– What inspired the theme of this year’s Islamic Art Conference at Ithra?
– We took inspiration from the Ministry of Culture’s designation of 2025 as the “Year of Handicrafts,”. The conference, the public events initiatives such as workshops and film screenings alongside the In Praise of the Artisan exhibition want to emphasize the cultural and artistic significance of traditional craftsmanship, aiming to celebrate and revitalize artisanal skills as a living and vibrant tradition.
We also felt that it was high time to celebrate the lives, livelihoods and work of artisans from across the Muslim world. These artisans are taken for granted and often remain anonymous, they get overlooked in favour of contemporary artists and creations. Traditional Islamic art is a living breathing tradition that deserves our support. As such, Ithra aims to dedicate 2025 to elevation and celebration of the Muslim artisan. In my opinion, the work of Islamic artisans provides a bridge or window into the world of Islam which can sometimes seem enigmatic and impenetrable to outsiders. In my view, Islamic art is therefore the most accessible and universal point of entry to understanding a religious culture and viewpoint of the Muslim world both past and present. Therefore, in this way, artisans act as cultural ambassadors and create this bridge of understanding between cultures and peoples. The beauty of traditional Islamic art is a therefore great unifier.
– Can you walk us through your curation process for the conference? What were some of the key considerations?
– My curatorial approach to In Praise of the Artisan exhibition envisioned a sort of anthology of crafts that authentically represent the extensive spectrum of Islamic artistic traditions. This has been indeed a challenge, not only because it required in-depth research and coordination with artisans and institutions around the world, but also because we had to create a cohesive narrative and an exhibition path that could reflect the rich diversity of Islamic art traditions across 1,600 years of history and that went beyond the just the core Arab countries and included traditions on the periphery of the Muslim world like Morocco and Malaysia.
One of the key considerations, we made when selecting the pieces to present was whether the craft truly represented a living tradition that continues to be valued and has meaning in the 21st century. The best way to do that was to connect each craft with a prominent historical city or center where traditional arts continue to be practised at an exceptional level. As such, we collaborated with master artisans from different locations to create unique pieces for the exhibition. Each artisan was invited to craft works inspired by a renowned historic building nearby, as well as by the historic artifacts featured in our exhibition.
– How does the conference showcase the diversity of Islamic art across different cultures and time periods?
– The conference and, consequently, the In Praise of the Artisan exhibition aim at showcasing the richness and diversity of Islamic crafts. If this has certainly represented a challenge, I must say that it has been incredible to gather such wonderful works from all over the world. To do that, we decided to include all sorts of crafts spanning from small, intricate pieces – such as a Songket textile from Malaysia and a calligraphic folio from Istanbul – to monumental interior installations, like a 16-meter hand-carved marble Jali screen from Rajasthan, an expansive mashrabiyya interior from Cairo, and a historic Ajami room from Damascus. Bringing together these pieces involved a great effort that we hope can truly honor and celebrate the influence of Islamic culture and identity.
Moreover, this edition of the Islamic Art Conference will showcase gifted artisans from a diverse range of countries, reflecting the goal of expanding our reach internationally and encompassing the entirety of the Arab world. Featured countries include Saudi Arabia, Morocco, Afghanistan, Syria, Palestine, China, Egypt, Turkey, and Uzbekistan.
– In what ways does the conference address contemporary issues or themes within Islamic art?
Islamic art and crafts are often considered outdated or stagnant. The conference and all the collateral events Ithra is organizing instead want to actively challenge this perception, by inviting our attendees to reconsider how traditional crafts are not only relevant but are also evolving alongside modern society. For instance, a key focus of the conference will be on the changing role of crafts in Saudi Arabia and the broader Islamic world, beginning with discussions on how crafts are shaping cultural identities today and may continue to do so in the future.
The conference will also explore how crafts interact with urban settings, and their societal impact, highlighting how they can contribute to community and city life. and address issues such as sustainability and how artisan can develop new and innovative methods to sustain craft traditions, ensuring their relevance and transmission to future generations.
– What types of activities or discussions can attendees expect to participate in during the conference?
– The program will be varied and dynamic, designed to appeal to a young audience, with all activities open to the public and free of charge. The conference will feature film screenings, exhibitions, and interactive workshops that run throughout the week.
In addition, a series of documentaries will be screened to give attendees a unique, intimate view into the lives and creative processes of traditional artisans from across the Islamic world. Set across Ithra’s galleries and Plaza, a series of collateral exhibitions explore themes like the significance of traditional Saudi costumes and jewelry, and how contemporary artists reinterpreted traditional crafts.
Hands-on workshops will allow attendees to directly engage with Islamic art forms. Highlights include the Geometric Pattern Experience, an Embroidery Workshop and a workshop on the Geometry of Mangour. Each workshop is crafted to foster an appreciation for the skill and cultural significance behind these crafts, making the conference both educational and deeply interactive.
– Can you share any insights about collaborations with artists or scholars featured in the conference?
– Working with young students is always inspiring, as they bring fresh perspectives to our traditions, breathing new life into traditional practices. This is why we chose to collaborate with schools and institutions, including students from the King’s Foundation School of Traditional Arts (UK) for example.
Our collaboration entails an exhibition, hosted in Ithra’s Plaza, that features selected works by students from the School’s Jeddah and AlUla programs. Displayed pieces include drawings, paintings, woodwork, and gypsum carving, alongside a Roshan crafted by graduating students (2021-2023), showcasing their research and creative process.
– How has technology influenced the presentation or experience of Islamic art at the conference?
– We of course use technology to enhance the presentation and experience of Islamic art at the conference, and especially within the In Praise of the Artisan exhibition. For example, we created audio-visual vignettes, each focusing on a unique craft, where attendees can immersed in the daily lives and creative processes of master artisans across the Islamic world. These vignettes spotlight calligraphers in Istanbul, weavers in Terengganu, tile makers in Samarkand, embroiderers in Makkah, stonemasons in Rajasthan, woodcarvers in Cairo, zilij and plaster carvers in Fez, and potters in Granada, providing an intimate glimpse into each craft’s cultural and technical nuances.
– Are there any particular artworks or installations featured in the conference that resonate with you personally?
– They all resonate with me and in different ways. The magic of entering the exhibition ‘In Praise of the Artisan’ is you’ll discover something new each time. My love for Islamic art evolves and expands each time I see the installations we’ve created.
– What do you hope attendees will take away from their experience at the conference?
– The primary goal of the “In Praise of the Artisan” exhibition was to showcase the rich history and diverse influences of Islamic arts and crafts from around the world, emphasizing the evolving traditions embedded in it.
I hope that the conference and the exhibition inspire visitors to explore Islamic crafts appreciate how these artistic traditions are interconnected across regions and be mesmerized by the beauty and history of these works.
Moreover, our hope as Ithra is that the exhibition and accompanying conference will help keep traditional craft skills alive and lead to more training and job opportunities for students and budding craftspeople.
– What are some of the challenges and opportunities you see in the future of Islamic art curation and scholarship?
– A key challenge in the future of Islamic art curation and scholarship lies in supporting contemporary artisans and young creatives in balancing preserving traditional craft techniques and embracing innovation. But like every challenge – it comes with opportunity. By exploring new methods of honoring cultural heritage through modern materials, advanced technologies, and contemporary design concepts, Islamic art can engage more meaningfully with a diverse and youthful audience.
Interview by Yekaterina Shailardanova
