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Pleased to be featured by @themonoclemagazine in a piece on life inside Riyadh’s Diplomatic Quarter (@saudidq). A place that has been home, context, and constant inspiration over the years, professionally and personally.

With thanks to @inzyrashid for the piece, Paulius Staniunas for the portrait, and @planetalibaba for the connection.

The works behind us are by artists who have shaped our daily environment and countless conversations over the years, many of them dear friends.

And finally, Maria, my wife, partner in life, and the calm centre of it all.

Pleased to be featured by @themonoclemagazine in a piece on life inside Riyadh’s Diplomatic Quarter (@saudidq). A place that has been home, context, and constant inspiration over the years, professionally and personally.

With thanks to @inzyrashid for the piece, Paulius Staniunas for the portrait, and @planetalibaba for the connection.

The works behind us are by artists who have shaped our daily environment and countless conversations over the years, many of them dear friends.

And finally, Maria, my wife, partner in life, and the calm centre of it all.

The first time I came across @bob___wilson work was at university, while researching a staging of Woyzeck by Büchner. That’s when I discovered his legendary 2000 production of Woyzeck with Tom Waits, a work that changed how I understood the possibilities of theatre.

Years later, during the first edition of Noor Riyadh, @debellisvincenzo proposed working with Bob Wilson for one of the anchor pieces of the festival. I was ecstatic.

‘Palace of light, 2021’ commissioned by @noorriyadhfestival and @riyadhartofficial was extraordinary: a deep, immersive, operatic work honouring the natural and topographical past of Diriyah and Riyadh. Some 100 million years ago these lands lay beneath a shallow sea, their stones still holding the memory of waves, corals, and tides. With the monumental lines of Salwa Palace as its stage, the piece was rooted in history yet stood as a powerful call toward an inspiring future.

Thank you, @bob___wilson , for inspiring generations of scenographers, artists, and creatives. Rest in peace.

The first time I came across @bob___wilson work was at university, while researching a staging of Woyzeck by Büchner. That’s when I discovered his legendary 2000 production of Woyzeck with Tom Waits, a work that changed how I understood the possibilities of theatre.

Years later, during the first edition of Noor Riyadh, @debellisvincenzo proposed working with Bob Wilson for one of the anchor pieces of the festival. I was ecstatic.

‘Palace of light, 2021’ commissioned by @noorriyadhfestival and @riyadhartofficial was extraordinary: a deep, immersive, operatic work honouring the natural and topographical past of Diriyah and Riyadh. Some 100 million years ago these lands lay beneath a shallow sea, their stones still holding the memory of waves, corals, and tides. With the monumental lines of Salwa Palace as its stage, the piece was rooted in history yet stood as a powerful call toward an inspiring future.

Thank you, @bob___wilson , for inspiring generations of scenographers, artists, and creatives. Rest in peace.

The first time I came across @bob___wilson work was at university, while researching a staging of Woyzeck by Büchner. That’s when I discovered his legendary 2000 production of Woyzeck with Tom Waits, a work that changed how I understood the possibilities of theatre.

Years later, during the first edition of Noor Riyadh, @debellisvincenzo proposed working with Bob Wilson for one of the anchor pieces of the festival. I was ecstatic.

‘Palace of light, 2021’ commissioned by @noorriyadhfestival and @riyadhartofficial was extraordinary: a deep, immersive, operatic work honouring the natural and topographical past of Diriyah and Riyadh. Some 100 million years ago these lands lay beneath a shallow sea, their stones still holding the memory of waves, corals, and tides. With the monumental lines of Salwa Palace as its stage, the piece was rooted in history yet stood as a powerful call toward an inspiring future.

Thank you, @bob___wilson , for inspiring generations of scenographers, artists, and creatives. Rest in peace.

While in Shanghai I visited After the Red Moon by @elanatsui.art at Museum of Art Pudong.

This is the second part of El Anatsui’s recent cycle, following Before the Red Moon in Venice. The work is vast, made of thousands of flattened bottle caps and copper wire, his signature material. But here it feels even more atmospheric, like a suspended landscape or a falling sky.

It speaks of time, memory and change without saying a word. You feel it more than you understand it. While standing in front of it, what struck me wasn’t the moon, but gravity. How materials, like people, can carry weight and still hold shape. It made me think about resilience, and how fragility and strength often live in the same place.

While in Shanghai I visited After the Red Moon by @elanatsui.art at Museum of Art Pudong.

