Crafting the art of exhibition at Louvre Abu Dhabi

Strolling around the current Kings and Queens of Africa: Forms and Figures of Power exhibition at Louvre Abu Dhabi, it’s impossible not to be dazzled by the treasure trove of art, sculptures, ceremonial objects, jewellery and royal attire on display. Just as captivating are the stories surrounding each object that truly bring the enduring connection between art, power, and identity across Africa to life. 

Housed in the museum’s expansive temporary gallery, Kings and Queens exemplifies the meticulous planning, curatorial expertise and logical precision involved for every exhibition executed at Louvre Abu Dhabi. Dr Guilhem André, Scientific, Curatorial, and Collection Management Director, and Aisha Al Ahmadi, Assistant Curator of Modern and Contemporary Art, understand first-hand what a vast undertaking this is.

“The actual idea for the exhibition is set many years before anything ever reaches the gallery,” explains Al Ahmadi, herself an artist who enjoyed a residency at Abu Dhabi’s Cultural Foundation before joining Louvre Abu Dhabi’s curatorial team. “It starts with the concept, which is devised by the curators of the show. Then, we work with our partner institutions to develop the synopsis.” Once a synopsis is in place, the team selects relevant artworks from international and regional collections, often including works from Louvre Abu Dhabi and other museums in the Saadiyat Cultural District.

The team ensures each temporary exhibition reflects the themes of the museum’s permanent galleries that contribute to the broader narrative and mission of Saadiyat Cultural District in promoting diversity and cultural equity, inspiring dialogue and creativity, and driving innovation across the region and beyond.

As such, each exhibition varies between monographic, representing the work of a single artist or artistic theme, and geographic, as in the case of Kings and Queens. “We have a front-row seat to anything that is happening at DCT Abu Dhabi, so we also try and tie in with what is happening locally and always try to pull threads related to the region into our narrative,” explains André.

Once the artworks are secured, the team then scales each exhibition, employing a scenographer to determine the best way to display each piece while ensuring each exhibition unfolds seamlessly. “We have a large 1,400-sqm space, which isn’t always suitable,” says André. “For instance, we could never gather enough Van Gogh paintings to fill the gallery, so we have to creatively adapt, whereas more thematic exhibitions, such as Kings and Queens or Dragon and Phoenix, require a larger area.”

Dragon and Phoenix: Centuries of Exchange between Chinese and Islamic Worlds, presented in 2021-22, also allowed the team to utilise the impressive height of the gallery, using fabric walls to add drama to the exhibits and hint at what was yet to come – notably a giant paper dragon in the centre to unify the narrative. Meanwhile, a virtual reality component picked up visitors’ steps so new illustrations emerged on the floor as they walked. In fact, so well received are Louvre Abu Dhabi’s exhibitions that several have travelled, or will travel, overseas to other museums, including Bollywood Superstars (2023) and Cartier, Islamic Inspiration and Modern Design (2023-24).

Al Ahmadi is currently working on an exciting retrospective for 2026 featuring an artist that is sure to attract thousands of contemporary art fans. She’s just wrapped up Post-Impressionism: Beyond Appearances, a personal passion project, which drew the largest ever number of visitors to a temporary exhibition at the museum.

“I think the reason Post-Impressionism was so successful is that we were bringing renowned artists such as Van Gogh, Cézanne and Gauguin – works that have never been seen in the region before,” reflects Al Ahmadi. “It’s a challenge when we want to secure loans that are occupied elsewhere, but we always strive to bring diverse themes and big names.” To illustrate the far-reaching, cross-cultural influence of Post-Impressionism beyond Europe, works by Egyptian artist Georges Hanna Sabbagh were also included.

What makes Louvre Abu Dhabi stand apart from other universal museums is that its temporary exhibitions are unique, even if the topic or theme has been covered elsewhere. “We always look for a new angle,” says André. “It’s very important as it’s a way of positioning Abu Dhabi on the global map and telling these stories through the emirate’s lens, especially when we can include Emirati artists, as we did in the Stories of Paper exhibition held in 2022.”

Creating beautiful spaces that enhance the exhibition experience is a hallmark of Louvre Abu Dhabi, yet visitors have little idea of the challenges the team undergo. Like receiving a delivery of artworks at 3am, and setting up the gallery throughout the night, against the clock.  “I don’t think we’ve ever missed an exhibition opening yet,” laughs Al Ahmadi. “We will always move mountains to make the date we’ve announced.”

For Al Ahmadi, the real joy of her work comes on opening night, walking anonymously through the gallery and experiencing the positive reactions of visitors. “When all the work comes to life, you just listen and think ‘yes, it was all worth the hard work,’” she smiles.

André feels the greatest reward is seeing the rapt faces of younger visitors, who are given an accessible format through the exhibitions with their own labelling and interactive devices to help them learn about what they’re seeing. “When I see children smiling, it means we’ve reached the educational and recreational objectives we set out to accomplish. They are always our most important audience because they are our future.”

Visit the Kings and Queens of Africa: Forms and Figures of Power exhibition at Louvre Abu Dhabi until June 8.

– In association with Saadiyat Cultural District