The Sultanate of Oman Pavilion at the 61st International Art Exhibition of La Biennale di Venezia, running until November 22, invites visitors to slow down and engage with unexpected materials and fellow guests. Artist and curator Haitham Al-Busafi told Arab News that they are bringing real sand from an Omani desert to Venice. He emphasized that the floor is not a symbolic image of the desert but a real material presence. This authentic space, named 'Zinah,' distinguishes itself from other pavilions at Arsenale Artiglierie.
An Immersive Sensory Experience
Upon entering, a silver canopy overhead responds to footsteps as laser sensors capture motion. This data is processed in real time by a network of computers, activating motors within the ceiling that manipulate different parts of the suspended metal canopy. The result is a personalized 'shimmering sound' that fills the space. Al-Busafi stressed that the technology remains invisible; visitors should feel that the space is responsive to them, not that they are operating a machine. Each step is answered by sound, motion, and light, creating a unique temporary composition. The sand records the passage of bodies, blending physical and digital memory.
Heritage and Innovation
Commissioned by the Ministry of Culture, Sports and Youth, the installation reimagines the Omani tradition of silver horse adornment as a participatory environment of soft sand, suspended metal, and collective sound. Al-Busafi explained the challenge of bringing simple, elemental materials into a highly immersive environment. The work comprises sand, metal, sound, light, shadow, movement, and the presence of the visitor, with each component integrated seamlessly. He designed deeper, resonant tones toward the center and lighter, shimmering qualities toward the periphery. The metal serves both sculptural and acoustic purposes, with every thickness, cut, and suspended form contributing to the soundscape.
The artwork is architectural, sonic, kinetic, and participatory, offering exactly what the biennale needs. Al-Busafi considers it a privilege to represent Oman at this level, noting that biennales create conversations that expand the mind. He credited the late Koyo Kouoh, curator of this biennale, for selecting the theme 'In Minor Keys' before her untimely death. This theme gave language to an art that does not need to shout to be powerful. 'Zinah' is designed to shift visitors into a slower gear, allowing them to listen to the gentle resonances of the suspended metal canopy and feel how the space responds to their movement.
For Al-Busafi, the most exciting part is the act of reduction and restraint. By concealing the mechanics, the core experience heightens. He hopes visitors will remember the fleeting feeling that reverberates. The work begins with a horse in the Omani desert but opens toward a larger question of how we recognize one another.
