JEDDAH: The second edition of the Balad Al-Fann art program has opened in Jeddah Historic District and runs until June 15.
The initiative this time presents a captivating series of art exhibitions, held under the theme “Our Storied Walls,” which celebrate memory, culture and place.
It boasts a renewed focus on local narratives with each exhibition looking at the tangible and human heritage of the city.
Held at Nassif Boutique, the exhibition is a tribute to the late artist Hisham Binjabi, a foundational figure in Ƶ’s modern art movement.
Curated by Ayman Yossri Daydban, a former student of Binjabi, the exhibition blends art and memories through archival materials, selected artworks, personal possessions and rare voice recordings.
Arab News spoke to Daydban, who is one of the most prominent contemporary artists in Ƶ, with his works featuring in major museums and biennials.
He said: “This is a personal exhibition. My journey with Hisham Binjabi began over 35 years ago when he discovered my work, admired it, and encouraged me.
“For a whole year his name echoed in my mind, until I held my first solo exhibition in 1991. It was his encouragement and appreciation of my boldness — he said I thought outside the box — that pushed me forward. I found myself naturally drawn to contemporary art.”
Daydban’s art is conceptual, and rooted in ideas and meaning. Binjabi, on the other hand, remained faithful to classical and realist styles.
Daydban said: “For years we observed each other’s work from afar, and every time we met I felt like a student reuniting with his mentor.
“But Hisham was more than an artist — he was a social figure, a cultural activist who managed and promoted art within the community, bringing art into social and human contexts.
“His greatest influence was not just in his paintings, but in his presence, personality, and wisdom.”
The exhibition does not merely display Binjabi’s artworks — it narrates his life story through them.
His wife played a part by telling their story through her lens and, for the first time, her works are featured in a dedicated section alongside audio recordings of her and their daughters, reflecting on their lives together as a creative family.
An audio room on the upper floor features testimonials from contemporary artists who were his students or peers, and more recordings are added daily.
The exhibition unfolds across three levels: a deeply emotional audiovisual experience, a debut showcase of his wife’s personal works, and a collective sonic space for shared memory and reflection.
Daydban added: “Hisham was, above all, a socially engaged artist, and this exhibit is aimed primarily at the community of Al-Balad, where he lived and left his mark.”
The program also honors the late Safeya Binzagr, one of the first female visual artists in the Kingdom.
Curated by Effat Fadag, the exhibition weaves together the visual and literary in a journey filled with nostalgia, history and cultural memory.
The exhibition presents rare paintings, handwritten letters, and personal belongings that reflect Binzagr’s unique lens on Hejazi life. Her deeply human portrayals of women, homes, attire and rituals offer not only artistic beauty but also historic insight.
Titled “Revealing What Was Hidden,” the exhibition shows how Binzagr used her art to bring the past to life. Her work helps keep Saudi culture and history alive.
The event honors her role as an artist and historian, and Fadag said: “I asked myself: What can I say that hasn’t already been said? I wanted to highlight aspects of her journey that aren’t widely known.”
Binzagr was the first woman to publicly showcase her family and community life, giving a voice to the private lives of Saudi women — a society that was largely hidden at the time.
Fadag said: “I tried to reflect this (voice) through the layout of the exhibition, using the historic Nassif House, starting from the main building to the external annex, with three symbolic doors that narrate her story.”
This journey begins with Binzagr’s birth and upbringing, moves through her education, the exhibitions she held, and finally her artistic projects on Saudi traditional attire, which are featured on the second floor.
Fadag said: “In the clothing room you see very personal images — she even modeled for her work so she could better understand and express the exact details she wanted to paint. She knew exactly how to translate her vision.”
The final section focuses on giving back to the community, and how Binzagr impacted learning, the broader culture and society at large.
The initiative also puts the spotlight on a curated selection of winning works from a national photography competition, while Balad Al-Fann also hosts a competition showcasing traditional calligraphy, ceramics, ornamentation, and engraving.
