{"id":6573,"date":"2026-02-12T04:04:27","date_gmt":"2026-02-12T04:04:27","guid":{"rendered":"https:\/\/ayolqadri.uz\/diriyah-contemporary-art-biennale-between-bukhara-and-diriyah\/"},"modified":"2026-03-14T06:48:12","modified_gmt":"2026-03-14T06:48:12","slug":"diriyah-contemporary-art-biennale-between-bukhara-and-diriyah","status":"publish","type":"post","link":"https:\/\/ayolqadri.uz\/en\/diriyah-contemporary-art-biennale-between-bukhara-and-diriyah\/","title":{"rendered":"Diriyah Contemporary Art Biennale: Between Bukhara and Diriyah"},"content":{"rendered":"\n

The Diriyah Contemporary Art Biennale<\/a> in Saudi Arabia unexpectedly continued a conversation that began in Bukhara. In this way, two historic cities became connected through a single route and a shared cultural tone. <\/strong><\/p>\n\n

For me, this story did not begin in Diriyah, Saudi Arabia, but in September, in Bukhara. It began with a contemporary art biennale entitled Recipes for Broken Hearts in Bukhara<\/a>. The initiator and commissioner of the first Bukhara Biennial was Gayane Umerova<\/a>, Chairperson of the Uzbekistan Art and Culture Development Foundation<\/a>, thanks to whom the city became a venue for an international art event of this scale for the first time. <\/p>\n\n

Any cultural event in this city resonates with particular clarity\u2014set against its architecture, courtyards, and winding lanes. I wanted to see whether the biennale could withstand the city\u2019s scale, its biography, its history. And it did. It did not try to outshine Bukhara or treat it as a backdrop. It became part of it. I had also come to encounter a city where my grandmother once lived and where my father spent his youth. <\/p>\n\n

The very title\u2014Recipes for Broken Hearts\u2014felt moving from the start. Bukhara, to me, is a lyrical city, and \u201crecipes for broken hearts\u201d sounded natural there. Inside the biennale, I understood that I would not find quick consolation or decorative therapy. It was about how a lyrical, historically layered city can speak about trauma\u2014through specific stories, voices, and living intonations. When I arrived in Riyadh, in Diriyah\u2019s JAX District, I couldn\u2019t help comparing its biennale with that of Bukhara. <\/p>\n\n

\"JAX
View of the Biennale site Photo by Alessandro Brasile.Courtesy of the Diriyah Biennale Foundation.<\/figcaption><\/figure>\n\n

The Cover. The Project \u201cOn Weaving\u201d <\/strong><\/h3>\n\n

Several months before arriving in Riyadh for the biennale, when I first saw the musalla\u2014a portable prayer structure glowing with warm light in the night\u2014I already knew what would appear on the cover of the new issue of Travel + Leisure. The project On Weaving<\/em>, winner of the international architectural award AlMusalla Prize 2025, was first presented at the Islamic Arts Biennale in Jeddah, at the Hajj Terminal of King Abdulaziz International Airport. <\/p>\n\n

\"\"
The project On Weaving <\/em>at the Bukhara Biennial, awarded the AlMusalla Prize established by the Diriyah Biennale Foundation (Saudi Arabia).Photo: Vladimir Murudov.Courtesy of ACDF. <\/figcaption><\/figure>\n\n

In Bukhara, it became one of the biennale\u2019s key and most ambitious works. Created by EAST Architecture Studio, the modular musalla\u2014constructed from reclaimed palm wood and woven fibers\u2014is a space for prayer and contemplation that can be dismantled and reassembled. I chose it not for aesthetic considerations. I was drawn to the convergence of meanings it carried\u2014craft, architecture, and the idea of journey. Photographer Vladimir Murudov captured that essence in his frame. <\/p>\n\n

