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DESERT x ALULA 2024
THIRD EDITION OF INTERNATIONAL ART EXHIBITION OPENS
➤ Faisal Samra, The Dot, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
在阿拉伯沙漠酷熱的陽光烈日下，金黃浩渺的曠野延伸，漸行遠去的駱駝隊和荒漠景象，彷彿身處於一幅古老而壯麗的風景畫中。
Under the harsh, scorching sun of the Arabian desert, a vast expanse of golden wilderness stretches out. The slowly receding camel trains and the barren desert landscape seem to place one within an ancient and majestic landscape painting.
在這片異域之地，美國當代藝術展 Desert X 在沙烏地阿拉伯的阿盧拉城中賦予了嶄新的時代意義。今年的展覽以「存在的缺席」為主題，15 位來自世界各地的藝術家在這片被視為虛無的土地上，探索那些無法被肉眼看到的存在，將沙漠的靜謐與神秘轉化為令人嘆為觀止的藝術之美，同時向觀眾提出深刻的問題：「什麼是無法被看見的？」
In this exotic land, the American contemporary art exhibition Desert X has bestowed a fresh era of significance upon the city of AlUla in Saudi Arabia. This year's exhibition, themed "In the Presence of Absence," sees 15 artists from around the world exploring the unseen aspects of this seemingly void land, transforming the desert's tranquility and mystery into awe-inspiring artistic beauty, while prompting viewers with profound questions: "What cannot be seen?"
➤ Faisal Samra, The Dot, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ 在《The Dot》中，費薩爾·薩姆拉 (Faisal Samra) 展示了瓦迪·阿爾范恩 (Wadi AlFann) 山谷如何起源於一條古老的裂縫，揭示了在各個時代塑造宏偉的微小力量。 時間的幻象由岩石碎片組成的線條象徵。
✦ In The Dot, Faisal Samra shows how the Wadi AlFann valley originated from an ancient crack, revealing the small forces that shape grandeur over epochs. The illusion of time is symbolized by a line composed of rock fragments.
➤ Ayman Yossri Daydban, A rock garden in the shape of a full-sized soccer field, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ 艾曼·尤斯里·戴德班 (Ayman Yossri Daydban) 用埃爾奧拉 (AlUla) 社區從山谷對面收集的白色石頭和岩石繪製了足球場的輪廓。 足球場位於偏遠、多岩石的地區，是一個神秘而可疑的存在，激發了集體記憶，並思考了足球的社會作用。 當我看到自己的倒影時，博斯科·索迪從整個景觀中收集了火山岩。 它們被黃金包裹，被放置在沙漠上方高聳的岩壁上，以吸引觀眾的目光，欣賞美麗的有機構造和岩層中已經存在的意外情況。
✦ Ayman Yossri Daydban draws the contours of a football pitch with white stones and rocks gathered by the AlUla community from across the valley. Placed in a remote, rocky area, the football field is a mysterious and suspicious presence, provoking collective memory and considering the social role of football. For When I saw my reflection, Bosco Sodi gathered volcanic rocks from across the landscape. Wrapped in gold, they have been placed in rock faces that tower above the desert to draw the viewer’s eyes to the beautiful organic formations and accidents that already exist in the rock formations.
➤ Ayman Yossri Daydban, A rock garden in the shape of a full-sized soccer field, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
Desert X 自2017年起於加州科切拉山谷（Coachella Valley）展開首屆展覽，希望能透過展覽，回應沙漠地區、環境和原住民社區條件，也為世界各地的藝術家打造交流平台、討論議題。今年已落幕的 Desert X與當地的 AlUla 藝術節同時舉辦，以沙漠綠洲為探討主題，延伸出一個促進跨文化交流的平台，拓展著人們對沙漠的認識，開啟了一扇通往歷史與神秘的大門。
Since its inaugural exhibition in California's Coachella Valley in 2017, Desert X has aimed to address the environmental conditions and indigenous community issues of desert regions, while also creating a platform for discussion and interaction among artists worldwide. This year's edition of Desert X, which has concluded, was held concurrently with the local AlUla Arts Festival, exploring the theme of desert oases. This extended a platform for cross-cultural exchange, broadening understanding of the desert and opening a gateway to its historical and mysterious aspects.
阿盧拉（AlUla）位於阿拉伯半島的古老沙漠地區，其壯麗的自然景觀和悠久的歷史讓這次展覽得以在這片土地上展開。15位藝術家的作品在阿盧拉的自然景觀中展出，他們以各種媒介和形式，向觀眾展示了他們對這片土地的理解和想像。從黑色火山石地形到歷史悠久的鐵路站，每一件作品都與這片土地產生了深刻的聯繫。
AlUla, located in the ancient desert region of the Arabian Peninsula, provides a majestic natural landscape and a rich history, setting the stage for this exhibition. The works of 15 artists are displayed amidst the natural scenery of AlUla, where they present their understanding and imagination of this land through various media and forms. From the black volcanic stone terrain to the historic railway station, each piece profoundly connects with the land.
