Whereas Oman, compared to other states in the Arab Gulf region, has neither a well-developed arts infrastructure (in terms of large-scale cultural buildings and wealthy art foundations) nor comparable financial resources to spend on such events, it does have a fascinating and diverse cultural heritage and a talented next generation of contemporary artists eager to be given the opportunity to prove themselves on the international stage.
This combination of a rich history and a dynamic emerging contemporary art scene provided me with a clear intellectual pathway for establishing a curatorial vision for the Muttrah Project (later called RANEEN), which in May 2023 I expressed as follows:
“The Muttrah Project provides a platform for artists to delve into their emotions and thoughts regarding the past and present, allowing them to explore and express the cultural and societal changes occurring within society. The use of composition, artistic architecture, photography, video, and installations enables artists to capture the essence of their memories and experiences in creative and engaging ways. They can experiment with different mediums to present their ideas and thoughts, bringing a fresh perspective to the current era.
Furthermore, the project serves as a reminder of the importance of preserving cultural and historical heritage. By documenting the past and presenting it in a new light, artists play a crucial role in safeguarding the memory of the community and promoting a sense of cultural continuity. The revival of old places and alleys as exhibition spaces adds a layer of authenticity and nostalgia, making the artistic experience even more compelling”.
I decided on a curatorial theme for the project - Resonance, with the Arabic translation: Raneen
After an Open Call for Omani artists, various site visits and meetings with international artists, the final artist list included 13 Omani artists and 8 international ones, plus Makan Studios delivering the public engagement programme. The list included some spectacular artworks – Luke Jerram’s Museum of the Moon with composer John Rea’s new sound work Celestial Bodies, Azra Aksamiya/Future Heritage Lab’s Abundance and Scarcity, Tania Al Said’s Unity in Diversity mural, Laurenz Theinert’s Visual Piano lightshows, Marwa Al Bahrani’s Shifting Hues of Time, Huria Al Harassi’s Unseen Fragments and Ammar Alkiyumi’s Dolos (sea breakers). There were playful exhibits such as Haitham Al Busafi’s Vivid Memories – Desired Objects, Mahmood Al Zadjali’s Resounding Conversations and Radhika Khimji’s Bleacher Project. More reflective artworks were Khadiya Al Maamari’s Circles of Time, Seif Kousmate’s Waha, Elina Brotherus’ Arabian Landscapes and Three Scarf Pieces, her collaboration with Rawan AlMahrouqi, Tariq AlHajri’s Summer Retreat, Ruqaiya Mazar’s Hair and Poems, Moath Alofi’s The Last Tashahhud, Israa Mahmood Al Balushi’s Tracing Light and Clive Gracey’s Yesterday’s Rooms.
Workshops and engagement activities were a core part of RANEEN, delivered by Makan Studios with sessions that ranged from painting, drawing, and printmaking to digital media, photography, and crafts. They also facilitated the activation of Radhika Khimji’s Bleacher Project, which proved very popular. Makan Studio’s activities are designed to be accessible to all skill levels, encouraging both amateurs and professionals to engage with art. From their hub in Bait AlKhoory, Makan Studios delivered Raneen’s public engagement programme on multiple sites.
As curator, I was consulted at every stage on the music programme being developed by the Ministry team, including the decision to commission Nibras Al Malahi to compose and record RANEEN’s official soundtrack, and his band to accompany two of Laurenz Theinert’s lightshows in Muttrah Fort and between the old houses. A traditional folkloric group performed two lightshows at the Fishmarket and a final one at Muttrah Fort. The solo musicians who performed at various locations along the festival route were an important and very valuable element of the programme in terms of animating the project, creating a festival ambience and engaging audiences.
The RANEEN festival took place over ten days and nights in November 2024. After the official VIP launch event by HH Sayyid Bilarab bin Haitham Al Said on Thursday 21 November, the public visitor numbers greatly exceeded expectations. Recorded attendances averaged 6,000 on weekdays, 7,000 at the weekend (Thurs – Saturday night) with a total of circa 65,000 by the end of the event. In addition, there were daily school and college visits, VIP tours for cultural leaders and ambassadors and senior staff from the United States, British, Iranian and Saudi embassies. Creative workshop activities organised by Makan Studios included analogue and mobile phone photowalks, sketching and walking events, clay modelling, embroidery, life drawing and printing. Lightshows by Laurenz Theinert in the Fishmarket area, Muttrah Fort and between the houses attracted over 1,800 spectators. Radhika Khimji’s Bleacher Project was very effective in engaging individuals and families who have ‘made their mark’ on the brightly coloured boxes around the art trail.