Diriyah, Saudi Arabia, January 30\u2013May 2, 2026<\/strong><\/h3>\n\n

As I entered JAX District, I immediately felt the scale\u2014high spans, industrial walls, vast volumes of air. Everything was structured differently from Bukhara. Here, it was not intimacy but amplitude. Yet the tone\u2014the tone of movement\u2014felt familiar. <\/p>\n\n

\"Entrance
Entrance to the JAX District. Photo by Alessandro Brasile.Courtesy of the Diriyah Biennale Foundation. <\/figcaption><\/figure>\n\n

I moved between the pavilions. In one of them, Sabih Ahmed, the biennale\u2019s Artistic Director, became our guide. Speaking calmly and without academic heaviness, he explained that the exhibition was structured as a series of \u201cmovements\u201d\u2014not sections, but transitions. <\/p>\n\n

I completed a full circuit of the exhibition. Then another. The space conceived by the Italian designers Formafantasma truly draws you in\u2014you do not move through the exhibits one by one; you enter a shared current. <\/p>\n\n

\"Installation
Yussef Agbo-Ola [Olaniyi Studio], AGBA: 8 Stone Cave (2026). Photo by Alessandro Brasile. Courtesy of the Diriyah Biennale Foundation. <\/figcaption><\/figure>\n\n

Throughout the exhibition, I found myself returning again and again to Yussef Agbo-Ola\u2019s AGBA: 8 Stone Cave,<\/em> installed outside the pavilions. Inside, soft music seemed to rise from the structure itself. I moved through sound, sat down, looked through openings and intricately woven lacework, and watched the light settle across the perforated brick framework. Within this installation I began to truly understand the curatorial vision. Here the biennale\u2019s theme\u2014In Interludes and Transitions<\/em>\u2014came together for me: you enter, pause, return, and leave slightly altered. <\/p>\n\n

\"Visitors
Poster wall in JAX District. \u0421\u0442\u0435\u043d\u0430 \u0441 \u043f\u043e\u0441\u0442\u0435\u0440\u0430\u043c\u0438 \u0432 \u0440\u0430\u0439\u043e\u043d\u0435 JAX. Photo by Alessandro Brasile.Courtesy of the Diriyah Biennale Foundation. <\/figcaption><\/figure>\n\n

Concept and Context<\/strong><\/h3>\n\n

Diriyah Contemporary Art Biennale was shaped by a strong curatorial team. Artistic Directors Nora Razian and Sabih Ahmed, together with international curators Maan Abu Taleb, May Makki, Kabelo Malatsie, and Lantian Xie, conceived the exhibition as a sequence of transitions. Architect Sammy Zarka translated that vision into a spatial route through which visitors move. <\/p>\n\n

\"Curatorial
The curatorial team of the Diriyah Contemporary Art Biennale 2026. From left to right: Maan Abu Taleb, May Makki, Kabelo Malatsie, Lantian Xie (Curators) and Sammy Zarka (Associate Architect and Exhibition Designer).Photo courtesy of the Diriyah Biennale Foundation.<\/figcaption><\/figure>\n\n

The title\u2014\u0641\u064a \u0627\u0644\u062d\u0650\u0644\u0651 \u0648\u0627\u0644\u062a\u0631\u062d\u0627\u0644\u2014In Interludes and Transitions\u2014sets the conceptual direction of the biennale: the world understood as a continuous movement of people, ideas, and cultural forms. It is not about literal nomadism, but about how memory, rhythm, and language travel across winds, trade routes, and borders. In this context, art becomes a way to preserve continuity and continue the dialogue alive in periods of change. <\/p>\n\n

The Diriyah Biennale Foundation, headed by Prince Badr bin Abdullah bin Farhan Al Saud, has become one of Saudi Arabia\u2019s key art platforms over the past few years. The Foundation\u2019s CEO is Aya Al-Bakri. The Foundation organizes a biennale of contemporary and Islamic art, develops educational programs, and is creating the JAX art quarter as a cultural hub, strengthening dialogue between the Kingdom and the international community. <\/p>\n\n

