This article appeared in Being Muhannad Shono Issue #70 which delves into the world of Saudi artist Muhannad Shono, exploring his creative journey, artistic process, and global impact. Through visuals and an in-depth interview, it highlights Shono’s works that connect personal memory with universal themes. The issue traces his evolution from early creations to monumental installations, revealing a progression driven by curiosity and innovation. This issue celebrates Shono’s global success and his curatorial role in the 2025 Islamic Arts Biennale.
Issue #70 ‘Being Muhannad Shono’
Islamic Arts Biennale
The second edition of the Islamic Arts Biennale is open from January 25 until May 25, 2025, at the Western Hajj Terminal of King Abdulaziz International Airport in Jeddah. Under the theme of “And all that is in between”, the Biennale explores how faith is experienced, expressed, and celebrated through feeling, thinking and creating. Spanning across five exhibition halls and outdoor spaces, and with more than 500 objects and contemporary artworks on view, it consists of seven unique components—AlBidaya, AlMadar, AlMuqtani, AlMathala, Makkah al-Mukarramah, Al-Madinah al-Munawwarah, and AlMusalla—spread out through the different spaces. Over 30 major international institutions are taking part, with over 20 new commissions by artists from Saudi Arabia and around the world. The Biennale is led by Artistic Directors Julian Raby, Amin Jaffer in his ongoing role as Director of The Al Thani Collection, and Abdul Rahman Azzam alongside Muhannad Shono as Curator of Contemporary Art.
Shono relocated to Jeddah for his role as the Contemporary Art Curator. The theme comes from a verse in the Quran, often echoed in Biblical texts: “God created the heavens and the earth”, khalaq el samawat wal ard, always followed by wa ma baynahouma—“and all that is in between”. The Biennale is not focused on binaries, on the edges of things, or the confinement of ideas. Instead, it is drawn to the liminal, layered, and expansive space between heaven and earth—the things that matter, the nuances, the shades—not just the light and dark.
When Shono first participated at the Islamic Arts Biennale’s inaugural edition as an artist, he had initially wondered how he would fit in, later realising that it was about the change the country was going through—the fact that a Biennale could bring notions of Islam and historical objects into dialogue with contemporary thinking. Now as a curator, he understands that there’s an underlying spirituality in what he does, something he’s been unconsciously processing—spirituality conveyed in a language not necessarily seen or heard before. Shono sees his curatorial role as a natural extension of his current practice to help influence and shape the change happening in the country.
He is working with many emerging artists, crucial as the country is undergoing change. Shono believes it’s important to give space for these new voices to help shape the artistic landscape. While there are some more established names participating in the Biennale, a significant focus is on emerging and lesser-known talents. In these younger voices, Shono recognises his earlier self and believes in them as he once believed in himself.
