As luxury hospitality continues to evolve beyond spectacle and scale, a new paradigm is emerging—one where art is no longer decorative, but foundational. This philosophy lies at the heart of Wynn Al Marjan Island, which has announced the unveiling of a museum-calibre art collection ahead of its highly anticipated opening in Spring 2027.
Located in Ras Al Khaimah, the resort positions art not as an accessory to luxury, but as a central narrative thread woven throughout its architecture, interiors, and guest experience. The collection is conceived as a “living gallery,” with works displayed across public areas, private rooms, and transitional spaces—encouraging organic encounters rather than formal exhibition viewing.
A Collection Without Boundaries
Spanning millennia and disciplines, the collection brings together prehistoric artefacts, Old Master paintings, decorative arts, and contemporary commissions. Among its most striking inclusions is a 66-million-year-old Triceratops skull, a reminder that cultural wonder predates civilization itself. This extraordinary object sits alongside newly commissioned works, including Light into Life by British artist Marc Quinn, reinforcing the dialogue between deep time and the present moment.
Equally significant is a monumental 17th-century wool-and-silk tapestry, whose surviving counterparts reside in institutions such as the Louvre Museum and Metropolitan Museum of Art. Its presence within a hospitality setting challenges traditional hierarchies between museum spaces and lived environments.
Global Icons, Regional Context
Wynn Al Marjan Island will also introduce major artworks previously associated with Wynn’s international destinations. These include Jeff Koons’ monumental Tulips sculpture, Jaume Plensa’ ethereal forms from the Secret Garden series, and rare 18th-century Buccleuch vases that have traveled from Las Vegas to Macao before arriving in the UAE.
Yet the collection’s most compelling curatorial statement lies in its reinterpretation of 19th-century Orientalist painting. Rather than reinforcing a Western gaze, the resort returns historically significant works—such as Caravan in the Desert by Gustave Guillaumet—to the region that inspired them. These works are reframed within narratives of historical accuracy, cultural dignity, and geographic belonging.
Contemporary Arab Voices
Modern and regional perspectives are integral to the collection. Algerian artist Faïza Maghni contributes site-specific works for guest rooms and suites, drawing on the visual language of Persian miniatures and ornamental storytelling. These commissions emphasize process, place, and context—eschewing art as commodity in favor of art as cultural conversation.
Throughout the resort, monumental installations anchor key architectural moments, while more intimate works reward close observation. This rhythmic curation fosters discovery, ensuring that art reveals itself gradually, much like the landscapes and histories that surround it.
Beauty as a Universal Language
According to Wynn Design & Development leadership, the intention is not to replicate a museum, but to dissolve its boundaries. By integrating art into the fabric of daily movement—corridors, lounges, rooms—the resort invites guests to engage with culture intuitively and emotionally.
Opening in Spring 2027, Wynn Al Marjan Island proposes a new model for luxury hospitality in the region: one where art, history, and architecture converge to create meaning, memory, and a sense of place.
