The AlBidaya section of the Islamic Arts Biennale 2025 presents an exploration of origins, spiritual transformation, and the sacred intersections of faith and artistic expression. Rooted in the Arabic word for “beginning,” AlBidaya unfolds in a meticulously curated space where historic artefacts and contemporary installations coexist, inviting visitors into a dialogue between the tangible and the transcendent.
At the heart of AlBidaya is a collection of historical relics, including rare objects from Makkah and Madinah, many of which have never been displayed outside their sanctuaries. The exhibition features original Ka‘bah keys, a rare un-cut Kiswah (the black silk and gold-embroidered cloth that covers the Ka‘bah in Makkah. It is replaced annually during the Hajj pilgrimage), inscriptions, and architectural elements from the Haram Mosque, embodying centuries of devotion and reverence. These artefacts serve as silent witnesses to the evolution of Islamic sacred spaces and the deep spiritual connections they evoke.
Dr Julian Raby about the Kiswah
The Holy Qur’an also takes centre stage, with rare manuscripts that illustrate the artistry of Islamic calligraphy and illumination. Among these treasures is the Glass Qur’an by Asif Khan, a contemporary interpretation that transforms the sacred text into a luminous, transparent form, bridging divine revelation with light and space.
Complementing these historical artefacts are contemporary works by artists who reinterpret sacred themes through innovative mediums. Abdelkader Benchamma’s Between Each Sky envelops viewers in an immersive space of ink and projected animation, echoing the celestial and geological layers of existence. Arcangelo Sassolino’s Memory of Becoming explores impermanence and transformation through a massive rotating steel disk coated in industrial oil, evoking the fluidity of time and creation.
Arcangelo Sassolino about Memory of Becoming
Nour Jaouda’s Before the Last Sky and Hayat Osamah’s Soft Gates employ fabric and pigment to symbolise displacement, resilience, and communal memory. Hayat Osama explains her work: ‘In my neighbourhood, intuition shapes identity and self-presentation. I grew up watching people carefully assemble their garments and listening to my grandmother’s sewing machine as she designed dresses for the community. Fabric isn’t just clothing—it’s a tool for connection. In a community of 20,000, where weddings happen daily, brides assign colours by age group, making it easy to find one’s place. Beyond attire, the fabric softens the harshness of concrete and metal, transforming both space and social interactions. It creates warmth, fosters belonging, and becomes a shared language that brings us together.’
Saeed Gebaan’s kinetic installation Nafas visually and sonically represents the act of prayer, uniting worshippers through synchronised movement, while Ahmad Angawi’s Mishkah (Lamp) pays homage to traditional Hejazi craftsmanship, fusing wood and scent to evoke spiritual illumination.
The exhibition is structured as a metaphorical garden, divided into thematic quadrants that guide visitors through pathways of knowledge, contemplation, and congregation. It serves as a reminder of the Qur’anic descriptions of paradise, where flowing water and lush greenery symbolise eternal peace and divine grace.