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Mohammed alhamdan

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حمدان
‏𝙰𝚛𝚝 𝚊𝚗𝚍 𝙳𝚎𝚜𝚒𝚐𝚗 𝙿𝚛𝚊𝚌𝚝𝚒𝚌𝚎. 𝙰 𝚍𝚊𝚝𝚊𝚋𝚊𝚜𝚎 𝚘𝚏 𝚒𝚍𝚎𝚊𝚜 𝚊𝚗𝚍 𝚙𝚛𝚘𝚓𝚎𝚌𝚝𝚜
[email protected]

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Hawajees

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A very humble visual attempt for @al7amdan.xyz new song (Hawajees) 🔥
@7amdan
#fypシ #ksa🇸🇦

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⁨ افتُتح بينالي الدرعية للفن المعاصر 2026 بقافلة حية مهيبة امتدت عبر وادي حنيفة، وصولاً إلى قلب البينالي في حي جاكس.

تجلى عرض "طَيّ الخيام"، وقاده الفنان محمد الحمدان (حمدان)، كإيقاع نابض بالصوت والحركة والذاكرة الجماعية، مستحضراً أصداء الماضي بروح معاصرة.
لحظة اجتماع.

وانطلاقة إلى "في الحِلّ والترحال".
نستقبلكم في حي جاكس بالدرعية حتى 2 مايو 2026.

The Diriyah Contemporary Art Biennale 2026 opened with a monumental live procession across Wadi Hanifah into the heart of the Biennale in JAX District.

Folding the Tents, Led by Mohammed Alhamdan (7amdan), unfolded as a live choreography of sound, movement, and collective memory—tracing ancient rhythms through contemporary forms.

A moment of gathering.
A passage into In Interludes and Transitions.

Join us in JAX District, Diriyah until May 2, 2026.⁩

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My latest for @friezeofficial on the third edition of @biennale_sa , ‘In Interludes and Transitions’, which treats procession not as a spectacle but as a way of understanding the world.

The latest Diriyah Biennale began with an unlikely procession. On opening night, Toyota pickup trucks carrying celebratory Saudi men, women and musicians hummed through the dry river valley of Wadi Hanifah. Known locally as chasse, the vehicles roared alongside camels in a striking image of old and new forms of desert transport. Inspired by the historic Bedouin caravans, this mesmerizing parade by Saudi artist Mohammed Alhamdan, titled Folding the Tents (2026), culminated in the Biennale Foundation’s main courtyard with a performance by Palestinian rapper Shabjdeed.

With this confident display of Saudi contemporary culture, co-curators @norarazian and Sabih Ahmed immediately made good on their stated aim of grounding the biennale in perspectives shaped within the Gulf rather than imposed from outside. The exhibition’s title, ‘In Interludes and Transitions’ is drawn from a colloquial Arabic phrase invoking the cycles of journeying and encampment among nomadic communities in the Arabian Peninsula. As Razian told me, the rajaz metre of Arabic poetry is said to have been born from the rhythm of moving by camel through the desert.

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طَيُّ الخِيَامِ Folding the Tents

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@contemporaryartbiennale_sa , @jaxdistrict

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Habibi era unlocked ✅

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⁨ يفتتح عرض “طيّ الخيام” فعاليات بينالي الدرعية للفن المعاصر 2026.

من قلب وادي حنيفة، ينطلق هذا العرض الأدائي الحي الذي يجمع بين الصوت والإيقاع والحركة في مسار واحد.
يجمع هذا العرض بين الموسيقى والشعر في قافلة تتجسد فيها ثنائية الأصالة والتحول، ويقوده الفنان محمد الحمدان (حمدان) بمشاركة ضيف خاص.

📍 وادي حنيفة | حي جاكس، الدرعية
🗓️ 30 يناير 2026 | 8:00 مساءً

Folding the Tents marks the opening of the Diriyah Contemporary Art Biennale 2026.

Set against the landscape of Wadi Hanifah, this monumental live performance brings together sound, rhythm, and movement in a display of collective motion.

Led by Mohammed Alhamdan (7amdan) with a special guest appearance, this procession weaves music and poetry into a performance deeply rooted in tradition and transformation.

📍 Wadi Hanifah | JAX District, Diriyah
🗓️ January 30, 2026 | 8:00 PM⁩

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In the lead-up to the Diriyah Contemporary Art Biennale, we speak with cultural practitioner and strategist Haneen AlAli (@haneenalali_) about how contemporary art in Saudi Arabia is being shaped through research, public engagement, and long-term thinking.

As the Biennale opens across JAX District under the theme In Interludes and Transitions, the conversation turns to the role of cultural infrastructure in producing knowledge, sustaining dialogue, and connecting artistic practice to lived experience.

Together, we reflect on the practices, publics, and histories informing this moment of transformation.

(📸 Cover image: Courtesy of the Diriyah Biennale Foundation).

(Words by Naso Art Journal. Images courtesy of all artists and associated galleries).

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⁨ ⁨ قافلة من الصوت لا تتوقف… بل تتجدد.
ندعوكم لحضور “طَيّ الخِيام”، العرض الأدائي الافتتاحي لبينالي الدرعية للفن المعاصر 2026، والذي يقام تحت عنوان “في الحِلّ والترحال”.

