In brief
On November 8 the ‘Forever Is Now’ exhibition opened amid the Giza desert, turning the ancient site into an open‑air gallery that runs until November 28. The program highlights installations by Jiang Qiong Er, Seckin Pirim, and Emad Abu Grain, weaving contemporary pieces with the historic backdrop. While the show is celebrated for its cross‑cultural dialogue, details on visitor turnout, the full roster of participating artists, and lasting influence remain open questions.
On November 8 the sixth edition of the "Forever Is Now" exhibition opened on Egypt’s Giza Plateau, transforming the desert surrounding the pyramids into a sprawling open‑air gallery that runs to November 28. The show is organized by the Egyptian multidisciplinary firm Art D’Egypte and aims to fuse the ancient heritage of the plateau with contemporary artistic expression.
Among the works on display is Jiang Qiong Er’s "It Is Time to Plant Love," a set of twelve towering, gold‑colored guardian figures made of stainless steel and fiberglass. The installation draws on the symbolic language of ancient civilizations worldwide, with Jiang explaining that the figures stand for shared values such as peace, freedom, equality, and wisdom. "At a time when most artists are striving to find differences, I am truly seeking common ground," Jiang told Xinhua. "Art cannot resolve conflicts, but it can at least open a window, open a door, allowing us to engage in dialogue, to try to understand one another, and to walk together into our shared space," she added.
Jiang’s participation is especially significant because Egypt and China are celebrating the 70th anniversary of their diplomatic relations. The artist’s inclusion marks the first collaboration between a Chinese artist and the exhibition’s organizing body, according to founder Nadine Abdel Ghaffar.
"International visitors and media come to see not just our 7,000‑year‑old civilization, but also contemporary Egyptians," said Abdel Ghaffar. She emphasized that the exhibition is open to the public and attracts school and university groups each year, underscoring her belief that art should be accessible beyond collectors.
Turkish sculptor Seckin Pirim contributes "The King’s Road," a series of limestone columns that echo the feel of ancient ruins while revealing distinctly modern forms. In explaining his concept, Pirim said, "I envisioned the installation as a gate and a portal opening from the present toward the pyramids."
Egyptian visual artist Emad Abu Grain presents "Talisman of Salvation," an arrangement that includes six carved stone blocks and rope. The piece references ancient Egyptian motifs, though further details about its thematic focus were not provided in the available report.
Beyond the individual installations, the exhibition offers a broader conversation about time, cultural memory, and the enduring influence of the pyramids. The open‑air setting allows visitors to experience contemporary art against one of the world’s most iconic archaeological sites.
Art D’Egypte notes that the exhibition’s open format encourages both local and international visitors to engage with Egypt’s past and present through visual dialogue. While the event’s intended impact is to foster cross‑cultural exchange, the magnitude of that impact remains to be measured.
— uncertainties —
Despite the detailed descriptions of several installations and the clear intent of the organizers, several aspects of the show remain uncertain. The total list of participating artists and the full inventory of works on display have not yet been finalized, leaving the scope of the exhibition incomplete. Visitor numbers and demographic data are not yet available, making it difficult to assess how widely the exhibition has been seen. Finally, the long‑term influence of “Forever Is Now” on the Egypt art scene and on international cross‑cultural dialogue has yet to be established. The sources cited do not yet provide answers to these questions, leaving those issues open for future reporting.
