhibition ‘Memory of Clay,’ held at Naila Art Gallery until May 30.

“This is not merely an aesthetic celebration,” she said. “It’s a rewriting of our communal identity. Our heritage is rich — not only in materials, but in stories.”

Artist Fatima Al-Nemer with her artworks. (Supplied)

Her work goes beyond decorative craft; she treats traditional practices as conceptual frameworks, weaving narratives through textiles, clay and palm fiber.

Her collaborations with artisans ensure that generational knowledge is embedded in each piece. “The material is never separate from the experience,” she added. “It becomes witness — marked by the presence of women, place and memory.”

Participation in international exhibitions has expanded Al-Nemer’s artistic outlook, allowing her to view local materials like clay and textiles as globally resonant.

This is not merely an aesthetic celebration. It’s a rewriting of our communal identity. Our heritage is rich — not only in materials, but in stories.

Fatimah Al-Nemer, Saudi artist

“The global art scene recontextualizes challenges like the marginalization of craft, and transforms them into dialogues about identity and memory,” she said.

For Al-Nemer, craftswomen are not merely implementers, but collaborators. “They carry manual intelligence honed across generations,” she added, commending institutions like Saudi Arabia’s Heritage Commission and Herfa Association that are now empowering artisans in alignment with the Kingdom’s cultural transformation.

A person contemplates an artwork by Fatima Al-Nemer. (Supplied)

“Craft is no longer confined to the past — it is a living contemporary practice with global relevance,” she said.

Those curious about the artist’s work can view some of her items at solo exhibition “Memory of Clay,” held at Naila Art Gallery until May 30.

The exhibition offers a contemplative journey into themes of memory, belonging and identity transformation, using clay as a visual and cultural symbol.

Artist Fatimah Al-Nemer answers questions from the audience at her exhibition, "Memory of Clay," which runs in Riyadh until May 30. (Supplied)

Featuring 12 works created through mixed media and a combination of traditional and contemporary techniques, Al-Nemer reimagines ancient Saudi crafts through a modernist lens, presenting clay not simply as raw material, but as a timekeeper and silent witness to human evolution.

“Clay is not just a medium,” she said. “It is a mirror of our collective memory, shaped as we are shaped, cracking to reveal hidden layers of nostalgia and wisdom.”

This philosophy materializes in the tactile depth, earthy hues and intricate details that define her works — each piece echoing the raw pulse of life.

To young Saudi women hoping to innovate through craft, Al-Nemer offers this message: “Believe in the value of what you hold. The world doesn’t just want the product — it wants the story behind it.”

With expanding institutional support and evolving creative spaces, the artist sees an opportunity: “Craft can thrive as both art and enterprise as long as authenticity remains at its core.”

Through her work, Al-Nemer dissolves the boundaries between craft and art, heritage and modernity.

Every thread and every texture becomes a testament to identity — crafted by hand, read by the eye and understood by the heart.