Goppion Featured in Sole 24 Ore’s Coverage of the Islamic Arts Biennale

Press – 30 Jan 2025

The Italian financial and cultural newspaper Il Sole 24 Ore has highlighted Goppion’s contribution to the Islamic Arts Biennale in Jeddah, recognizing our role among the leading Italian companies involved in the realization of this landmark event. The article explores the Biennale’s significance as a platform for cultural diplomacy and artistic exchange, featuring historical artifacts, contemporary commissions, and global institutional collaborations—including the Vatican Apostolic Library’s participation. Below is an English translation of the article, originally published on Il Sole 24 Ore, detailing the Biennale’s ambitious vision and the expertise behind its execution. Read the original Italian article here.

Jeddah: The Soft Power of the Islamic Arts Biennale

by Maria Adelaide Marchesoni
January 29, 2025

A space for dialogue and innovation, the Islamic Arts Biennale has opened in Jeddah, with a strong presence of Italian excellence among the collaborators who helped bring the event to life.

A Platform for Cultural Exchange


Titled “And All That is in Between,” the second edition of the Islamic Arts Biennale runs until May 25, 2025, at the Western Hajj Terminal of King Abdulaziz International Airport—a site of profound emotional significance for millions of Muslim pilgrims undertaking the sacred journeys of Hajj and Umrah.

Blending historical Islamic artifacts with contemporary art, the exhibition showcases over 500 objects, exploring how faith is experienced, expressed, and celebrated through feeling, thinking, and making. But the Biennale also goes further, embracing themes of diversity and inclusion—values that, in some parts of the world, are becoming increasingly sidelined.

This second edition also has a strategic dimension, leveraging the power of art and culture to strengthen international relations. The success of the first Biennale reassured global institutions about the project, and its second edition has seen even greater participation from museums and foundations worldwide. The goal is clear: to establish the Biennale as a global platform for Islamic arts.

Funding is not an issue. Evidence of this can be seen not only in the commissioning of contemporary artworks, supported entirely by the Diriyah Biennale Foundation without the involvement of commercial galleries, but also in the logistics—the transport and insurance of the extraordinary collection of rare and unique objects on display. While no financial details have been disclosed, the investment required for these operations must have been significant.

HE Rakan Altouk, Assistant Minister of Culture, emphasized Saudi Arabia’s intention to foster dialogue among Muslim communities worldwide, recognizing its responsibility as the birthplace of Islam. “This event is not just about displaying objects, bringing together works from different places and times,” he stated. “It is also about bringing people together.”

A Landmark Participation: The Vatican Apostolic Library


Among the many prestigious institutions participating in the Biennale, one of the most intriguing is the Vatican Apostolic Library. A delegation led by Archbishop Angelo Vincenzo Zani, Archivist and Librarian of the Holy Roman Church, underscores the Biennale’s interreligious and intercultural significance, where unique treasures serve as tools for cultural diplomacy and dialogue.

The Nile Map and the Gold Routes


The Vatican Apostolic Library has contributed eleven works, among which the highlight is a nearly six-meter-long map of the Nile. Previously displayed at the Vatican Library in 2021, this is the first time it has left the Vatican walls.

“This map dates back to the late 17th century and was acquired in 1739 in Constantinople by Lebanese librarian Giuseppe Alemanni, who later became Prefect of the Vatican Library,” explains Delio Vania Proverbio, an expert in Oriental texts at the Vatican Apostolic Library.

The Nile map is displayed alongside a twin map of the Persian Gulf, likely produced in the same workshop, now housed in the National Library of Qatar.

Discussions with the Biennale’s organizers began in February 2024, and before being sent to Jeddah, the Nile map underwent meticulous restoration, funded by Saudi Arabia at a cost of approximately €20,000. The work was carried out by the Restoration Laboratory of the Vatican Apostolic Library, under the direction of Ángela Núñez Gaitán. The restoration process included removing centuries-old canvas backing, as well as Japanese paper applied in the 1980s. After repairing damage from insects, the map was mounted on a new Japanese paper support.