This is the second part of El Anatsui’s recent cycle, following Before the Red Moon in Venice. The work is vast, made of thousands of flattened bottle caps and copper wire, his signature material. But here it feels even more atmospheric, like a suspended landscape or a falling sky.

It speaks of time, memory and change without saying a word. You feel it more than you understand it. While standing in front of it, what struck me wasn’t the moon, but gravity. How materials, like people, can carry weight and still hold shape. It made me think about resilience, and how fragility and strength often live in the same place.

While in Shanghai I visited After the Red Moon by @elanatsui.art at Museum of Art Pudong.

This is the second part of El Anatsui’s recent cycle, following Before the Red Moon in Venice. The work is vast, made of thousands of flattened bottle caps and copper wire, his signature material. But here it feels even more atmospheric, like a suspended landscape or a falling sky.

It speaks of time, memory and change without saying a word. You feel it more than you understand it. While standing in front of it, what struck me wasn’t the moon, but gravity. How materials, like people, can carry weight and still hold shape. It made me think about resilience, and how fragility and strength often live in the same place.

While in Shanghai I visited After the Red Moon by @elanatsui.art at Museum of Art Pudong.

This is the second part of El Anatsui’s recent cycle, following Before the Red Moon in Venice. The work is vast, made of thousands of flattened bottle caps and copper wire, his signature material. But here it feels even more atmospheric, like a suspended landscape or a falling sky.

It speaks of time, memory and change without saying a word. You feel it more than you understand it. While standing in front of it, what struck me wasn’t the moon, but gravity. How materials, like people, can carry weight and still hold shape. It made me think about resilience, and how fragility and strength often live in the same place.

While in Shanghai I visited After the Red Moon by @elanatsui.art at Museum of Art Pudong.

This is the second part of El Anatsui’s recent cycle, following Before the Red Moon in Venice. The work is vast, made of thousands of flattened bottle caps and copper wire, his signature material. But here it feels even more atmospheric, like a suspended landscape or a falling sky.

It speaks of time, memory and change without saying a word. You feel it more than you understand it. While standing in front of it, what struck me wasn’t the moon, but gravity. How materials, like people, can carry weight and still hold shape. It made me think about resilience, and how fragility and strength often live in the same place.

While in Shanghai I visited After the Red Moon by @elanatsui.art at Museum of Art Pudong.

This is the second part of El Anatsui’s recent cycle, following Before the Red Moon in Venice. The work is vast, made of thousands of flattened bottle caps and copper wire, his signature material. But here it feels even more atmospheric, like a suspended landscape or a falling sky.

It speaks of time, memory and change without saying a word. You feel it more than you understand it. While standing in front of it, what struck me wasn’t the moon, but gravity. How materials, like people, can carry weight and still hold shape. It made me think about resilience, and how fragility and strength often live in the same place.

While in Shanghai I visited After the Red Moon by @elanatsui.art at Museum of Art Pudong.

This is the second part of El Anatsui’s recent cycle, following Before the Red Moon in Venice. The work is vast, made of thousands of flattened bottle caps and copper wire, his signature material. But here it feels even more atmospheric, like a suspended landscape or a falling sky.

It speaks of time, memory and change without saying a word. You feel it more than you understand it. While standing in front of it, what struck me wasn’t the moon, but gravity. How materials, like people, can carry weight and still hold shape. It made me think about resilience, and how fragility and strength often live in the same place.

While in Shanghai I visited After the Red Moon by @elanatsui.art at Museum of Art Pudong.

This is the second part of El Anatsui’s recent cycle, following Before the Red Moon in Venice. The work is vast, made of thousands of flattened bottle caps and copper wire, his signature material. But here it feels even more atmospheric, like a suspended landscape or a falling sky.

It speaks of time, memory and change without saying a word. You feel it more than you understand it. While standing in front of it, what struck me wasn’t the moon, but gravity. How materials, like people, can carry weight and still hold shape. It made me think about resilience, and how fragility and strength often live in the same place.

I was very happy to be part of the Sino–Saudi bilateral forum at the 2025 Shanghai MCN International Conference this week, together with my dear friends @amuqyteeb, @mohdallan and Paul Owens.

Thank you to CIPT Shanghai for the invitation and the opportunity to speak about how public art can shape the way cities evolve and connect.

I was struck by the genuine interest of the Chinese audience in Saudi Arabia and the clear potential for future collaboration, in particular across AI and immersive technologies.

