Noor Riyadh returns to illuminate Saudi capital

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Robert Wilson’s Palace of Light (2021). (Supplied)
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Ahaad Alamoudi’s Ghosts of Today and Tomorrow (2022). (Supplied)
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Installation of artwork Earth by artist SpY at King Fahd National Library in Riyadh as part of the Noor Riyadh Festival 2022. (Supplied)
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Yayoi Kusama’s Infinity Mirror Room — Brilliance of the Souls (2021). (Supplied)
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Christopher M. Bauder’s Axion (2022). (Supplied)
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Updated 01 September 2025
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Noor Riyadh returns to illuminate Saudi capital

  • More than 60 large-scale light installations to transform historic sites, urban landmarks, metro network
  • Minister of Culture Prince Badr bin Abdullah bin Farhan: Through Noor Riyadh we continue to deepen the role of public art in shaping cultural exchange

RIYADH: The public art initiative Noor Riyadh is returning for its fifth edition from Nov. 20 to Dec. 6.

Under the umbrella of Riyadh Art, the light art festival will once again transform the Saudi capital with groundbreaking installations by leading local and international artists.

“In the Blink of an Eye,” its theme for 2025, is inspired by Riyadh’s rapid transformation. It reflects the city’s evolving identity which juxtaposes its historic core with visionary infrastructure, including the newly launched metro system.

Noor Riyadh is part of the Riyadh Art program, one of four megaprojects in the capital launched by King Salman under the Vision 2030 plan.

As a pioneering cultural initiative, Riyadh Art is led by the Royal Commission for Riyadh City, which oversees strategic, multi-sector transformational programs to help position the capital as a global center for contemporary art and culture.

The program drives cultural innovation and supports economic diversification by embedding art in public spaces to enhance the urban experience.

Minister of Culture Prince Badr bin Abdullah bin Farhan, who also chairs the Riyadh Art program’s steering committee, said: “This year’s theme captures the momentum of change that defines Riyadh today.

“Through Noor Riyadh we continue to deepen the role of public art in shaping cultural exchange, enriching daily life, and positioning Riyadh as a creative capital on the world stage.”

Riyadh Art has showcased more than 550 artworks by more than 500 Saudi and international artists, attracting more than 9.6 million visitors through major programs, including Noor Riyadh.

This year’s edition further expands the festival’s curatorial ambition and aims to create meaningful moments for residents and visitors.

Noor Riyadh 2025 will feature more than 60 large-scale light installations, building on the success of previous editions and reaffirming its status as a leading platform for contemporary public art.

First launched in March 2021, it includes an exhibition alongside a public program of community activities such as educational workshops, talks, and performances.


Lebanese filmmaker turns archival footage into a love letter to Beirut

Updated 28 February 2026
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Lebanese filmmaker turns archival footage into a love letter to Beirut

LONDON: Lebanese filmmaker Lana Daher’s debut feature “Do You Love Me” is a love letter of sorts to Beirut, composed entirely of archival material spanning seven decades across film, television, home videos and photography.

The film premiered at the 82nd Venice International Film Festival in September and has since traveled to several regional and international festivals.

Pink Smoke (2020) by Ben Hubbard. (Supplied)

With minimal dialogue, the film relies heavily on image and sound to reconstruct Lebanon’s fragmented history.

“By resisting voiceover and autobiography, I feel like I had to trust the image and the shared emotional landscape of these archives to carry the meaning,” Daher said.

A Suspended Life (Ghazal el-Banat) (1985) by Jocelyne Saab. (Supplied)

She explained that in a city like Beirut “where trauma is rarely private,” the socio-political context becomes the atmosphere of the film, with personal memory expanding into a collective experience — “a shared terrain of emotional history.”

Daher said: “By using the accumulated visual representations of Beirut, I was, in a way, rewriting my own representation of home through images that already existed."

Whispers (1980) by Maroun Bagdadi. (Supplied)

Daher, with editor Qutaiba Barhamji, steered clear of long sequences, preferring individual shots that allowed them to “reassemble meaning” while maintaining the integrity of their own work and respecting the original material, she explained.

The film does not feature a voice-over, an intentional decision that influenced the use of sound, music, and silence.

The Boombox (1995) by Fouad Elkoury. (Supplied)

“By resisting the urge to fill every space with dialogue or score, we created room for discomfort,” Daher said, adding that silence allows the audience to sit with the image and enter its emotional space rather than being guided too explicitly.

 The film was a labor of love, challenging Daher personally and professionally.

“When you draw from personal memory, you’re not just directing scenes, you’re revisiting parts of yourself and your childhood,” she said. “There’s vulnerability in that.”