Also participating in the Biennale is Fondazione Bruschettini, based in Genoa, Italy, which houses an outstanding collection of Islamic art assembled over 60 years by scholar and entrepreneur Alessandro Bruschettini.

Elisabetta Raffo, director of the foundation, explains, “Islamic art is an integral part of our shared heritage. For the AlMadar section, we chose to focus on the era of Marco Polo, commemorating the 700th anniversary of his death. We highlight the ancient gold trade routes established by the Mongol network, which connected Italy to Asia, fostering the exchange of knowledge, maps, technologies, and diplomatic gifts.”

Among the featured artifacts are a gold-threaded ceremonial robe with large horse motifs and a circular Mamluk carpet.

Sacred Objects Meet Contemporary Art


One of the Biennale’s most compelling aspects is its ability to offer a fresh perspective on historical artifacts, forging connections between Islamic heritage and contemporary artistic expression.

For the first time, artifacts from Mecca and Medina are on display, including the Kiswah, the lavishly embroidered silk and gold cloth that covers the Kaaba. A new Kiswah is made every year, and the one at the Biennale adorned the Kaaba in 2024.

Eight masterpieces loaned by the Museum of Islamic Art in Qatar illustrate the mathematical ingenuity that defines Islamic art. These include a Talpur sword, a Mughal dagger, a Buyid astronomical manuscript, and a Mughal celestial globe.

The Biennale also features over 30 contemporary artists from Saudi Arabia, the Gulf region, and beyond, including 29 newly commissioned works.

“This is an extraordinary moment for Saudi Arabia’s cultural development,” said Aya Albakree, CEO of the Diriyah Biennale Foundation. “We are witnessing the emergence of many young Saudi artists, growing international interest in our artistic events, and significant investment in infrastructure to support creatives.”

The contemporary art section, curated by Saudi artist Muhannad Shono, showcases vibrant and thought-provoking works from a diverse array of artists. Among them is Sarah Mohanna Al Abdali (Jeddah, 1989), one of Saudi Arabia’s first street artists, known for using graffiti to provoke debate about urban development in the Holy City.

Pakistani artist Imran Qureshi presents a site-specific 450-square-meter woven nylon installation, symbolically linking Mecca and Medina. Inspired by the sacred waters of Mecca and the serenity of Medina, the piece recalls a traditional Char Bagh garden, offering visitors a space for contemplation.

Other notable artists include Ahmed Mater, one of Saudi Arabia’s most influential cultural voices, and Manal Al Dowayan, whose work explores traditions, collective memory, and the representation of women in Saudi society.

Italian Industry at the Biennale


While the only Italian artist featured at the Biennale is Arcangelo Sassolino, several Italian companies have contributed their expertise to the event’s realization.

Lanaro Srl, a Vicenza-based metal construction firm, collaborated on Sassolino’s monumental kinetic installation, “Memory of Becoming,” which uses high-viscosity industrial oil and delicate balance to create a constantly shifting composition.

Another key Italian contributor is Goppion, a global leader in the design and manufacture of museum display cases and exhibition vitrines, which are used to protect some of the world’s most treasured artifacts, from Leonardo da Vinci’s Mona Lisa to the Dead Sea Scrolls.

“Our work brings together Lombard mechanical craftsmanship, design, and a deep love for history,” explains Alessandro Goppion, CEO of Goppion. “an intersection that has made museums our natural calling.”

Goppion has been active in Saudi Arabia since 2013 and is currently collaborating with Foster + Partners on the Zayed National Museum in Abu Dhabi, set to open next year.

With 97% of its revenue generated internationally—60% in the U.S. and 20% in Saudi Arabia—Goppion expects its 2025 turnoverto reach €38 million, driven entirely by organic growth.

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