I first visited Shanghai in 2008 and was impressed to return and see such remarkable progress. The city today feels clean, efficient, less polluted, and full of energy. I’ll definitely be back soon.

I was very happy to be part of the Sino–Saudi bilateral forum at the 2025 Shanghai MCN International Conference this week, together with my dear friends @amuqyteeb, @mohdallan and Paul Owens.

Thank you to CIPT Shanghai for the invitation and the opportunity to speak about how public art can shape the way cities evolve and connect.

I was struck by the genuine interest of the Chinese audience in Saudi Arabia and the clear potential for future collaboration, in particular across AI and immersive technologies.

I first visited Shanghai in 2008 and was impressed to return and see such remarkable progress. The city today feels clean, efficient, less polluted, and full of energy. I’ll definitely be back soon.

I was very happy to be part of the Sino–Saudi bilateral forum at the 2025 Shanghai MCN International Conference this week, together with my dear friends @amuqyteeb, @mohdallan and Paul Owens.

Thank you to CIPT Shanghai for the invitation and the opportunity to speak about how public art can shape the way cities evolve and connect.

I was struck by the genuine interest of the Chinese audience in Saudi Arabia and the clear potential for future collaboration, in particular across AI and immersive technologies.

I first visited Shanghai in 2008 and was impressed to return and see such remarkable progress. The city today feels clean, efficient, less polluted, and full of energy. I’ll definitely be back soon.

I was very happy to be part of the Sino–Saudi bilateral forum at the 2025 Shanghai MCN International Conference this week, together with my dear friends @amuqyteeb, @mohdallan and Paul Owens.

Thank you to CIPT Shanghai for the invitation and the opportunity to speak about how public art can shape the way cities evolve and connect.

I was struck by the genuine interest of the Chinese audience in Saudi Arabia and the clear potential for future collaboration, in particular across AI and immersive technologies.

I first visited Shanghai in 2008 and was impressed to return and see such remarkable progress. The city today feels clean, efficient, less polluted, and full of energy. I’ll definitely be back soon.

I was very happy to be part of the Sino–Saudi bilateral forum at the 2025 Shanghai MCN International Conference this week, together with my dear friends @amuqyteeb, @mohdallan and Paul Owens.

Thank you to CIPT Shanghai for the invitation and the opportunity to speak about how public art can shape the way cities evolve and connect.

I was struck by the genuine interest of the Chinese audience in Saudi Arabia and the clear potential for future collaboration, in particular across AI and immersive technologies.

I first visited Shanghai in 2008 and was impressed to return and see such remarkable progress. The city today feels clean, efficient, less polluted, and full of energy. I’ll definitely be back soon.

I was very happy to be part of the Sino–Saudi bilateral forum at the 2025 Shanghai MCN International Conference this week, together with my dear friends @amuqyteeb, @mohdallan and Paul Owens.

Thank you to CIPT Shanghai for the invitation and the opportunity to speak about how public art can shape the way cities evolve and connect.

I was struck by the genuine interest of the Chinese audience in Saudi Arabia and the clear potential for future collaboration, in particular across AI and immersive technologies.

I first visited Shanghai in 2008 and was impressed to return and see such remarkable progress. The city today feels clean, efficient, less polluted, and full of energy. I’ll definitely be back soon.

I was very happy to be part of the Sino–Saudi bilateral forum at the 2025 Shanghai MCN International Conference this week, together with my dear friends @amuqyteeb, @mohdallan and Paul Owens.

Thank you to CIPT Shanghai for the invitation and the opportunity to speak about how public art can shape the way cities evolve and connect.

I was struck by the genuine interest of the Chinese audience in Saudi Arabia and the clear potential for future collaboration, in particular across AI and immersive technologies.

I first visited Shanghai in 2008 and was impressed to return and see such remarkable progress. The city today feels clean, efficient, less polluted, and full of energy. I’ll definitely be back soon.

I was very happy to be part of the Sino–Saudi bilateral forum at the 2025 Shanghai MCN International Conference this week, together with my dear friends @amuqyteeb, @mohdallan and Paul Owens.

Thank you to CIPT Shanghai for the invitation and the opportunity to speak about how public art can shape the way cities evolve and connect.

I was struck by the genuine interest of the Chinese audience in Saudi Arabia and the clear potential for future collaboration, in particular across AI and immersive technologies.

