The 2024 Diriyah Contemporary Art Biennale (February 20 - May 24, 2024), is a transformative beacon in the heart of the historic town just outside of Riyadh. Titled After Rain, the Biennale, under the guidance of Artistic Director Ute Meta Bauer and co-curated by Ana Salazar Herrera, Rahul Gudipudi, Rose Lejeune, Wejdan Reda and Anca Rujoiu, embarks on a journey of revitalisation and renewal against the backdrop of a nation undergoing rapid social evolution.

The Biennale hosts a diverse cohort of 92 artists from 43 countries, with a significant representation from the Gulf region. It serves as a testament to the growing significance of contemporary art in Saudi Arabia and the wider Middle East, offering a platform for discussion, reflection and communal engagement. Not only does the Biennale take an intergenerational approach, but its view is also interdisciplinary, with writers and poets, botanists, architects, scientists, planners and chefs all taking part alongside visual artists.

Spanning six thematic halls, courtyards and terraces, from Modern Legacies and Geopoetics to Water and Habitats, the carefully curated zones facilitate dialogue on urban evolution, human habitation and coexistence with natural environments. Presented through various artistic languages, the works exhibited are engaged in shared issues around land, water, food and healing practices. Some exhibiting artists explore the cultural narratives surrounding natural elements like sand and plants, while others delve into themes of heritage preservation. There are also those tackling issues of water scarcity and shelter access, which plague urban areas.

One work in particular stands as a testament to this: OrtaWater - Purification Factory (2012) by Lucy and Jorge Orta, a long-term project investigating issues of water scarcity and corporate control over natural resources. Comprising sculptures and objects created by the artistic duo, the work demonstrates simple water purification and distribution solutions to increase awareness of pollution, water scarcity and resource management. In fact, environmental consciousness underpins the exhibition's entire design, which prioritises sustainability to minimise ecological impact.

At its core, the Biennale celebrates artistic innovation and exploration, commissioning many new works that delve into the nuances of the region’s transformation and transition. One such collaboration between Saudi artist Ahmed Mater and Berlin-based photographer Armin Linke, titled Saudi Futurism, captures the evolving infrastructure of Saudi Arabia, weaving a narrative that spans decades of progress and change. Through a series of multi-sized prints depicting regional landmarks, including Saudi’s space agency and parts of the megacity, NEOM, the installation suggests a longer-term investigation into who constructs the vision of the future and invites viewers to fabricate their own mosaic of Saudi identity and aspiration.

Adding to the construction of a contemporary Saudi identity are emerging artists like Alia Ahmad and Mohammad AlFaraj. Ahmad’s large-format painting, Alwasm (2023), epitomises the contemporary generation's concerns and a revitalised fascination with landscapes and the natural environment, while AlFaraj's introspective reflection on the landscape of his home in Al Ahsa, The Whispers of Today Are Heard in the Garden of Tomorrow (2024), evokes a sense of cultural heritage intertwined with contemporary visual modes. Weaving with colours reminiscent of traditional Bedouin crafts and in a desert landscape palette, Ahmad finds inspiration in the seasonal shifts and Bedouin traditions in her hometown of Riyadh. Drawing from both lived experiences and memory, Ahmad's practice aligns with Bedouin’s approaches to temporality, eschewing the traditional four-season meteorological paradigm in favour of a more intuitive reliance on daily observations of weather, vegetation and pasture.

AlFaraj’s newly commissioned work includes sculptures, drawings and photographs enshrined within a wooden enclosure, activated by a performance. The work reflects AlFaraj's conception of life and human history as a garden filled with memories and experiences, where the past, present and future converge.

The outdoor installations by artists Azra Akšamija and Anne Holtrop pay homage to traditional Saudi weaving techniques and local glass manufacturers while embracing sustainability and environmental consciousness. The juxtaposition of recycled materials and innovative design underscores the Biennale's commitment to fostering discourse on ecological preservation and urban evolution. This unifying theme runs throughout the exhibition spaces, serving as a poignant reminder of humanity's interconnectedness with nature and urging viewers to reflect on their collective responsibility towards the planet.

Expanding on this focus and the Biennale’s thematic exploration of water, habitats, and basic human needs, is the integration of communal gatherings and culinary experiences during the holy month of Ramadan. From bamboo architectural structures that invite audiences to participate in harvesting, cooking and eating, to juice bars serving local delicacies, the Biennale fosters a sense of inclusivity and belonging, blending traditional and modern customs to bring people together.

The Biennale's commitment to diversity and inclusion is expressed elsewhere by artists like Malgorzata Mirga-Tas and Christine Fenzl offering moving reflections on cultural identity and societal transition. Mirga-Tas's celebration of Roma people, Europe’s largest ethnic minority and Fenzl's portrayal of young women in Riyadh, shown in the spaces of their daily lives at near life-size dimensions, demonstrate the power of art to amplify marginalised voices and reshape narratives of empowerment and resilience.

As part of the biennale's dedication to embracing diverse perspectives and giving voice to various narratives, Hamra Abbas's artwork, Mountain 5 (2023), occupies a prominent position in the all-black gallery. This monumental piece builds upon her previous work, Mountain 1 (2002), previously showcased at Riyadh's Misk Art Institute, as she continues to delve into themes of cultural identity. It centres on Pakistan's cultural icon, the mountain K2, merging traditional imagery with the Italian technique of marble inlay, pietra dura. Using lapis lazuli stone, Abbas incorporates both its intense blue and grey hues. The materiality of colour plays a crucial role in Abbas's work, serving as a reminder of the traditional technique that originated in Italy and found its way to her local region, where it was utilised in classic Mughal architecture. By contemporising heritage craft, Abbas signifies a timeless quest for beauty, connection and cultural return across generations.

With 177 artworks spanning multiple continents, generations and media, After Rain comes at a crucial time in the Saudi art narrative. As the local art scene continues to burgeon and gain international attention, the conversation at the Diriyah Contemporary Art Biennale is unprecedented in its scope and depth. Including for the first time voices from a multitude of minority groups and international collaborations, the promise that the exhibition brings for the region’s art landscape is as rich as the possibility of new life in the damp smell of the earth after rain.

‘After Rain’ will be on view at the Diriyah Contemporary Art Biennale until May 22, 2024.