Creativity beyond borders: Hoor Al Qasimi on breaking barriers to shape the future of art and design

I’m struck by her unassuming yet incredibly impactful presence. Meet Hoor Al Qasimi, one of those rare individuals who has managed to build an empire of art and culture, but without the usual fanfare associated with such leadership roles. Discreet and approachable, she remains grounded, effortlessly connecting with others despite her significant accomplishments. Her passion for the arts and her dedication to her work as a curator shine through in every conversation, making her an inspiring figure in the global art scene. Qasimi is the President and Director of Sharjah Art Foundation, a public art institution she founded in 2009. Through the foundation, she consistently advocates for the arts and has made it her mission to support innovation and experimentation. From international exhibitions to residencies and educational programmes, Qasimi plays a vital role in shaping the contemporary art landscape not just in Sharjah, but around the world.

Today, we sit with Qasimi as she brings the Q Rising initiative to India for the first time through a special activation in Mumbai, with Harper’s Bazaar India as the media partner. While this event marks an exciting moment of regional engagement, the broader Q Rising mentorship programme is designed to enable selected designers from the Global South to gain access to tailored investment and mentorship opportunities as part of the 2026 cohort. The application for Season Two opens in the summer of 2025. It is an incredible opportunity that reflects Qasimi’s commitment to fostering creativity and providing emerging talents with the tools they need to succeed.

It’s especially inspiring to see a woman from the UAE leading such transformative efforts, breaking stereotypes and demonstrating that women can—and do—drive significant change in the arts and design sectors. Qasimi is not just a curator; she is a visionary leader, shaping the future of art while championing inclusivity and access for all. Her work continues to influence, challenge, and redefine the boundaries of contemporary art. Here’s more from our candid conversation about Qasimi’s journey and her perspective on the future of art and design in India and beyond.

Harper’s Bazaar: You’ve been leading the Sharjah Foundation for over a decade, and during this time, its scope has expanded significantly. How do you strike the balance between honouring tradition and fostering innovation within the arts?

Hoor Al Qasimi: For me, it’s always been about preserving our history while moving forward. My father, a historian, is deeply involved in research and preserving historical objects and buildings. Inspired by that, I began focusing on saving modern architecture from the 60s and 70s, along with some structures from as early as the 20s. But it was only after curating the Sharjah Biennial that I truly understood my approach. The title for that Biennial, "Thinking Historically in the Present”, came from the late Okwui Enwezor, and it perfectly sums up my approach: Everything I do is built upon what already exists. I don’t believe in creating something entirely new; there’s always something to build upon. I think it's essential to make art and culture relevant to the present—reflecting the current social and political landscape without merely following trends.

HB: Under your leadership, the Sharjah Biennial has gained international recognition. In your opinion, what makes it stand out?

HAQ: I’ve attended many biennials around the world, and what I’ve found is that most of them face the challenge of being short-term, with teams that often disband after each event. The cycle of hiring new people, re-training them, and losing continuity doesn’t help foster long-term growth. When I took over, I realised how crucial it is to build a sustainable, year-round team. Some of the people I work with have been with me for 20 years, and their expertise continues to grow. Having a stable, dedicated team not only strengthens the institution but also builds a consistent relationship with the audience. That’s why I established the foundation behind the biennial, so the event becomes a part of an ongoing cultural conversation throughout the year. This continuity has led to greater engagement and increased attendance.

HB: You’re also involved in leading multiple institutions—from the Africa Institute to Sharjah’s architectural endeavours. How do you approach leadership in such diverse fields?

HAQ: It’s certainly a challenge, but each role requires a different form of attention and understanding. Balancing the demands of these institutions requires adaptability, time management, and a lot of focus, but I’ve learned to approach each one with the same commitment to long-term sustainability and meaningful impact.

HB: And, of course, you’re a woman leading all these institutions. In a world still influenced by patriarchy, how do you navigate that?

HAQ: My parents, especially my father, raised me to be independent, without any specific gender expectations. They never told me, “You’re a woman, you can’t do this.” Instead, they encouraged me to pursue whatever I set my mind to, whether that was travelling or working in the arts. I grew up around strong, independent women, like my mother and aunts, who shaped my belief that being a woman should never be a barrier to success. Yes, in some parts of the world, especially in the West, there were challenges early on—being young, a woman, and the daughter of a ruler meant that some people dismissed my work due to stereotypes. But I’ve come to realise that I don’t need validation from others. What matters is doing the work and remaining true to the mission. If people appreciate it, great; if not, I’m okay with that.