I first visited Shanghai in 2008 and was impressed to return and see such remarkable progress. The city today feels clean, efficient, less polluted, and full of energy. I’ll definitely be back soon.

I was very happy to be part of the Sino–Saudi bilateral forum at the 2025 Shanghai MCN International Conference this week, together with my dear friends @amuqyteeb, @mohdallan and Paul Owens.

Thank you to CIPT Shanghai for the invitation and the opportunity to speak about how public art can shape the way cities evolve and connect.

I was struck by the genuine interest of the Chinese audience in Saudi Arabia and the clear potential for future collaboration, in particular across AI and immersive technologies.

I first visited Shanghai in 2008 and was impressed to return and see such remarkable progress. The city today feels clean, efficient, less polluted, and full of energy. I’ll definitely be back soon.

I was very happy to be part of the Sino–Saudi bilateral forum at the 2025 Shanghai MCN International Conference this week, together with my dear friends @amuqyteeb, @mohdallan and Paul Owens.

Thank you to CIPT Shanghai for the invitation and the opportunity to speak about how public art can shape the way cities evolve and connect.

I was struck by the genuine interest of the Chinese audience in Saudi Arabia and the clear potential for future collaboration, in particular across AI and immersive technologies.

I first visited Shanghai in 2008 and was impressed to return and see such remarkable progress. The city today feels clean, efficient, less polluted, and full of energy. I’ll definitely be back soon.

After six unforgettable years with the project, I am stepping away from my role at Noor Riyadh, Riyadh Art, and RCRC.

On the last night of every @noorriyadhfestival, I have always treasured the moment when the lights go off. It became a meaningful ritual for me each year since 2021.

In an instant, the lights go dark, and months of collective effort to deliver a complex and ambitious festival come to a close. No one will experience those artworks again. Their impact now lives on through the legacy they leave, the lives they touched, and the memories we carry.

So for four years, I waited until 1:00 a.m. on the final night to witness that moment. A mix of pride and sadness. Of satisfaction for what had been built. And anticipation for what comes next.

To everyone I had the joy of working with, thank you. I carry this journey with pride and deep gratitude.

[Ahmed Mater, Antenna, 2010. Presented at Noor Riyadh 2021]

A piece of Saudi Arabia in my home in Mallorca.

‘In Transit’ (2013), by @abdulnassergharem.

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Wandering through the 16th Sharjah Biennial at @sharjahart is like stepping into a living archive of migration, memory, and resilience. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala, and Zeynep Öz, to carry brings together over 190 artists across Sharjah’s diverse landscapes.

There’s something powerful about how these spaces hold and transform the stories of those who’ve passed through them. If you’re anywhere near the UAE, it’s definitely worth the journey. I first arrived in the UAE in 2008 and since then I have been living and working in the Gulf; after UAE I moved to Qatar and since 2018 I am based in Saudi. This edition of the biennale deeply resonates with my experience of living and working away from the place I was born; making memories in every single one of those places.

#SharjahBiennial16 #toCarry #AliaSwastika #AmalKhalaf #MeganTamatiQuennell #NatashaGinwala #ZeynepÖz

Exploring the architectural marvel of Riyadh’s King Abdullah Financial District (@kafd ) Metro Station, designed by @zahahadidarchitects . This station is a key interchange in the city’s expansive @riyadhtransport metro network, which spans 176 kilometers with 85 stations, making it the world’s longest driverless metro system, developed by @rcrcsa. Construction began in 2014, and opened to the public in December 2024. The KAFD station’s undulating lattice facade draws inspiration from traditional mashrabiya patterns and desert sand dunes, creating a stunning blend of cultural heritage and modern design, and is the most iconic station of the current network.

Inside, the station features two monumental artworks by @riyadhartofficial:

• Janey Waney by Alexander Calder (1969)
• LOVE (Red Outside Blue Inside) by Robert Indiana (1966)

Exploring the architectural marvel of Riyadh’s King Abdullah Financial District (@kafd ) Metro Station, designed by @zahahadidarchitects . This station is a key interchange in the city’s expansive @riyadhtransport metro network, which spans 176 kilometers with 85 stations, making it the world’s longest driverless metro system, developed by @rcrcsa. Construction began in 2014, and opened to the public in December 2024. The KAFD station’s undulating lattice facade draws inspiration from traditional mashrabiya patterns and desert sand dunes, creating a stunning blend of cultural heritage and modern design, and is the most iconic station of the current network.

