In Interludes and Transitions
Diriyah Biennale Foundation, 2026
"In Interludes and Transitions" is the third edition of the Diriyah Contemporary Art Biennale, directed by co-artistic directors Nora Razian and Sabih Ahmed. The title borrows from a colloquial expression referring to the cycles of encampment and departure associated with nomadic communities of the Arabian Peninsula. It refers to forms of continuity that emerge through repeated movement and temporary settlement.
Across 12,900 square metres, the exhibition is organised as a continuous spatial field rather than a sequence of enclosed galleries. The design is based on the idea of porosity: instead of sharply separating works, it introduces gradual transitions that allow visual and spatial relationships to remain open.
Instead of plasterboard walls, the exhibition uses suspended textile partitions stretched over simple timber frames. These elements guide visitors through the space without prescribing a fixed route or hierarchy. Suspended within the hangars, they maintain visual continuity while creating areas of partial separation rather than fully enclosed rooms.
The textile surfaces also respond to the acoustic conditions of the halls. As many works include sound, the partitions absorb part of the reverberation of the large industrial spaces and help reduce interference between audio sources. This allows individual works to remain perceptible without competing soundtracks accumulating across the galleries.
Colour plays a structural role in the organisation of the exhibition. Carefully calibrated tones support the works while contributing to the overall atmosphere of the space. Modular elements define thresholds, rooms and partial views, encouraging a slower and more exploratory movement through the exhibition.
Some display platforms extend to form benches. These elements are not separate pieces of furniture but continuations of the structures that support the artworks. Visitors therefore sit on the same platforms that stage the works, placing viewers and objects within the same spatial device. In this way the design reduces the distance typically produced by the plinth and questions the role of the platform as a tool for elevating and isolating the artwork.
