Harmony Shalimar at the Venice Biennae.

Venice – September 4,
2026
By Atef Al-Batal

From the heart of Venice, where the legacy of global art meets the most innovative forms of contemporary expression, internationally acclaimed Saudi artist Shalimar Sharbatly has taken her place on the artistic scene surrounding the 61st edition of the Venice International Art Biennale through “Harmony Shalimar,” an exhibition hosted at Palazzo Donà Dalle Rose.

The participation features 15 paintings alongside a new sculptural work, marking a significant new departure in Sharbatly’s artistic journey. The sculpture represents the first presentation of her sculptural model within “Shalezm,” a project she is developing in parallel with her renowned Moving Art practice.

The palazzo hosted a cocktail reception yesterday to celebrate the opening of the exhibition, which brings together Sharbatly with artists Devy Man and Rosa Mundi. The event forms part of a broader contemporary art program combining visual art with emerging technologies, artificial intelligence and live music, alongside activities and awards dedicated to AI films. Together, these elements reflect the accelerating transformation of the global art scene and the expanding relationship between creativity, technology and new forms of artistic presentation.

The opening reception attracted a distinguished gathering of figures from the worlds of art, media and business, including acclaimed Egyptian filmmaker Khaled Youssef, Sharbatly’s husband; Saudi radio director Soha Riri; economic expert Khadija Nahfawi; as well as bloggers Sultan Qasim and Abdulaziz Al-Sultan.

Sharbatly’s participation in the contemporary art exhibition continues through September 18, presenting a selection of works that reflect her ongoing search for new visual languages and modes of expression. Among the highlights is her new sculptural piece, which marks the first public appearance of her sculptural concept under the Shalezm project, through which she is exploring new artistic and conceptual directions.

Sharbatly’s move into sculpture is not a departure from her previous practice, but rather a natural extension of a long-standing process of experimentation and artistic research. Building on the foundations of her Moving Art experience, she is now exploring the relationship between form, mass, space and movement, seeking to develop a distinctive visual language that transcends the boundaries of a single artistic medium.

Sharbatly described her participation in Venice as a pivotal moment in her career.

“My participation in Venice was extremely important to me. It represents a historic milestone in my artistic journey and a significant turning point in my practice, particularly with the presentation of this new sculptural work, which marks the beginning of a different phase of research and experimentation,” she said.

She explained that her move into sculpture is the continuation of a lengthy period of artistic exploration associated with her Moving Art practice, emphasizing that an artist should never remain confined to a single artistic style, but should continue to seek new tools and spaces through which to express ideas and emotions.

Sharbatly noted that Shalezm represents a new direction in her artistic practice, through which she seeks to develop a vision centered on the interplay of form, mass, space and movement, creating a different visual language that grows out of her Moving Art experience while extending into the realm of sculpture.

The new sculptural work attracted considerable attention from visitors, many of whom paused to examine its details and engage with its artistic concept, while also responding to the paintings on display. The reception underscored the interest surrounding this new chapter in the Saudi artist’s evolving practice.

The impact of Sharbatly’s participation has extended beyond the exhibition itself. During her presence in Venice, she received several invitations to participate in upcoming exhibitions and artistic events in Italy, Albania and Austria, including an invitation to take part in the Albania Biennale, scheduled for December 2026.

She also received an invitation from the Italian side to create an artwork featuring an Italian gondola, which would subsequently be displayed at a heritage museum in Italy. The proposed project would offer a distinctive opportunity to bring her Moving Art approach into dialogue with one of Italy’s most recognizable cultural and heritage symbols.

In addition, Sharbatly received proposals for artistic collaborations with several Italian companies specializing in leather products, including opportunities to create original artworks on their products. The initiatives seek to bridge art, design and the creative industries, extending the reach of contemporary artistic expression beyond traditional exhibition spaces and into innovative forms of design and everyday creative products.

These invitations come as Sharbatly continues to develop Shalezm as a new strand of her artistic practice, alongside her ongoing work in Moving Art and her participation in international exhibitions and artistic events. Together, these developments reflect an approach grounded in continuous experimentation and a refusal to remain confined by previously established forms.

For Sharbatly, her presence in Venice represents more than an individual artistic achievement. She views it as an opportunity to strengthen the international visibility of Saudi artistic expression and to highlight the ability of Saudi artists to engage with diverse artistic disciplines, embrace contemporary approaches and contribute actively to the evolving global art scene.

As “Harmony Shalimar” continues at Palazzo Donà Dalle Rose through September 18, Sharbatly’s participation in Venice emerges as more than a temporary artistic appearance. It represents a meeting point between an established practice that has defined her presence in Moving Art and a new sculptural direction that is beginning to take shape, while opening further possibilities for international collaboration at a time when contemporary art is increasingly defined by the convergence of creativity, technology, design and the wider creative industries.