HB: You work with a vast number of artists from around the globe. What do you look for when curating an exhibition or commissioning a new piece?

HAQ: It’s always exciting because each exhibition is different, and the artists I work with come from diverse mediums and backgrounds. I’m currently serving as the artistic director for the Sydney Biennale, and as part of that role, I’ve been visiting artists’ studios in countries like Norway, Ireland, Taiwan, and Austria. It’s essential for me to meet as many artists as possible to discover fresh voices that might not otherwise be seen in the global art circuit. Of course, there are artists I’ve worked with multiple times because they consistently produce work that aligns with the themes I’m exploring, but I always strive to include new artists as well. It keeps the process exciting and diverse.

HB: Your curatorial projects have highlighted underrepresented artistic movements, from the Khartoum School to the Casablanca Art School. What draws you to these narratives?

HAQ: These exhibitions were collaborations with my colleague and art historian Salah Hassan. Our interest in these underrepresented movements came from a desire to shine a light on important art histories that have not received the recognition they deserve. For instance, I wanted to explore Sudanese art and the connections between Sharjah and Sudan, which led to the Ibrahim Salahi exhibition that later toured to Tate Modern. We also looked at Egyptian Surrealism and the Khartoum School. I first encountered the Casablanca School at the Marrakech Biennale and felt compelled to explore it further. I’m not an art historian, but as a curator, I find it fascinating to bring these important stories to wider audiences, especially in the UAE, where these connections resonate with local history.

HB: The Q Rising initiative sounds exciting. What inspired you to create it, and what do you hope to achieve?

HAQ: With Q Rising, I wanted to provide a platform for emerging designers and creatives, much like I’ve done for artists. After my brother’s passing, I unexpectedly took over the brand and found myself navigating a very commercial industry that didn’t feel like the right fit for me. But I saw it as an opportunity to encourage young talent and provide them with support. I didn’t want it to be another massive commercial endeavour—I wanted it to be more intimate, community-driven, and focused on nurturing creativity. It’s all about offering young designers a helping hand and space to express themselves without feeling constrained by the traditional, often draining paths that come with big businesses.

HB: What excites you most about engaging with the Indian market?

HAQ: India is a place where people truly love fashion. They enjoy expressing themselves through their style and the things they buy. I’m not sure if it's always recognised globally, but what I aim to do is bring different worlds together—similar to how I curate exhibitions. It’s about the designer and their story, and these designers come from various parts of the world. That diversity is what excites me the most.

HB: India has such a rich and diverse artistic landscape. I’m sure you’ve worked with many Indian artists before. How do you see Q Rising contributing to and collaborating with artists, designers, and cultural practitioners in the region?

HAQ: I want to approach this with an open mind. I’m interested in seeing what unfolds as we engage with local designers and artists. Coming to a new country or city is always challenging, so I don’t want to come with preconceived ideas. I prefer working organically because if I go in with specific expectations, I might push for something that doesn’t align with the local context. I just want to see where the journey takes us. I hope that makes sense—though I am a little sleep-deprived right now!

HB: How does Q Rising align with your broader vision of cross-cultural artistic exchange? And are there other places you hope to take Q Rising in the future?

HAQ: Oh, there are so many places I want to take Q Rising to! Every time I go for studio visits, I meet amazing designers. I always do my research, but my schedule can be quite hectic. But yes, it's incredibly important for me to explore global talent. Seeing creative work from all around the world is so exciting.

HB: This is the first time your talent incubator programme is being activated in India. Why did you choose India?

HAQ:  The Talent Incubator focuses on the Global South, with India being a key area of interest for us. The Mumbai event is a regional activation aimed at growing our community and promoting the programme in India ahead of applications for our 2026 round opening in summer 2025.

HB: You’re the first non-Japanese artistic director of the Aichi Triennale and will be curating the 25th edition for Sydney. How do you approach bringing a fresh perspective to such established international platforms?

HAQ: It’s interesting because when I was appointed in Japan, people kept saying, "She’s the first non-Japanese artistic director!" But I actually studied Japanese 20 years ago, so they joked that I was cheating! Traditionally, Japanese artistic directors bring in international curators, but I decided to work with the Japanese team and let them guide me to the artists they feel are relevant. For branding, I also chose to commission a manga artist to design it—this was very new for them. I wanted to bring popular culture into the biennial and make it more accessible to the public through a familiar, well-loved art form.

HB: And for Sydney, how will your approach differ from other international platforms?

