Diriyah aiming to attract 150 million tourists annually
Despite a somewhat vague curatorial approach, the exhibition "After Rain" offers both visitors and locals a chance to reflect on Saudi Arabia's ambitious regional plans.
Diriyah, the birthplace of the Kingdom of Saudi Arabia and location of the ancient capital At-Turaif (a UNESCO World Heritage Site), is undergoing a US$63.2 billion transformation as part of Vision 2030. This initiative aims to attract 150 million tourists annually, with 50 million expected to visit Diriyah for its historical, cultural, and culinary attractions.
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While the Diriyah Biennale is a small piece of this massive project, it plays a crucial role. Launched in 2021, the biennial is the centerpiece of the JAX District, a repurposed industrial area now serving as a hub for artists and creatives. This development mirrors Dubai's Alserkal Avenue, reflecting Saudi Arabia's broader economic diversification efforts. Alia Al-Senussi and Rebecca Anne Proctor, in their 2023 publication Art in Saudi Arabia: A New Creative Economy?, describe the first Diriyah Biennale as euphoric and hopeful, indicative of the Kingdom's evolving cultural landscape.
At the opening of the second edition, "After Rain," hundreds gathered in the JAX courtyard to hear from artistic director Ute Meta Bauer and representatives of the Diriyah Biennale Foundation and the Ministry of Culture. Conversations with locals and expats alike highlighted the rapid changes sweeping through the Kingdom, particularly the expanding freedoms for women, though activists like Manahel al-Otaibi remain imprisoned.
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One standout work at "After Rain" is Saudi Futurism (2024), a collaboration between Armin Linke and Ahmed Mater. Their photographs document the country’s changing urban landscape, inviting viewers to draw connections between diverse images of dairy farms, archives, and landmark buildings. The project offers a critical yet non-judgmental perspective on Saudi Arabia’s development.
Conversely, Christine Fenzl's Women of Diriyah (2023), featuring domestic portraits of Saudi women, felt out of place and seemed aimed more at Western audiences. Similarly, Małgorzata Mirga-Tas's fabric portraits of Roma people felt disconnected from the biennial’s theme of "environment and ecologies."
Where "After Rain" excels is in focused sections like "Water and Inhabitants." This visually stunning space features works such as Alia Farid’s In Lieu of What Was (2019), five fiberglass sculptures of drinking vessels that float in a black room, highlighting the high water demands in the Gulf. Nearby, Dala Nasser’s Mineral Lick (2019) uses dyed fabric to comment on Beirut’s water toxicity, offering a fresh perspective on water infrastructure in the region.
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Despite critiques of its broad curatorial vision, "After Rain" may be precisely what’s needed for a general audience less familiar with contemporary art. The biennial, expected to attract 234,000 visitors this year, reflects the Kingdom’s ongoing transformation and its efforts to engage both local and international audiences in its cultural and economic evolution.
Source: https://www.frieze.com/
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