What if together we could solve humanity’s greatest challenges…
Redefining the global discourse on Islamic arts
Narrative:
Shaping meaning across two editions
Voices:
Commissioning contemporary perspectives
Loans:
Expanding the lens
Delivery:
Making it happen
Impact:
Redefining the global stage for Islamic arts
Set beneath the vast canopy of the Hajj Terminal in Jeddah, the Islamic Arts Biennale brings together historic artefacts and contemporary works to explore what Islamic art means today – and how it continues to evolve. Across two editions, Barker Langham worked closely with the Diriyah Biennale Foundation and a diverse curatorial team to help realise a platform of international ambition and cultural significance.
The inaugural edition, Awwal Bait (2023), took as its theme the idea of the “First House” – a reflection on belonging, ritual, and the Ka‘bah as a point of origin. The second, And All That Is In Between (2025), expanded the lens, exploring creation, complexity, and the spaces between binaries. Both editions juxtaposed historic masterpieces with new art commissions, inviting audiences to experience Islamic culture not as fixed heritage, but as a living and generative tradition.
Narrative:
Shaping meaning across two editions
Barker Langham worked alongside the curatorial and creative leads to shape the overarching narrative of each edition, collaborating on the curatorial plan and interpretive structure. Our role involved working alongside the Diriyah Biennale Foundation to ensure curatorial clarity, spatial coherence, and conceptual depth – creating exhibitions that invited contemplation, connection, and dialogue.
Voices:
Commissioning contemporary perspectives
The first edition foregrounded newly commissioned work, with over 80 contemporary artists exploring what it means to live as a Muslim today – through daily rituals, life events, and expressions of identity and connection. Barker Langham helped manage the commissioning process – liaising with artists, supporting production, and overseeing delivery. This emphasis on lived experience and contemporary expression helped position the Biennale as a vital new voice in the global art world.
Loans:
Expanding the lens
The second edition expanded its scope significantly, presenting over 500 historical objects alongside 29 contemporary commissions. A standout inclusion was the full Kiswah – the cloth that adorns the Ka‘bah – exhibited in its entirety for the first time outside of Makkah, a moment of quiet reverence and awe at the heart of the exhibition.
Loans from more than 30 institutions reflected a wide-ranging curatorial approach. These included rare works from the Vatican Apostolic Library, among them a 17th-century map of the Nile measuring nearly six metres in length, and early Latin translations of the Qur’an. A 1928 film by Dutch East Indian filmmaker George Krugers documented the journey of Indonesian Muslims to Makkah, the first film of the Hajj ever recorded. Collections from across the Islamic world were represented, including key contributions from Uzbekistan, Indonesia and Mali.
These loans were presented in carefully composed galleries that brought together manuscripts, textiles, scientific instruments, and sacred objects. Rather than isolating artefacts by region or period, the exhibition encouraged close, considered encounters—allowing visitors to engage with the material culture of Islamic life across diverse regions and historical moments.
“Working on the Islamic Arts Biennale was an extraordinary experience – historic collections and contemporary artists woven together across time and place in ways both sweeping and intimate. The impact was immediate, visible on the faces of visitors. A personal highlight was visiting the King Abdulaziz Waqf Libraries Assembly in Madinah to view their precious Qur’ans and manuscripts.”
Dr Lesley Gray, BL Principal and Head of Arts
“It was an immense privilege to curate the first two editions of the Islamic Arts Biennale. Identifying, researching, handling, and sensitively displaying objects of profound reverence – many never before seen by the public – was deeply humbling. Visiting the sanctuaries of Makkah and Madinah was a powerful reminder: these were not ordinary objects, but sacred artefacts demanding thoughtful, respectful presentation.”
Rizwan Ahmad, BL Head of Research
Delivery:
Making it happen
Behind the scenes, Barker Langham supported the coordination of loans and commissions, working with artists, institutions and collections teams to ensure smooth delivery. Our registrars and project managers were embedded throughout – supporting logistics, maintaining curatorial integrity, and making complex exhibitions work on the ground.
This work involved detailed legal framing of international loans, close collaboration with lenders to navigate institutional requirements, and hands-on involvement during installation to ensure curatorial consistency across all zones. Our longstanding relationships with key partners were instrumental in securing and managing significant loans.
Impact:
Redefining the global stage for Islamic arts
Immediately establishing itself as a landmark cultural event, the inaugural Islamic Arts Biennale in 2023 attracted over 600,000 visitors – placing it among the most attended art events worldwide that year. The 2025 edition expanded on this achievement, reinforcing the Biennale’s role as a major platform for Islamic arts.
The impact on visitors was profound. A common thread was the deep sense of connection and discovery reported by attendees.
The Biennale also served as a powerful catalyst for inter-institutional collaboration. Partnerships with leading local and international organisations – including the King Abdulaziz Waqf Libraries Assembly, Louvre Museum, the Victoria and Albert Museum, and the Vatican Apostolic Library – have laid the groundwork for ongoing cultural and scholarly exchange.