Inside, the station features two monumental artworks by @riyadhartofficial:

• Janey Waney by Alexander Calder (1969)
• LOVE (Red Outside Blue Inside) by Robert Indiana (1966)

Exploring the architectural marvel of Riyadh’s King Abdullah Financial District (@kafd ) Metro Station, designed by @zahahadidarchitects . This station is a key interchange in the city’s expansive @riyadhtransport metro network, which spans 176 kilometers with 85 stations, making it the world’s longest driverless metro system, developed by @rcrcsa. Construction began in 2014, and opened to the public in December 2024. The KAFD station’s undulating lattice facade draws inspiration from traditional mashrabiya patterns and desert sand dunes, creating a stunning blend of cultural heritage and modern design, and is the most iconic station of the current network.

Inside, the station features two monumental artworks by @riyadhartofficial:

• Janey Waney by Alexander Calder (1969)
• LOVE (Red Outside Blue Inside) by Robert Indiana (1966)

Exploring the architectural marvel of Riyadh’s King Abdullah Financial District (@kafd ) Metro Station, designed by @zahahadidarchitects . This station is a key interchange in the city’s expansive @riyadhtransport metro network, which spans 176 kilometers with 85 stations, making it the world’s longest driverless metro system, developed by @rcrcsa. Construction began in 2014, and opened to the public in December 2024. The KAFD station’s undulating lattice facade draws inspiration from traditional mashrabiya patterns and desert sand dunes, creating a stunning blend of cultural heritage and modern design, and is the most iconic station of the current network.

Inside, the station features two monumental artworks by @riyadhartofficial:

• Janey Waney by Alexander Calder (1969)
• LOVE (Red Outside Blue Inside) by Robert Indiana (1966)

Exploring the architectural marvel of Riyadh’s King Abdullah Financial District (@kafd ) Metro Station, designed by @zahahadidarchitects . This station is a key interchange in the city’s expansive @riyadhtransport metro network, which spans 176 kilometers with 85 stations, making it the world’s longest driverless metro system, developed by @rcrcsa. Construction began in 2014, and opened to the public in December 2024. The KAFD station’s undulating lattice facade draws inspiration from traditional mashrabiya patterns and desert sand dunes, creating a stunning blend of cultural heritage and modern design, and is the most iconic station of the current network.

Inside, the station features two monumental artworks by @riyadhartofficial:

• Janey Waney by Alexander Calder (1969)
• LOVE (Red Outside Blue Inside) by Robert Indiana (1966)

Exploring the architectural marvel of Riyadh’s King Abdullah Financial District (@kafd ) Metro Station, designed by @zahahadidarchitects . This station is a key interchange in the city’s expansive @riyadhtransport metro network, which spans 176 kilometers with 85 stations, making it the world’s longest driverless metro system, developed by @rcrcsa. Construction began in 2014, and opened to the public in December 2024. The KAFD station’s undulating lattice facade draws inspiration from traditional mashrabiya patterns and desert sand dunes, creating a stunning blend of cultural heritage and modern design, and is the most iconic station of the current network.

Inside, the station features two monumental artworks by @riyadhartofficial:

• Janey Waney by Alexander Calder (1969)
• LOVE (Red Outside Blue Inside) by Robert Indiana (1966)

Exploring the architectural marvel of Riyadh’s King Abdullah Financial District (@kafd ) Metro Station, designed by @zahahadidarchitects . This station is a key interchange in the city’s expansive @riyadhtransport metro network, which spans 176 kilometers with 85 stations, making it the world’s longest driverless metro system, developed by @rcrcsa. Construction began in 2014, and opened to the public in December 2024. The KAFD station’s undulating lattice facade draws inspiration from traditional mashrabiya patterns and desert sand dunes, creating a stunning blend of cultural heritage and modern design, and is the most iconic station of the current network.

Inside, the station features two monumental artworks by @riyadhartofficial:

• Janey Waney by Alexander Calder (1969)
• LOVE (Red Outside Blue Inside) by Robert Indiana (1966)

Honoured to have attended the opening of the Islamic Arts Biennale 2025, themed ‘And All That Is In Between’—a profound exploration of faith through feeling, thinking, and making. Kudos to the visionary curatorial team: Julian Raby, @aminjaffer_curator , Abdul Rahman Azzam, and @muhannad.shono. A truly inspiring journey through the beauty and depth of Islamic art.