\"Aya
Aya Al-Bakree, CEO of the Diriyah Biennale Foundation; Nora Razian and Sabih Ahmed, Artistic Directors of the Diriyah Contemporary Art Biennale 2026.Photo courtesy of the Diriyah Biennale Foundation.<\/figcaption><\/figure>\n\n

Between Bukhara and Diriyah<\/strong><\/h3>\n\n

There is an invisible line between Bukhara and Diriyah\u2014not geographical, but conceptual. Along it travel ideas, artists, rhythms, themes, and questions. If Bukhara showed me how art can be precise and restrained, Diriyah revealed how powerful and multilayered it can be. It was precisely this scale and convergence of artistic practices that Aya Al-Bakree spoke about at the opening\u2014 whose invitation brought me to Riyadh. She described the biennale as a meeting point for ideas, cities, and cultures: \u201cThis is the Foundation\u2019s fifth biennale in five years, reflecting the diversity of artistic practices and a new phase in global cultural life, where more centers are receiving the recognition they deserve.\u201d In that moment, I particularly realized that what I carried in my suitcase were not simply magazines, but a continuation of this route. <\/p>\n\n

After the ceremony, I approached Aya Al-Bakri to introduce myself and tell her that I had brought to Riyadh a magazine featuring on its cover the very musalla project, On Weaving. Through these convergences\u2014Bukhara, Jeddah, Diriyah, and a cover that had traveled its own path\u2014the story unexpectedly came full circle. And the musalla project, with which my article began, once again found itself at the center of the conversation\u2014this time here, at the biennale in Diriyah. <\/p>\n\n

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\"\"<\/figure>\n
Installation views from In Interludes and Transitions, Diriyah Contemporary Art Biennale 2026, JAX District.
Works by Yu Ji (Jaded Ribs, 2019-21); Hasem Harb (Gause, 2023-24); Afra Al Dhaheri (Dining East or West<\/em>, 2016\/2026); M\u00fcge Y\u0131lmaz (Kybele, Tree of Life, 2020\u201325); Ahaad Alamoudi (The Run, 2025); Daniel Otero Torres (Echoes of the Earth, 2026); Etel Adnan (Untitled, 2020\/2024); Daniel Lind-Ramos (Ambulancia, 2020 \/ 2022\u201323); Guadalupe Maravilla (Disease Thrower: Purring Monster with a Mirror on Its Back, 2022; La alegr\u00eda del fuego, 2023; Popusa, 2023; El Boquer\u00f3n, 2023; Una vez me salv\u00f3 la vida un pez, 2024); Shadia Alem (Transformation \u2013 Jinniyat Lar, 1996\/2026); Th\u00e9o Mercier (House of Eternity, 2026); Ramy Alqthami ( Al Bitra, 2014); Sarker Protick (AWNGAR, 2024\u201326); Pacita Abad (Asian Abstractions, 1983\u201392); Nour Mobarak (Dafne Phono, 2024); Petrit Halilaj (Very Volcanic over This Green Feather, 2021).
Photo by Alessandro Brasile.
Courtesy of the Diriyah Biennale Foundation.<\/figcaption><\/figure>\n\n

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The cultural dialogue between Bukhara and Diriyah continued at the Diriyah Contemporary Art Biennale.<\/p>\n","protected":false},"author":6,"featured_media":6480,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","footnotes":""},"categories":[65],"tags":[83,79,80,81,82,84],"class_list":["post-6573","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-travel-and-discoveries","tag-art","tag-biennale","tag-biennale-en","tag-diriyah-biennale-en","tag-saudi-arabia-","tag-travel"],"yoast_head":"\nDiriyah Contemporary Art Biennale: Between Bukhara and Diriyah - Ayol Qadri<\/title>\n<meta name=\"description\" content=\"The Diriyah Contemporary Art Biennale in Saudi Arabia continues the cultural dialogue that began in Bukhara. 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