➤ Sara Alissa and Nojoud Alsudairi, Invisible Possibilities_ When the Earth Began to Look at Itself, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ Sara Alissa 和 Nojoud Alsudairi 在《看不見的可能性：當地球開始審視自己》中將景觀變成了一種自我反思的佈置。 該作品旨在透過不同的觀點和方法重塑觀眾對場地生態轉型及其自然地理的理解。
✦ Sara Alissa and Nojoud Alsudairi turn the landscape into a self-reflective arrangement in Invisible Possibilities: When the Earth Began to Look at Itself. Through different viewpoints and approaches, the work aims to reshape viewers’ understanding of the site’s ecological transition and its physical geographies.
➤ Sara Alissa and Nojoud Alsudairi, Invisible Possibilities_ When the Earth Began to Look at Itself, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
Desert X AlUla 2024的舉辦豐富了當地的文化生活，也為觀眾帶來了一場獨特的體驗。在這古老的沙漠地區，共同創造出一場奇妙的視覺和感官盛宴，不只讓人重新審視自然與藝術之間的關係，感受藝術的力量和魅力，更為這片沙漠注入了新的活力與機遇。
The hosting of Desert X AlUla 2024 has enriched the local cultural scene and provided audiences with a unique experience. In this ancient desert region, a marvelous visual and sensory feast is collectively created, not only prompting a reexamination of the relationship between nature and art, and experiencing the power and charm of art, but also injecting new vitality and opportunities into this desert landscape.
➤ Bosco Sodi, When I saw my reflection, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ Bosco Sodi 從景觀各地收集了火山岩石。這些被包裹在金色中的岩石被放置在高聳於沙漠之上的岩面中，吸引觀眾的目光，欣賞那些已經存在於岩石結構中的美麗有機形態和意外事件。
✦ Bosco Sodi gathered volcanic rocks from across the landscape. Wrapped in gold, they have been placed in rock faces that tower above the desert to draw the viewer’s eyes to the beautiful organic formations and accidents that already exist in the rock formations.
➤ Caline Aoun, The Desert Has No Surface, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ 在卡琳·奧恩 (Caline Aoun) 的《沙漠沒有表面》(The Desert Has No Surface) 中，來自 Harrat al Sham 玄武岩高原的石頭的一側被拋光。 太陽是奧恩作品中的重要元素，它透過陽光的折射而被激活，產生閃爍的時刻，反映了沙漠景觀的無常和創造它的自然力量。
✦ In Caline Aoun’s The Desert Has No Surface, stones from the basalt plateau of Harrat al Sham are polished on one side. The sun is an essential element in Aoun’s work which is activated through the refraction of sunlight producing moments of shimmering that reflect the impermanence of the desert landscape and the natural forces that created it.
➤ Aseel AlYaqoub, Weird Life_ An ode to desert varnish, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ 阿西爾·阿爾雅各布的怪異生活：沙漠清漆頌歌的靈感來自自然出現在像埃爾奧拉這樣的風景中的“沙漠清漆”，它演變成黃色、橙色、紅色和黑色的發光飾面，幾個世紀以來一直困擾著科學家。
✦ Aseel AlYaqoub’s Weird Life: An ode to desert varnish is inspired by the ‘desert varnish’ that naturally appears in landscapes like AlUla’s, evolving into a luminous veneer with yellow, orange, red and black, and bemusing scientists for centuries.
➤ Ibrahim Mahama, Dung Bara – The Rider Does Not Know the Ground Is Hot, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
➤ Ibrahim Mahama, Gabli Din Pali – A Full Gourd Does Not Rattle_ It Is Only a Partially Filled Gourd Which Rattles, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ 易卜拉欣·馬哈馬 (Ibrahim Mahama) 的陶罐也由器皿組成，散佈在整個景觀中，暗示著歷史遺跡中出現的新生態系統。 Mahama 的作品可以在 Desert X AlUla 的三個地點看到，包括 Dung Bara – The RiderDoes No in Wadi AlFann、AlManshiyah Plaza 的空中花園和 Gabli Din Pali – A Full GourdDoes No Rattle； 這只是一個半滿的葫蘆，在哈拉特·烏韋里德上發出嘎嘎聲。
✦ Also composed of vessels, Ibrahim Mahama’s terracotta pots are scattered across the landscape, suggesting new ecosystems emerging from the relics of history. Mahama’s works can be viewed across Desert X AlUla’s three sites including Dung Bara – The Rider Does No in Wadi AlFann, Hanging Garden at AlManshiyah Plaza and Gabli Din Pali – A Full Gourd Does Not Rattle.