Congratulations to H.E. Rakan Al Touq @raltouq, to Aya Albakree, @akalturki , @arwa.m.alali and to all the @biennale_sa team.

Honoured to have attended the opening of the Islamic Arts Biennale 2025, themed ‘And All That Is In Between’—a profound exploration of faith through feeling, thinking, and making. Kudos to the visionary curatorial team: Julian Raby, @aminjaffer_curator , Abdul Rahman Azzam, and @muhannad.shono. A truly inspiring journey through the beauty and depth of Islamic art.

Congratulations to H.E. Rakan Al Touq @raltouq, to Aya Albakree, @akalturki , @arwa.m.alali and to all the @biennale_sa team.

Honoured to have attended the opening of the Islamic Arts Biennale 2025, themed ‘And All That Is In Between’—a profound exploration of faith through feeling, thinking, and making. Kudos to the visionary curatorial team: Julian Raby, @aminjaffer_curator , Abdul Rahman Azzam, and @muhannad.shono. A truly inspiring journey through the beauty and depth of Islamic art.

Congratulations to H.E. Rakan Al Touq @raltouq, to Aya Albakree, @akalturki , @arwa.m.alali and to all the @biennale_sa team.

Honoured to have attended the opening of the Islamic Arts Biennale 2025, themed ‘And All That Is In Between’—a profound exploration of faith through feeling, thinking, and making. Kudos to the visionary curatorial team: Julian Raby, @aminjaffer_curator , Abdul Rahman Azzam, and @muhannad.shono. A truly inspiring journey through the beauty and depth of Islamic art.

Congratulations to H.E. Rakan Al Touq @raltouq, to Aya Albakree, @akalturki , @arwa.m.alali and to all the @biennale_sa team.

Honoured to have attended the opening of the Islamic Arts Biennale 2025, themed ‘And All That Is In Between’—a profound exploration of faith through feeling, thinking, and making. Kudos to the visionary curatorial team: Julian Raby, @aminjaffer_curator , Abdul Rahman Azzam, and @muhannad.shono. A truly inspiring journey through the beauty and depth of Islamic art.

Congratulations to H.E. Rakan Al Touq @raltouq, to Aya Albakree, @akalturki , @arwa.m.alali and to all the @biennale_sa team.

Honoured to have attended the opening of the Islamic Arts Biennale 2025, themed ‘And All That Is In Between’—a profound exploration of faith through feeling, thinking, and making. Kudos to the visionary curatorial team: Julian Raby, @aminjaffer_curator , Abdul Rahman Azzam, and @muhannad.shono. A truly inspiring journey through the beauty and depth of Islamic art.

Congratulations to H.E. Rakan Al Touq @raltouq, to Aya Albakree, @akalturki , @arwa.m.alali and to all the @biennale_sa team.

Honoured to have attended the opening of the Islamic Arts Biennale 2025, themed ‘And All That Is In Between’—a profound exploration of faith through feeling, thinking, and making. Kudos to the visionary curatorial team: Julian Raby, @aminjaffer_curator , Abdul Rahman Azzam, and @muhannad.shono. A truly inspiring journey through the beauty and depth of Islamic art.

Congratulations to H.E. Rakan Al Touq @raltouq, to Aya Albakree, @akalturki , @arwa.m.alali and to all the @biennale_sa team.

Honoured to have attended the opening of the Islamic Arts Biennale 2025, themed ‘And All That Is In Between’—a profound exploration of faith through feeling, thinking, and making. Kudos to the visionary curatorial team: Julian Raby, @aminjaffer_curator , Abdul Rahman Azzam, and @muhannad.shono. A truly inspiring journey through the beauty and depth of Islamic art.

Congratulations to H.E. Rakan Al Touq @raltouq, to Aya Albakree, @akalturki , @arwa.m.alali and to all the @biennale_sa team.

Honoured to have attended the opening of the Islamic Arts Biennale 2025, themed ‘And All That Is In Between’—a profound exploration of faith through feeling, thinking, and making. Kudos to the visionary curatorial team: Julian Raby, @aminjaffer_curator , Abdul Rahman Azzam, and @muhannad.shono. A truly inspiring journey through the beauty and depth of Islamic art.

Congratulations to H.E. Rakan Al Touq @raltouq, to Aya Albakree, @akalturki , @arwa.m.alali and to all the @biennale_sa team.

