Saudi artists ‘embrace the process’ at Tuwaiq sculpture exhibition

RIYADH: The travelling exhibition of Saudi contemporary art, “Art of the Kingdom: Poetic Illuminations,” will open at the Saudi Arabia Museum of Contemporary Art on Feb. 24 following its successful debut in Rio de Janeiro, where it had more than 26,000 visitors. The show includes works by 17 prominent Saudi artists.  

Curator Diana Wechsler told Arab News: “Few people know what is happening in the artistic field in Saudi Arabia. Information circulates — everywhere and about any topic — in a very fragmented way and this affects the image that people have of a country or a society.”  

The show’s Rio debut, she said, was a great success. “Why? Because it opened up views and perspectives, it surprised colleagues, specialists in art history and contemporary art, as well as surprising and greatly interesting the general public. It must also be said that the artists and works of art selected are very interesting and powerful and, at the same time, quite different from other contemporary proposals.”  

Wechsler carried out exhaustive research when selecting the featured artists. She visited workshops, conducted interviews, and explored the artists’ cultural references. 

“From this research emerged the concept of ‘poetic illuminations,’ which shows how art is capable of participating in a cultural tradition and, at the same time, forms part of the present,” she said. “The exhibition — and, in particular, the selected artists — are part of the process and continuity of a dynamic construction of cultural identity, with a great commitment to their roots and, at the same time, with an interesting contemporary perspective.” 

There are certain elements of Saudi culture that run through the exhibition. Perhaps the most powerful, Wechsler suggested, is the image of the desert, which “appears in different ways in practically all the selected artists’ works.”  

Another theme is the tension between the past and the present. “The imagination of the future is found in these artists,” Wechsler said. “This is one of the most fascinating aspects offered to me by the exploration of the Saudi artistic and cultural (scene).”  

The Riyadh exhibition will feature newly created site-specific works as well as some pieces from the Ministry of Culture’s collection. Its main challenge is to adapt to the local public, who will have a better understanding of the culture explored by the artists.  

“In Rio the challenge was to show how Saudi Arabia manages its cultural processes and how artists work between different pasts and presents. In Riyadh, the situation is different,” said Wechsler. “The challenge is to capture the attention of the public and reflect on their cultural traditions from a current perspective. I think this is one of the objectives of contemporary art in general.”  

As Saudi artists continue to face new frontiers, through this exhibition and their growing prominence in the global art sphere, it is necessary, Wechsler believes, “to be attentive to the experiences of contemporary life, to be able to contribute their perspective to point out invisible aspects, to highlight imaginary dimensions which, as we know, are often those that allow us to think about the present from a new perspective.” 

The Riyadh show will run until April 25 before the exhibition makes its way to the National Museum in China, marking the 25th anniversary of the establishment of Saudi-Chinese diplomatic relations.  

JEDDAH: As Saudi Arabia and Japan celebrate 70 years of diplomatic relations, the Consulate-General of Japan in Jeddah is marking the milestone with Manga Hokusai Manga, a three-week art exhibition running until March 8.

Organized in collaboration with the Jeddah Historical Development Project and the Japan Foundation, the exhibition explores the evolution of Japanese manga from the 19th-century works of ukiyo-e master Katsushika Hokusai to the modern format that has gained widespread popularity in the Kingdom.

Hosted at Bait Amir Bahar in Al-Balad, one of Jeddah’s historic homes, the exhibition highlights both the similarities and contrasts between the artistic styles while showcasing the cultural depth of Japanese storytelling.

Rather than simply focusing on how Hokusai’s work influenced manga, the exhibition invites visitors to compare both styles and understand what makes them unique. It examines themes such as visual storytelling, artistic techniques and cultural participation across different eras.

Hokusai’s manga drawings, while sometimes resembling cartoons, encompass a wide variety of subjects, from nature to human expressions and everyday life. Unlike modern comics, his work was not centered on humor but balanced artistic instruction with entertainment — much like how manga today combines storytelling with visual artistry.

Hokusai created his manga using woodblock printing, transferring the images onto paper in three primary colors: Black, gray and pale peach. The collection, comprising 4,000 illustrations across almost 800 pages, was published between 1814 and 1878 in 15 volumes bound with string.

The phrase denshin kaishu, which precedes the title, translates to “transmitting the spirit and learning the craft,” highlighting the collection’s educational purpose.

Hokusai Manga was originally used as a reference book for aspiring artists, much like today’s “How to Draw Manga” guides. Similar to modern fan-made manga, his work encouraged learning, copying and artistic experimentation.

In an exclusive interview with Arab News, Daisuke Yamamoto, the consul-general of Japan in Jeddah, described Hokusai as one of Japan’s greatest artists, modernizing traditional print styles through innovations in subject matter and composition.

“Hokusai transformed the ukiyo-e genre traditionally focused on images of fleeting pleasures — by shifting its emphasis from people to landscapes and the changing seasons,” Yamamoto said. “His print designs invited audiences to witness nature’s transience, capturing birds in flight, flowers in bloom and water in motion. Through his work, he blended an acute awareness of the fleeting with a deep appreciation for the timeless.”

According to an official statement, Hokusai’s work captured Japan’s diverse landscapes, portraying scenes and activities connected by shared symbols and narratives. He was among the first artists to both shape and be shaped by globalization, drawing from international influences and later inspiring European artists who adopted his decorative motifs, serialized compositions and vision of contemporary society. To this day, countless artists continue to engage with his legacy.

(This exhibition) provides an opportunity for a wide range of people to know about each other’s culture, which will be reflected in the future in their understanding of each other and facilitate all other aspects of cooperation.

Daisuke Yamamoto, Consul-general of Japan in Jeddah

Reflecting on the exhibition’s significance, Yamamoto highlighted its role in strengthening cultural ties between Saudi Arabia and Japan: “Holding this exhibition and other cultural events basically confirmed the excellent cultural cooperation between Japan and Saudi Arabia, and strengthens the bonds of friendship and cooperation, and provides an opportunity for a wide range of people to know about each other’s culture, which will be reflected in the future in their understanding of each other and facilitate all other aspects of cooperation.”

Since the 1970s, Hokusai himself has appeared as a character in manga, reimagined by various artists in styles ranging from realistic portrayals to fantastical interpretations. This reflects manga’s evolution, blending historical figures with contemporary storytelling techniques.

Ukiyo-e, the popular art of the 18th and 19th centuries, foreshadowed comic techniques such as visualizing the invisible. However, its speech-like balloons often depicted dreams rather than dialogue, and weather lines were integrated into the scene rather than used as abstract symbols.

Hokusai’s most popular collection of printed drawings was named “manga.” While the collection is primarily known for its diverse subjects and painting style, its frequent portrayal of exaggerated expressions and acrobatic scenes has led many to associate “manga” with cartoons or humorous images.

When compared to the work of his contemporary, Utagawa Kuniyoshi, it becomes clear that Hokusai’s manga images were not necessarily intended to be funny.

In 19th-century Japan, the success of Hokusai’s manga was rooted in the balance between the mundane and the whimsical, instruction and entertainment. This blend helped secure the collection’s lasting appeal.

Today’s Japanese comics share similarities in content, particularly in their focus on capturing movement, and in their wide circulation, thanks to advancements in reproduction technology.