Where Art Meets Faith: Inside the Second Islamic Biennale

Your guide to the Islamic Biennale

The second edition of the Islamic Biennale officially opened its doors on Jan. 25 in Jeddah, bringing together a global community of artists, collectors, curators, and creatives. Set against the iconic backdrop of the Aga Khan Award-winning Western Hajj Terminal at King Abdulaziz International Airport, the Biennale celebrates art, culture, and connection in a truly historic setting. Running until May 25, the four-month-long promises an extraordinary lineup of experiences. To help you make the most of your visit, we’ve curated a selection of highlights and must-see moments that capture the essence of the Islamic Biennale.

Kiswah of the Holy Ka’bah

The Kiswah, derived from the Arabic word kasa (meaning “dress” or “drape”), is the majestic cloth that adorns the Ka’bah. Its origins trace back to pre-Islamic times, though accounts differ on who first dressed the sacred structure.Traditionally replaced annually, the Kiswah is divided and distributed to the pious. However, in an unprecedented act, the Kiswah removed on Muharram 1, 1446 AH (July 7, 2024 CE) has been preserved intact and is displayed in its entirety at the Second Islamic Biennale. This rare opportunity invites visitors to appreciate its grandeur and reflect on the sanctity of the Ka’bah it once adorned.

This presentation also commemorates a century of Kiswah production in Makkah al-Mukarramah, as per the Islamic lunar calendar.

‘Before the Last Sky’ by Nour Jadouda

Libyan artist Nour Jadouda, born in Cairo in 1997, embraces the slow and deliberate process of crafting hand-dyed textiles. Her installation, Before the Last Sky, draws inspiration from the act of prayer and is oriented toward Makkah al-Mukarramah.

Comprising three textiles that evoke the integral postures of Islamic prayer—ruqya’ (bowing), sujud (prostration), and julus (kneeling)—this triptych highlights the transformative power of prayer mats. These everyday objects create temporary sacred spaces, turning the mundane into the divine. Suspended metal gates, inspired by mosque crenellations, reach heavenward, symbolizing the porous connection between earth and the heavens.

‘Cut Flowers’ by Ala Younis

‘Cut Flowers’ by Ala Younis at the Second Islamic Biennale

Between 1991 and 2008, Gaza’s flower industry thrived, with nearly 75 million cut flowers exported annually. However, strict travel restrictions and checkpoint delays, exacerbated by the occupation, caused a significant decline to the time-sensitive produce. By 2012, some five million flowers were exported, marking the industry’s near collapse. 

Jordanian-Palestinian artist and researcher Ala Younis explores the history of the cut flower industry in Gaza, focusing on chrysanthemums, roses, and carnations grown in the Beit Lahia and Rafah areas for export through the Dutch flower market. Entitled “Cut Flowers,” the artwork examines the fleeting nature of these blooms, reflecting the harsh realities faced by the industry.

The work also draws attention to the historical role of horticulture in the Arab world, with carnations—though central to the story—missing from the piece due to difficulties sourcing them. Younis’s research was inspired by a set of press photos by Abid Khatib published over a decade ago, on Jan. 14, 2004, capturing young Palestinian boys handing carnations to pilgrims stranded near the Rafah border while waiting to set off on their journey to Makkah. 

The pictures showcased the joy with which the pilgrims received their pink, white, and red carnations. Younis says, “It is possible that some of these flowers reached the pilgrims terminal in Jeddah, where the Second Islamic Biennale sits today, and remains somewhere in this environment. This inspired the idea of the functioning flower nursery, which we hope will continue to grow and bloom over the coming months and host visitors inside it.”

‘Magnetism’ by Ahmed Mater

‘Magnetism’ by Ahmed Mater at the Second Islamic Biennale

In “Magnetism,” Saudi artist Ahmed Mater creates a powerful miniature representation of the sacred ritual of circumambulation (tawaf) around the Ka’bah. The Ka’bah’s cube-like form, at once simple and monumental, is mirrored by Mater’s magnetic black cuboid. As the magnet twists, iron particles begin to swirl, mimicking the movement of pilgrims during Hajj.  

Set against a white base, the contrast between the black cube and swirling particles evokes a dynamic tension, symbolizing the balance of opposing forces such as attraction and repulsion—an idea reflected in the Islamic concept of balance and harmony in the universe. As Mater explains: “Through *Magnetism*, I suggest that the universe operates on a balance of opposing forces—all aligned under order. Like poetry, my work speaks to things vast and intimate, revealing the harmony woven into creation.”  

‘When We Welcomed the Wind’ by Louis Guillaume  

‘When We Welcomed the Wind’ by Louis Guillaume  at the Second Islamic Biennale

Inspired by the mashrabiya—an iconic Islamic architectural feature designed to regulate light, airflow, and temperature—Louis Guillaume’s installation *When We Welcomed the Wind* is a tribute to those who engineered ingenious solutions for living in harmony with the surrounding climate.  

The installation, a large, circular mashrabiya woven with threads made of seeds, brings to mind the cracks created by drought and the looming climate crisis, using geometric patterns resembling living cells to explore the parallels between human thermoregulation and architectural solutions.  

Set against Jeddah’s urban fabric, where mashrabiya balconies are a defining feature, Guillaume’s piece reflects the diversity of cultures that have shaped the city as a gateway to Makkah al-Mukarramah. The work not only draws attention to the region’s rich heritage but also highlights the urgent need for sustainable building practices in response to rising global temperatures.  

AlMusala Prize 

AlMusala Prize at the Second Islamic Biennale

The Diriyah Biennale Foundation introduces the AlMusala Prize, a groundbreaking international architecture competition launched at the Western Hajj Terminal. The prize celebrates the architectural legacy of Muslim societies, while reimagining the future of worship spaces as modular, sustainable, and adaptable structures.  

The winning design, by EAST Architecture Studio in collaboration with artist Rayyane Tabet and engineers AKT II, draws inspiration from regional weaving traditions, incorporating waste materials from local date palm trees. The structure, which resembles a loom, features an open central courtyard and prayer spaces, emphasizing community, togetherness, and proximity—values central to prayer in Islam. This innovative structure will be on display throughout the Second Islamic Biennale, inviting visitors to reflect on the role of architecture in shaping spiritual and communal spaces.

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