Honoured to have attended the opening of the Islamic Arts Biennale 2025, themed ‘And All That Is In Between’—a profound exploration of faith through feeling, thinking, and making. Kudos to the visionary curatorial team: Julian Raby, @aminjaffer_curator , Abdul Rahman Azzam, and @muhannad.shono. A truly inspiring journey through the beauty and depth of Islamic art.

Congratulations to H.E. Rakan Al Touq @raltouq, to Aya Albakree, @akalturki , @arwa.m.alali and to all the @biennale_sa team.

Honoured to have attended the opening of the Islamic Arts Biennale 2025, themed ‘And All That Is In Between’—a profound exploration of faith through feeling, thinking, and making. Kudos to the visionary curatorial team: Julian Raby, @aminjaffer_curator , Abdul Rahman Azzam, and @muhannad.shono. A truly inspiring journey through the beauty and depth of Islamic art.

Congratulations to H.E. Rakan Al Touq @raltouq, to Aya Albakree, @akalturki , @arwa.m.alali and to all the @biennale_sa team.

Honoured to have attended the opening of the Islamic Arts Biennale 2025, themed ‘And All That Is In Between’—a profound exploration of faith through feeling, thinking, and making. Kudos to the visionary curatorial team: Julian Raby, @aminjaffer_curator , Abdul Rahman Azzam, and @muhannad.shono. A truly inspiring journey through the beauty and depth of Islamic art.

Congratulations to H.E. Rakan Al Touq @raltouq, to Aya Albakree, @akalturki , @arwa.m.alali and to all the @biennale_sa team.

It was a pleasure to moderate the panel discussion at Noor Riyadh 2024 on ‘Building Creative Communities Through Collaboration.’ The session brought together leaders from @alserkalavenue, @miskartinst, @christiesmiddleeast, and @mdlbeast to share insights on fostering partnerships, supporting creative ecosystems, and driving the Gulf’s cultural development. Thought-provoking discussions highlighted the challenges and opportunities in shaping the region’s creative future.

@noorriyadhfestival
@riyadhartofficial
@jaxdistrict

It was a pleasure to moderate the panel discussion at Noor Riyadh 2024 on ‘Building Creative Communities Through Collaboration.’ The session brought together leaders from @alserkalavenue, @miskartinst, @christiesmiddleeast, and @mdlbeast to share insights on fostering partnerships, supporting creative ecosystems, and driving the Gulf’s cultural development. Thought-provoking discussions highlighted the challenges and opportunities in shaping the region’s creative future.

@noorriyadhfestival
@riyadhartofficial
@jaxdistrict

It was a pleasure to moderate the panel discussion at Noor Riyadh 2024 on ‘Building Creative Communities Through Collaboration.’ The session brought together leaders from @alserkalavenue, @miskartinst, @christiesmiddleeast, and @mdlbeast to share insights on fostering partnerships, supporting creative ecosystems, and driving the Gulf’s cultural development. Thought-provoking discussions highlighted the challenges and opportunities in shaping the region’s creative future.

@noorriyadhfestival
@riyadhartofficial
@jaxdistrict

It was a pleasure to moderate the panel discussion at Noor Riyadh 2024 on ‘Building Creative Communities Through Collaboration.’ The session brought together leaders from @alserkalavenue, @miskartinst, @christiesmiddleeast, and @mdlbeast to share insights on fostering partnerships, supporting creative ecosystems, and driving the Gulf’s cultural development. Thought-provoking discussions highlighted the challenges and opportunities in shaping the region’s creative future.

@noorriyadhfestival
@riyadhartofficial
@jaxdistrict

Honoured to be part of @noorriyadhfestival 2024, my fourth edition working on the Festival, celebrating the transformative power of art and light and in our vibrant city. 🌟✨

#noorriyadh
@riyadhartofficial

In their quiet dance, the sparks are not just light—they are questions.

As SPARK enters Wadi Hanifah, it reflects on what it means to celebrate: Can beauty exist without excess? Can traditions evolve in harmony with the world around us?

These luminous sparks will fade, but the ideas they carry linger—fragile yet transformative, like the earth and sky they connect.

📅 November 28 - December 5
🕒 20:00 PM - 24:00 PM
📍 Wadi Hanifah
🎟️ Free entrance

Movies featuring @ninivanderwaals and @miguel.bc

#NoorRiyadh #نور_الرياض #RiyadhArt #الرياض_آرت #DaanRoosegaarde #SPARK #StudioRoosegaarde #SustainableCelebration #FireflyInspiration #EcoFireworks #PublicArt