If you had told anyone in the realm of contemporary art 10-years-ago that Saudi Arabia would become the next major hotspot for all things related to visual art and culture more broadly speaking, they might have dismissed it as impossible. Once considered a far-fetched idea, today, the Gulf State is actively challenging this former status-quo with a slew of ambitious projects, one which includes Noor Riyadh— the world’s largest festival of light.
Having just recently cut the proverbial ribbon on its fourth edition, the record-holding event— which is known for turning the Kingdom’s administrative capital into a open-air, city-wide, art gallery— launched its latest iteration with the theme “Light Years Apart” as its main focus. Underway since Nov. 26, and running until Dec. 14, Noor Riyadh 2024 features over 60 light-based artworks courtesy of 61 artists from over 15 countries; 18 of which are from Saudi Arabia.
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Curated by Saudi artist Effat Abdullah Fadag alongside Italian industry expert Alfredo Cramerotti, through different perspectives and mediums, the festival seeks to explore the many ways in which the physical and the more intangible aspects of light intersect with human experience. Across several sites sprawled across Riyadh— namely the King Abdulaziz Historical Centre (KAHC), Wadi Hanifah, and Jax District— the renowned celebration of art transformed landmark locations into a playground for creativity, reflection (literally), and introspection.
At the King Abulaziz Historical Centre (KAHC), the venue at which the opening ceremony was held, guests were welcomed by a variety of different activations and installations, setting the tone for what the festival had in store for its latest iteration. Immediately after the event’s inaugural address, attendees were led to experience Noor Riyadh’s first installation: a mesmerizing live light show animated by 1,500 drones that shifted and formed various shapes. Inspired by Pythagoras’ concept of Musica Universalis—the idea that planets produce a celestial sound inaudible to the human ear—the show, which is the brainchild of Saudi contemporary artist Rashed Al Shashai, illuminated the city’s sky for about 10 minutes in stunning, breathtaking patterns.
Another standout installation drawing crowds at KAHC was Rashed AlShashai’s The Fifth Pyramid, a pyramid-looking sculpt that was built to shed light on KSA’s developing art scene. Split into two sides, the triangular structure was illuminated in a blend of pink and green hues, with a red path running through the center, inviting visitors to wander in between the framework and reflect on their own smallness in comparison to the massive structure. Given this year’s theme, we interpreted the installation as a way for visitors to also reflect on how insignificant we are compared to most things in life.
At another site, Wadi Hanifah—known for welcoming locals on cooler days to enjoy the outdoors—a plethora of artworks were on display for locals to discover. Among the highlights was Homed Alattawi’s Energy of Vision, an interactive cube-shaped structure designed to mirror the significance of human effort in driving progress. Another striking piece was Atelier Sisu’s Evanescent, a playful installation inspired by the COVID-19 pandemic, reminding us of the fragility of life and how important it is to never take anything for granted. Comprised of several large, bubble-like forms, the installation invites visitors to wander through it, unable to resist the urge to touch the delicate spheres. However, the interaction comes with the imaginative risk of bursting them, symbolizing the vulnerability of beauty and life itself. Last, but certainly not least, was Ovoid by SpY, an egg-shaped structure that alludes to the nest as a place of birth, pulsing in a red light to mimic the rhythm of life and inviting viewers to reflect on how this flow shapes identity.
At Jax District—an iconic industrial site home to artists, creative industries, and artistic events—each booth was transformed into an installation, exhibition, or interactive activation. Among the most notable experiences was inside JR’s studio, where guests were invited to have A3-sized photos taken of themselves. These images were then plastered onto the studio walls, allowing visitors to become both the artist and the art. Another fascinating piece was Asma Aljohani’s Almajlis: The Woven Echo, which took real-time conversations and translated them into a dynamic mix of color and light on electronic woven fabric, making the invisible visible, and the unseen seen.
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Once again striving to set the standard for others to follow and be compared to, KSA continues to redefine what’s possible in the world of art and culture while further establishing itself as both a regional and global hub. While many still view Saudi Arabia as a country in the process of becoming a cultural catalyst, we believe it has already arrived, with events like Noor Riyadh leading (and lighting) the way.
