NASO interviews: Hayati Diaries
On Art Without Borders
In a cultural landscape that has often sidelined voices from the MENA region, two young women are quietly but powerfully reshaping the narrative—one nomadic exhibition at a time. Meet Christina and Kinzy, the co-founders of Hayaty Diaries, a gallery that resists definition as much as it does geographical borders.
For Christina, a Lebanese curator who’s spent much of her life moving between Riyadh, London, Washington DC, and now Paris, art is more than a profession—it’s a calling. “Art is at the core of everything I love,” she says. Her journey through the art world—via Georgetown, a stint with a Francis Bacon historian, and key roles at Christie’s and other institutions—culminated in a deep desire to amplify the contemporary voices of her generation from the Arab world.
Kinzy, an Egyptian-Saudi creative producer based in London, brings a complementary vision. With a background in Social Anthropology and experience in music video production, she approaches art through the lens of storytelling and sensory experience. “Rather than being tied to a specific medium,” she explains, “my passion lies in creativity itself.”
The seeds of Hayaty Diaries were sown through shared experience and mutual curiosity. Both Christina and Kinzy grew up away from their home countries, yet felt a deep and urgent connection to their cultural roots. “We noticed how underrepresented our stories were,” Christina recalls. “We wanted to build something that was fluid, accessible, and inclusive—something that moved.”
So they did. Founded in 2022, Hayaty Diaries was never intended to be a conventional gallery. Instead, it is a nomadic platform committed to showcasing the richness and diversity of contemporary MENA art through exhibitions, film, and storytelling. By embracing movement—across cities, disciplines, and modes of expression—they’ve created something far more alive than the static white cube.
Their debut show, Through Their Eyes, held at London’s Oxo Tower in September 2023, was a defining moment. Curated by Christina and produced by Kinzy, the exhibition brought together nine women artists from across the Arab world. “It was the biggest show we’ve done to date,” Christina admits. “We were maybe a bit naive—but totally fearless.”
Despite logistical challenges and the unpredictable nature of working in non-traditional spaces, the show was a resonant success. It wasn’t just a launch, but a statement of intent: here was a gallery that prioritized authenticity over polish, community over commerce, and narrative over novelty.
One of Kinzy’s most memorable moments came not from an opening night or press mention, but from a quiet dinner after their first exhibition. Sitting at the table with the artists they had worked with—many of whom they had only known virtually until then—she felt something shift. “We were laughing about Arab parents, bonding over shared experiences… that’s when I realized we had created a community. Not just a gallery, but a space of belonging.”
That sense of belonging is crucial. In a global art world often criticized for its exclusivity, Hayaty Diaries is actively building something more inclusive—one show, one story, one city at a time. They’re not just curating art; they’re curating a cultural movement.
And for Christina and Kinzy, this is only the beginning.
On the Freedom - and Challenge - of the Nomadic Model:
Of course, the absence of a physical home base comes with its own complexities. As Kinzy, the gallery’s co-founder and creative producer, puts it: “Each city brings a new rulebook—new spaces, new logistics, new relationships we have to build from the ground up.” From managing installations remotely to navigating shipping hurdles and cultural differences, the logistical challenges are considerable.
And yet, this fluidity is precisely what defines Hayaty Diaries. “It’s what makes us special,” Kinzy affirms. Their recent Paris event, which marked the launch of a new hybrid series titled Hayaty Diaries & Company, was a prime example. It wasn’t just an exhibition—it was an immersive evening combining art and dining, showcasing three MENA artists in tandem with a conceptual menu crafted by Chef Brenden of the Blind Owl Dining Group. “We explored the theme of ‘form and deconstruction’ not just visually, but also through the culinary experience,” Christina says. “It was our first time featuring a male artist too—another significant step forward.”
On Expanding the Mission Beyond Exhibitions:
While exhibitions remain central to Hayaty Diaries, the duo is now expanding into new formats and partnerships. From private commissions to institutional consulting, the team is positioning itself as a cultural intermediary—connecting emerging MENA artists with clients and collectors eager for meaningful, contemporary work.
“We love playing a more advisory role too,” says Kinzy. “Whether it’s curating art for a home or working with a brand on a creative brief, it’s about helping people engage directly with the richness of our region’s talent.”
That ethos—equal parts collaborative and visionary—extends to how the founders approach partnerships. “Every collaboration teaches us something,” Christina reflects. “Even the difficult ones push us to refine our structure and rethink how we operate.”
As for what’s next? While details remain under wraps, both Christina and Kinzy hint at new exhibitions, growing partnerships, and even a potential debut in the MENA region. “Let’s just say: 2025 is going to be a big year,” they tease.
“Hayaty Diaries is just one part of a much larger movement,” Christina continues. “Across the creative industries, MENA artists — especially women — are reclaiming their narratives and stepping into their power. We feel deeply honored to be contributing to that shift.”
It’s a sentiment echoed by Kinzy, who speaks not just of art but of amplification — the responsibility and privilege of being a conduit for voices too long overlooked in global cultural spaces. “If, in ten years, we can look back and see that we helped lay the foundation for the success of artists we believed in from day one — that would be the greatest success of all.”
On Next Steps:
One of the most exciting developments this year is the launch of Hayaty Diaries’ production arm, which will bring the gallery’s curatorial philosophy into the world of film.
“We’re collaborating with Arab filmmakers to explore storytelling through a cinematic lens,” Kinzy shares. “It’s a natural evolution for us. Film, like visual art, is a way to challenge narratives and create deep emotional resonance. This move allows us to reach wider audiences and explore new dimensions of Arab identity and experience.”
Alongside this cinematic expansion, Hayaty Diaries is returning to London with a new group show — a homecoming of sorts. “London is where it all started,” says Kinzy. “We’re excited to reconnect with the community there and show how much we’ve grown — and how much more we’re ready to do.”
As the platform expands its reach, it stays grounded in its founding principle: to champion voices that have historically been left out of the art world’s dominant narratives. Hayaty Diaries is less concerned with fitting into the global art system as it exists — and more focused on building a new one that reflects the diversity, brilliance, and emotional complexity of the Arab world.
In many ways, Christina and Kinzy are doing more than running a gallery. They are building an ecosystem — and inviting others in.
Whether in a white cube, a pop-up space in Paris, a private home in Jeddah, or on a cinema screen, Hayaty Diaries is reshaping what visibility looks like for MENA creatives. And if the last few years are any indication, its future won’t just be bright — it will be transformative.