عرض أدائي فريد يقدمه الفنان محمد الحمدان (حمدان) في وادي حنيفة، بمشاركة ضيف خاص ،يستحضر فيه إيقاع القوافل القديمة بلغة موسيقية معاصرة.

التاريخ: 30 يناير 2026

8:00 مساءً.

الموقع: حي جاكس، الدرعية، الرياض.

انضموا إلى القافلة.

احجزوا تذاكركم الآن.

A procession of sound. A contemporary caravan. A pulse through the desert.
“Folding the Tents” marks the opening of the Diriyah Contemporary Art Biennale 2026—In Interludes and Transitions.

A groundbreaking sonic performance by artist 7amdan (Mohammed Alhamdan), featuring a special guest, takes to Wadi Hanifah, reimagining an ancient rhythm for the electric present.

January 30, 2026.

8:00 PM.

JAX District, Diriyah, Riyadh.

Join the procession.

Book your tickets.⁩⁩

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📣📖 A NEW BOOK!!!
This is my last contribution to 2025 - one I hope will become testament to its radically collaborative and generous nature, offering insight into how we can recenter participation and a sense of purpose in spatial practice and its pedagogies.
Link in bio if you want to get your copy!!
#anepicyear
#newfriendships
#creativealliances

***

ℹ️ CONNECTIONS AS METHOD is informed by research, approaches, and perspectives from more than 60 international contributors from across the Arab Gulf and its adjecencies, drawing on the first year of The Um Slaim School—a pioneering initiative that emerges from the work of Riyadh-based Syn Architects and collaborators, as convened by Beatrice Leanza and Maryam AlNoaimi.

Featuring architects, artists, educators, urbanists, and writers, these interactions pilot methodologies of knowledge exchange to establish south-south networks of coproduction across disciplinary boundaries. Tracing transnational alliances, case studies, and thematics from the school’s first year, subjects of inquiry challenge established architectural canons, centering alternative spatial histories and material practices to address urgent ecological and social concerns.

Through newly commissioned texts, conversations, visual and theoretical essays, fieldwork, and tooling curricula, the volume rethinks architectural education as an integrated set of forms and modes of knowledge, nurturing processes of experimentation and research toward social debate, public imagining, and civic enlightenment.

Edited by Beatrice Leanza and Maryam AlNoaimi
560pages - English and Arabic

Published by @moussemagazine and @kaph.books

✍️ Full list of contributors on the back cover image and comments!

Sneak peek of this amazing publication in the video 🎥 ⏩ (swipe through).
🤳 🪞 Double trouble with the wonderful @maryamalnoaimi_ on the last 📸!

THANK YOU to everyone that made this possible and particularly to the @saudipavilion Architecture and Design Commission, who has supported this initiative throughout the past year.

#architectureedication
#futureschool
#designresearch

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⁨ ⁨ ⁨ ‎كيف يُمكن سماع مدينة الرياض؟

‎”ترددات معمارية ”عمل صوتي تركيبي للفنان محمد الحمدان (حمدان)، يستند إلى أرشيف صوتي موثّق من مواقع متفرقة في العاصمة. يدمج العمل بين صخب رافعات البناء وهي تضرب الصخور الترابية، وأصداء الربابة، إحدى أقدم الآلات الوترية في الجزيرة العربية، مع أداء معاصر لـ «أهازيج البناء» التي اعتاد أهالي نجد إنشادها أثناء البناء بالطين، إلى جانب طبقات صوتية أخرى.

‎تم إنتاج العمل بتكليف خاص لمشروع #سين_معماريون في #بينالي_البندقية #هيئة_فنون_العمارة_والتصميم، حيث سيختبر الزوار التجربة عبر تناغم الصوت والصورة في #الجناح_الوطني_السعودي .

‎توثيق لمراحل تأليف “ترددات معمارية” (2025)، بعدسة محمد الحمدان (حمدان)

‎من سلسلة “الزمن الحاضر” (2023–2025) بعدسة لوريان غينيتويو، ©️ لوريان غينيتويو

‏‎#بينالي_العمارة_2025 #مختبر_أم_سليم #مدرسة_أم_سليم

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Have you ever wondered what Riyadh sounds like?

Architectural Frequencies is a sound installation by artist Mohammed Alhamdan (7amdan), built on an audio archive documented across different sites in the capital. The work merges the rhythmic pulse of construction cranes striking Riyadh’s earthen bedrock with the echoes of the rababa—one of the oldest string instruments in the Arabian Peninsula—alongside a contemporary rendition of Aha’zeej Al-Bina, the traditional chants once sung in Najd during the process of mud building, layered with other sonic textures.

Commissioned especially for #synarchitects’ participation in #BiennaleArchitettura2025 the piece invites visitors to experience sound and image in harmony within the #SaudiPavilion, where movement through the space reveals layers of auditory encounters.

Documentation of “Architectural Frequencies” composition process (2025), Photo by Mohammed AlHamdan (7amdan)

From present tense (2023–2025) by Laurian Ghinițoiu, ©️ Laurian Ghinițoiu

#UmSlaimSchool #IntelliGens #LaBiennaleDiVenezia #VeniceBiennale #BuiltUnbuilt #ArchitectureAndDesignCommission⁩⁩⁩

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