HAQ: For Sydney, I can’t reveal too much since it’s confidential, but I will say that, as the first Arab woman to take on this role, it’s definitely a statement in itself. I’m deeply interested in community engagement wherever I work. My exhibitions are not meant to be spectacles but are designed to make a meaningful impact on the local communities. I focus on site-specific projects, often working with local schools, neighbourhoods, and communities to create exhibitions that resonate with them.

HB: Sharjah has emerged as a major cultural hub in the region. What do you see as its unique role in the global art landscape?

HAQ: I think what makes Sharjah unique is the incredible team behind the scenes. I’m really fortunate to work with such a talented group of people. Sharjah has been instrumental in repurposing old buildings, often working with young architects who later showcase their work in their portfolios. It’s a great learning environment for them. We also have art centres in every town and village, offering workshops in ceramics, painting, and even weaving and embroidery for children and senior citizens. It’s about making art accessible to everyone, regardless of age. I also wanted to decentralise the Biennial as much as possible, so it takes place all across Sharjah. People in every neighbourhood feel pride in hosting the Biennial, and that connection to the local community is invaluable. When we install work, people come to meet the artists and interact with the exhibitions, creating a deeper, more personal engagement.

HB: You’re deeply involved in film, architecture, and fashion. How do you see these disciplines intersecting with contemporary art?

HAQ: Art intersects with everything. When I was growing up, I wanted to be a chef, but my mom wasn’t too thrilled about that idea. Then I wanted to be a furniture designer, and I even worked with a carpenter for a while. Eventually, I got into architecture, and my mom was happy about that! But when I went to art school, my teacher said I was meant to be an artist, so I pursued that path. Now, I find myself working with architects, running restaurants, collecting furniture, and collaborating with artists. My mom often says, “You’ve done it all!” But I see it as all connected under the umbrella of art. Art opens doors to different disciplines, and I think it's important to bring together audiences who might not typically intersect. Whether it’s through the Africa Institute, a university project, or something else, we need to keep opening up and inviting different people to engage with art in diverse ways.

HB: You are making art accessible in a way that was previously unheard of. For so long, art was seen as something for the elite, and yet you’ve made it accessible at the grassroots level.

HAQ: Art is for everyone. I really dislike the whole VIP culture—exclusive previews, events, and all that. We don’t do any of that. I want to create programs that anyone can attend. I believe it’s a responsibility. As a public institution, you owe it to the public. When kids come to our events—kids who play cricket outside our office—they can explore the exhibitions too. They feel invited, and they realise art is for them as well. For instance, at the last Biennial, I installed water fountains and benches around the area, so people could rest and drink water. I’ll never forget meeting these two young boys who told me they were “VVIP” after meeting an artist. One of them even shared a story about how his father used to bring him to a mosque to pray, and once, his father took him to watch a film there. It’s moments like that—when children realise they are part of the experience—that truly make it all worthwhile.

HB: What has been the most rewarding project of your career so far?

HAQ: The Sharjah Biennial, without a doubt. It’s amazing to see so many artists and practitioners emerge from it. The team I work with now used to be kids who attended my workshops, and now they’re running the place. It’s very rewarding to see that kind of growth. Also, the Lahore Biennial was a pivotal moment for me. It was my first independent exhibition, and it opened doors to many other opportunities. Without it, I probably wouldn’t have been able to take on projects like Aichi in Japan or Sydney. It was truly a special experience.

HB: Looking ahead, what are your biggest ambitions for the future of the Sharjah Art Foundation, Q Rising, and your other creative initiatives?

HAQ: We’re launching the Sharjah Creative Quarter, which will include an archive of Khalid’s collection, a fashion lab, and other institutions like the Earthy Museum and Sharjah Design. I suggested bringing these spaces together under one roof with a unified vision, and now I’m overseeing the whole project. I’m really excited about working with architects from Mexico, particularly Mauricio Talair. It’s going to be a great space for young designers and creatives to engage and collaborate. Sharjah has a rich history of design, and this project will help foster even more creativity. People need spaces where they can truly work and create.

HB: What advice would you give to someone wanting to enter the art world? 

HAQ: Stay true to yourself. Don’t feel the need to follow trends or to be overly commercial just because a gallery wants you to sell a lot of work. Many artists get caught up in that pressure and end up frustrated. Always remember why you want to pursue art in the first place. Don’t get discouraged, and trust that everything will unfold in its own time.

 

Also read: Q RISING: A new chapter for emerging designers arrives in Mumbai this March

Also watch: Rising stars in Indian fashion come together at Q Rising

Also watch: Hoor Al Qasimi, Akshay Tyagi, Khushi Shah, Shubhika Sharma, and Aditi Shah Bhimjyani speak about designers who break barriers and redefine representation