➤ Ibrahim Mahama, Hanging Garden, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
➤ Filwa Nazer, Preserving Shadows, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ 受到前伊斯蘭信仰中居住在沙漠中的精靈的啟發，Filwa Nazer 的保護陰影高架走道採用鋼網結構，形成一條巨大的、起伏的黑蛇。
✦ Inspired by pre-Islamic beliefs of jinn inhabiting the desert, Filwa Nazer’s elevated walkway of Preserving Shadows is structured using steel mesh to form a massive, undulating black snake. Elaborated into massive, outsized forms.
➤ Filwa Nazer, Preserving Shadows, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ 受到前伊斯蘭信仰中居住在沙漠中的精靈的啟發，Filwa Nazer 的保護陰影高架走道採用鋼網結構，形成一條巨大的、起伏的黑蛇。
✦ Inspired by pre-Islamic beliefs of jinn inhabiting the desert, Filwa Nazer’s elevated walkway of Preserving Shadows is structured using steel mesh to form a massive, undulating black snake. Elaborated into massive, outsized forms.
➤ Kader Attia, Whistleblower, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ 卡德爾·阿提亞 (Kader Attia) 在《吹哨人》(Whistleblower) 的雕塑中出現了玻璃瓶的頸部，當它們被風打開時會發出哨聲。 由此產生的令人難以忘懷的聲音鼓勵觀眾反思我們都應該對地球的關心。
✦ Necks of glass bottles emerge from Kader Attia’s sculptures in Whistleblower, which whistle when open to the wind. The haunting sound that results encourages viewers to reflect on the concern we should all have for Earth.
➤ Karola Braga, Sfumato, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ 卡羅拉·布拉加 (Karola Braga) 借鑒埃爾奧拉 (AlUla) 在熏香之路上留下的遺產，利用氣味重現了古代貿易的感官世界。 她的結構 Sfumato 讓參與者沉浸在朦朧的乳香和沒藥中，邀請遊客在獨特和身臨其境的體驗中重新與這條路線的嗅覺遺產建立關係。
✦ It Is Only a Partially Filled Gourd Which Rattles on Harrat Uwayrid. Drawing on AlUla’s legacy on the Incense Route, Karola Braga uses scent to recreate the sensory world of ancient trade. Her structure, Sfumato, engulfs participants in hazy frankincense and myrrh, inviting visitors to reconnect with the olfactory heritage of the route in a unique and immersive encounter.
➤ Kimsooja, To Breathe – AlUla, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ 當我們進入 Kimsooja 作品的圓柱形結構時，在彩虹色的牆壁之間，參觀者被吸引進出螺旋的中心。 呼吸－埃爾奧拉的彩色牆壁將經過億萬年傳播的光線提煉成棱鏡，在遊客和景觀中翩翩起舞。
✦ As we enter the cylindrical form of Kimsooja’s work, between iridescent walls, visitors are drawn in and out to the center of a spiral. The chromatic walls of To Breathe – AlUla distils light that has travelled aeons into prisms that dance across the visitor and the landscape.
➤ Kimsooja, To Breathe – AlUla, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
➤ Monira Al Qadiri, W.A.B.A.R., Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ Monira Al Qadiri 的 W.A.B.A.R. 被精心製作成巨大的、超大的形式。 與 20 世紀 30 年代困擾沙漠居民的神秘物體相呼應。 該作品喚起了一種宇宙民間敘事，在發現珍珠後，空曠地區的一個社區相信它們具有外星起源。
✦ Monira Al Qadiri’s W.A.B.A.R. echoes mysterious objects that perplexed inhabitants of the desert in the 1930s. The work summons a cosmic folk narrative where upon discovering the pearls, a community in the Empty Quarter believed they had an extraterrestrial origin.
➤ Rana Haddad and Pascal Hachem, Reveries, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ 拉納·哈達德 (Rana Haddad) 和帕斯卡·哈赫姆 (Pascal Hachem) 的裝置作品注重尊重該地區的傳統工藝，用夯土罐建造了一個避難所。 塔內的每個罐子被稱為“遐想”，都有幾何切口，讓自然和光線在其中變換並投射出不斷變化的圖案。
✦ Rana Haddad and Pascal Hachem’s installation focuses on honouring the traditional crafts of the region, creating a refuge made from rammed earth jars. Dubbed Reveries, each jar in the tower bears geometric cuts, allowing nature and light to shift and cast ever-evolving patterns within.
➤ Rand Abdul Jabbar, Where myths are born of mud and desire, Desert X AlUla 2024, photo by Lance Gerber, courtesy of The Royal Commission for AlUla
✦ 蘭德·阿卜杜勒·賈巴爾 (Rand Abdul Jabbar) 的《神話誕生於泥土和慾望》位於山谷的一個凹室中，其五種雕塑形式講述了維納斯的故事。 在遇到故事中的每一件作品時，參觀者會沉浸在古老的視角和與天體的關係中。