When the light art exhibition Manar Abu Dhabi opened in 2023, it sparked a new way of seeing the capital – not from behind museum walls, but out in the open, where art meets the environment, with works spanning light sculptures, projections and immersive installations.
This year, the public exhibition returns with the theme The Light Compass, and expands its scale and reach. Manar Abu Dhabi 2025 is organised by the emirate's Department of Culture and Tourism, and brings together 15 Emirati and international artists, with collectives from 10 countries and 23 site-specific works.
The exhibition will run in Al Ain for the first time, at Al Qattara and Al Jimi Oasis, from November 1 to January 4. Between November 15 and January 4, it will be on display in Abu Dhabi's Jubail Island and Souq Al Mina.
Curated by Khai Hori, with co-curators Alia Zaal Lootah and Munira Al Sayegh and assistant curator Mariam Alshehhi, the exhibition explores light as both guide and medium, bridging its navigational and poetic dimensions.
Speaking to The National, Lootah says the project’s origins lie in rethinking how art can interact with the landscape, “because Manar Abu Dhabi is a light art exhibition focused on public art; all the artworks are outdoors. That meant we had to carefully select locations across the city that reflected the nature of Abu Dhabi.”
A landscape illuminated
Lootah co-curated the inaugural edition and helped define the project’s direction and strategy. “We wanted it to take place across different parts of Abu Dhabi,” she says. “Since Abu Dhabi is an archipelago – with over 200 islands, which many people don’t realise – we wanted to highlight the emirate’s natural landscape.”
The first exhibition included works on Lulu Island, Samaliyah Island and the Eastern Mangroves, many of which were accessible only by boat. “We deliberately picked islands that aren’t usually open to the public to create a sense of exclusivity and offer a new perspective of Abu Dhabi,” she says. “It made the exhibition not only about art, but also about experiencing the emirate’s environment in a new way.”
For this second exhibition, accessibility has been a central focus. “The boat rides were beautiful, but we wanted more people to be able to attend easily,” Lootah says. “That’s why this time we focused on an island surrounded by mangroves near Jubail Mangrove Park – one of the largest mangrove forests in the region.”
Jubail Island, located between Yas and Saadiyat islands, will be the anchor site for 15 installations. Among the highlights is Eden by Malaysian artist Pamela Poh, a large-scale outdoor work of steel structures and suspended glass spheres that glow at night.
Emirati sculptor Shaikha Al Mazrou will present Contingent Object, a 30-metre circular installation that transforms over time as salt crystallises into a vast disc, becoming an ephemeral landmark within the mangroves.
Referencing Al Mazrou’s piece, Lootah says: “It’s a land art piece, which is exclusive to Manar Abu Dhabi. She’s at a significant stage in her career, and we’re proud to be presenting her work.”
Dutch studio Drift will show Unfold, a dome-like structure that transforms a visitor's biometric data into ephemeral flowers and soundscapes, alongside Whispers, a field of dancing lights that respond to air and movement.
Lootah says the natural setting of Jubail offers a perfect canvas for such works. “We’re continuing to highlight Abu Dhabi’s natural beauty – especially its mangroves and oases.”
Light, land and legacy
As Manar Abu Dhabi expands to Al Ain, it is set to illuminate two of the city’s historic oases – Al Qattara and Al Jimi – with trails of installations inspired by the bond between water, land and life.
At Al Qattara, Mexican-Canadian artist Rafael Lozano-Hemmer will return with Translation Stream, featuring poems by Emirati writers Nujoom Alghanem, Khalid Albudoor and Adel Khozam, alongside Pulse Canopy, a suspended grid of lights that pulse to a visitor's heartbeat. Emirati designer Khalid Shafar will debut Sadu Red Carpet, reinterpreting the traditional Bedouin weaving technique into a glowing, pixelated pattern.
In Al Jimi, Emirati artist Ammar Al Attar presents Cycle of Circles, a photographic installation tracing movement and repetition as a form of meditation, while Maitha Hamdan’s Breath of the Same Place uses light and sound to evoke the harmony between visitors and the oasis environment.
Lootah says bringing Manar Abu Dhabi to Al Ain reflects a broader goal of connecting art to the emirate’s full geography. “Covering the whole emirate, including Al Ain, is an essential part of our public art department’s mandate,” she says. “The oases in Al Ain are Unesco-protected sites, and visitors can experience artworks integrated within these historic environments. This offers a more intimate, walkable experience where art blends with heritage.”
Art that guides
For Lootah, light is not just a material, but a way of seeing. “Light art works best in areas without light pollution, which is why we choose sites that remain naturally dark,” she explains. “It immerses visitors, allowing them to become part of the artwork. When light is combined with nature and the night, it creates a poetic and emotional experience.”
Souq Al Mina, one of the main urban sites, will showcase that relationship between city and light. Situated along the bustling waterfront of Zayed Port, it will feature Holiday by American artist Kaws, a monumental inflatable version of his Companion character, shown reclining beneath the moon. With its proximity to the port and skyline, the installation connects contemporary art to Abu Dhabi’s maritime heritage.
Elsewhere, works such as Floral Resonance by German artist Christian Brinkmann and Public Squares by Montreal’s Iregular Studio will explore how technology, interactivity and human presence transform space and perception.
A popular attraction
The first Manar Abu Dhabi drew about 668,000 visitors – a number that surprised even the organisers. This year, Lootah says, the aim is “to improve the visitor experience and make everything as seamless as possible”.
With locations spread between Abu Dhabi and Al Ain, and most sites easily reachable by road, accessibility and flow have been prioritised.
For Lootah, Manar Abu Dhabi has become a platform for both established and emerging artists, especially those based in the UAE. “I hope visitors discover the incredible talent of UAE-based artists – many of whom have been active for years and are well recognised internationally,” she says.
Biennial of light and perspective
While Manar Abu Dhabi is only in its second run, it has already established itself as a signature project for DCT’s Public Art Department – one that connects environment, creativity and community. “We want to introduce audiences to international artists and offer new ways of seeing Abu Dhabi – its landscapes, its light, and its environment,” Lootah says.
The exhibition is planned as a biennial, returning every two years with new artists, locations and themes. For Lootah and her team, it is a way of keeping Abu Dhabi’s public art scene dynamic and visible.
“Ultimately, we hope visitors walk away inspired by how public art can take so many forms,” she says. “And how it can connect creativity with nature and community.”
Manar Abu Dhabi 2025 runs from November 1 to January 4 in Al Ain, and from November 15 to January 4 in Abu Dhabi
