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Riyadh Art Enriches Metro Stations with Artworks

Zaman Jassim’s When the Moon is Full. SPA
Zaman Jassim’s When the Moon is Full. SPA
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Riyadh Art Enriches Metro Stations with Artworks

Zaman Jassim’s When the Moon is Full. SPA
Zaman Jassim’s When the Moon is Full. SPA

Riyadh Art, the world’s largest public art program, has unveiled four monumental public artworks with the launch of the Riyadh Metro, transforming key metro stations into cultural landmarks.
At the King Abdullah Financial District (KAFD) Metro Station, designed by the internationally acclaimed Zaha Hadid Architects, Alexander Calder’s Janey Waney takes center stage. This bold and colorful sculpture exemplifies Calder’s pioneering spirit in kinetic art, creating a dynamic and engaging experience for visitors. Nearby, Robert Indiana’s LOVE (Red Outside Blue Inside), one of the most recognizable public artworks globally, captivates audiences with its vibrant interplay of color and universal themes of connection and hope. Together, these masterpieces transform the daily commute into a celebration of art, architecture, and creativity.
At the Qasr Al Hokm Downtown Metro Station, designed by the renowned architectural firm Snøhetta, Ugo Rondinone’s The Sun stands as a striking golden centerpiece, symbolizing energy and renewal. Complementing this is Zaman Jassim’s When the Moon is Full, a reflective and poetic piece inspired by Riyadh’s rich cultural heritage. These artworks, combined with the architectural brilliance of the station, redefine public spaces, blending art with the rhythm of daily life to create a truly unique cultural experience.
“These permanent artworks embody our vision of transforming Riyadh into an open-air gallery that enriches the quality of life and fosters a deeper connection between people and art,” said Architect Khalid Al-Hazani, Executive Director of Riyadh Art. “By collaborating with some of the most creative minds of our time, we’re not just adding art to public spaces—we’re creating cultural landmarks that inspire and engage generations.”
Riyadh Art is an unparalleled cultural infrastructure initiative that reimagines urban spaces, fosters creativity, and enriches lives. Led by the Royal Commission for Riyadh City (RCRC), as one of the four initial Mega Projects of Saudi Vision 2030, Riyadh Art champions cultural innovation, drives economic diversification, and positions Riyadh as a global center for contemporary art and culture.
Since its launch in 2019, Riyadh Art has seamlessly integrated art into the urban fabric of Saudi Arabia’s capital, showcasing over 500 artworks by more than 500 local and international artists, hosting more than 6,000 community engagement activities, and engaging over 6 million visitors. As the program continues to expand, the number of artworks and initiatives is set to grow significantly, fostering a sense of community, enriching the city’s identity, and elevating Riyadh’s standing as a vibrant global arts destination.

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Culture

Morocco's Women Rug Weavers Battle to Save Age-old Craft

Women in southern Morocco have kept on the tradition of weaving carpets despite its meagre earnings - AFP
Women in southern Morocco have kept on the tradition of weaving carpets despite its meagre earnings - AFP
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Morocco's Women Rug Weavers Battle to Save Age-old Craft

Women in southern Morocco have kept on the tradition of weaving carpets despite its meagre earnings - AFP
Women in southern Morocco have kept on the tradition of weaving carpets despite its meagre earnings - AFP

In southern Morocco, women are the guardians of the age-old craft of carpet weaving, an intricate art form that often leaves them with meagre earnings.

Women like Ijja Benchri, who creates carpets on a wooden weaving loom outside her small home in the village of Taznakht, follows traditions going back many generations.

"I started when I was 11 or 12, imitating the women I saw weaving," said Benchri, 60.

Known for their bold geometric patterns and vibrant colors, the handwoven rugs are a fixture in local markets and a favorite among tourists.

In 2022, traditional carpets accounted for nearly 22 percent of the kingdom's artisan exports, according to government data, AFP reported.

The mountain villages around Taznakht are famous for their Ait Ouaouzguite carpets, named after a native Amazigh tribe, one among a grouping of several communities indigenous to North Africa long referred to as Berbers.

The carpets are woven by the women on small traditional looms, either at home or in specialised workshops.

They are then categorized into various styles, depending on their region of origin and their designs.

Some of Morocco's finest rugs are crafted from high-quality sheep wool in Jbel Sirwa just south of the Atlas Mountains, and dyed using natural pigments from plants like henna, pomegranate peels, or indigo.

Though industrial dyes have replaced natural ones for most weavers because they are cheaper and can be produced more quickly.

"This tradition has been handed down for centuries, from mothers to daughters," said Safia Imnoutres, who leads a local women's weaving cooperative.

She was one of the women showcasing their creations at a recent festival in Taznakht dedicated to safeguarding the heritage.

- 'Comes from within' -

Creating a single carpet can take two to four weeks depending on its size, said Benchri, speaking in Tamazight, the community's language recognized as an official language alongside Arabic in Morocco.

"I choose the colors as I go, according to my feelings," she added.

Imnoutres also described the process as "instinctive", guided by emotion rather than a predetermined design.

"Weaving is an expression of the women's feelings, when they are joyful, when they are melancholic," she added. "It's an art that comes from within."

But beyond its artistic value, weaving is a vital source of income.

Every Thursday, many travel to a weekly market to sell their rugs, often to middlemen who set the prices.

On average, a large rug sells for just 250 Moroccan dirhams (around $24), with its final price later raking astronomical profits.

In cities like Marrakech, some 250 kilometres (160 miles) north of Taznakht, they are sold in bazaars for up to ten times the original price.

Other rugs are listed at up to $6,000 on online platforms.

"We earn very little," said Benchri. "The intermediaries decide the price, and we have no choice but to accept it because this is our livelihood."

These diminishing returns, she added, have contributed to making the craft less attractive for younger women and jeopardising the handcraft tradition.

Additionally, the influx of cheaper, machine-made rugs has deepened competition.

To address these challenges, a new exhibition space in Taznakht allows some weavers to sell their work directly to buyers, cutting out middlemen.

The center also tries to open new avenues for these women to sell their products independently through courses in digital marketing.

"If this heritage isn't made financially viable, we risk losing it," Imnoutres warned.