A Collective Canvas, Oman’s Journey to the Venice Biennale

On World Art Day, April 15, creativity in Oman took on a collective voice, one shaped not by a single artist, but by dozens of hands, stories, and imaginations. In preparation for the Sultanate’s participation in the 61st International Art Exhibition at the Venice Biennale, the Ministry of Culture, Sports and Youth opened its doors to the public for an extraordinary workshop titled “Zina,” inviting the community to become co-creators of a global artistic statement.
Inside the workshop space, the atmosphere was alive with quiet concentration and bursts of inspiration. Fifty participants, schoolchildren, university students, professional artists, and individuals with disabilities, sat side by side, sketching, engraving, and imagining. Their diversity mirrored the fabric of Omani society itself, transforming the workshop into more than an artistic exercise, it became a living portrait of inclusion.
The initiative, organized by the Directorate General of Arts, reflects a growing cultural vision in Oman, one that places community engagement at the heart of creativity. Rather than presenting art as the product of a single mind, “Zina” embraces a collective process, where each participant contributes a fragment to a larger narrative that will ultimately be displayed at the Oman Pavilion in Venice.

For Ibrahim bin Saif Bani Araba, Assistant Director General at the Directorate General of Arts, the workshop is about translating imagination into a shared visual language. He explained that the patterns and motifs created during the session will form the essence of the final installation. These designs, drawn and engraved by participants, will later be transformed into suspended elements, crafted from materials such as metal and other mediums, and exhibited as part of the pavilion. Each piece, he emphasized, carries the unique imprint of its creator, ensuring that everyone involved leaves a lasting mark on Oman’s international artistic presence.
At the conceptual core of the project lies a powerful cultural symbol. Artist and curator of the Omani pavillion at the Venice Biennale Haitham al Busafi described “Zina” as rooted in the tradition of adorning horses with silver jewelry, an expression deeply embedded in Omani heritage. Historically, he noted, this practice reflects a profound relationship between human and animal, where the horse is not merely a companion but an extension of the self. By reinterpreting this tradition in a contemporary context, the artwork connects past and present while aligning with the Biennale’s curatorial theme, “Minor Keys.”
Al Busafi highlighted how the workshop transforms this idea into a shared experience. Participants draw inspiration not only from the theme but also from one another, creating a dynamic environment where creativity flows freely. The result is a space where expression feels accessible and meaningful, where even the smallest contribution can find its place on an international stage often described as the “Olympics of art.”
Beyond its artistic output, the workshop carries a deeper social resonance. It reinforces the role of art as a bridge, linking individuals, ideas, and cultures. By inviting people from different backgrounds to collaborate, the initiative fosters dialogue and mutual understanding, echoing the global spirit of the Venice Biennale itself.
As the final pieces begin to take shape, what emerges is more than an installation. It is a collective story, one that speaks of identity, belonging, and shared creativity. Through “Zina,” Oman is not only preparing to present art to the world but also demonstrating that art, at its most powerful, is a space where many voices come together as one.