Beyond Ruptures includes works of Aref el Rayess, Jean Khalife, Samir Khaddaje, Samia Osseiran, Shafic Abboud, Said Akl, Akram Zaatari and Nesrine Khodr as a testimony and tribute to the cultural resistance led by artists, cultural workers, and art patrons, in the challenging environments Lebanon has presented over the years. Selected works in the timeline, mark important events in the lives of each artist, and act as time capsules showing different artistic practices shaped by violence.
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Meşher’s new exhibition Istanbul as Far as the Eye Can See: Views across Five Centuries is curated by Şeyda Çetin and Ebru Esra Satıcı. Based on a selection of more than 100 rare works from the Ömer Koç Collection, the exhibition spans 500 years, from the 15th century – when Istanbul became Ottoman Empire’s capital – to the first quarter of the 20th century. Paintings and engravings showing wide-angle views, together with rare books, albums, panoramic photographs, and even souvenirs of Istanbul, offer visitors a richly varied visual record of the city. Curated by Şeyda Çetin and Ebru Esra Satıcı.
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The exhibition probes the ways in which the domestic context of a private collection can be transferred into a museum context. In so doing, it explores the possibilities of restaging and articulating the affinities created between distinct objects by means of a collector’s desires and endeavours. The exhibition, which spans the 4th and 3rd-floor galleries of Arter, brings together works by almost 400 artists, anonymous artefacts and mass-produced items, as well as multifarious objects.
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Presenting a wide selection of works by Ozan Sağdıç (b. 1934), one of the most prominent names in the history of photography in Türkiye, the exhibition focuses on documentary photography, a widespread genre of photography in the world, while also shedding light on the country’s social, political, economic, cultural, and visual history from the 1950s to the present day.
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Raed Yassin delves into themes of failure, death, loss, memory, and disappearance, confronting the spectral presence that permeates both the past and the future. He evokes these existential questions through a host of familiar yet haunting figures and symbols, ranging from pop culture icons to representations of the devil, funerary-like imagery, animals, skulls, and found photographs. Among these, the presence of Beirut’s cherished Shushu adds a poignant layer, inviting viewers to contemplate the fragility and complexity of corporeal existence in the face of protracted failure and loss.
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Stranieri Ovunque – Foreigners Everywhere is the title of the 60th International Art Exhibition of La Biennale di Venezia. The part of the exhibtion called Nucleo Storico is gathering works from 20th century Latin America, Africa, the Middle East and Asia. Much has been written about global modernisms and modernisms in the Global South, and a number of rooms will feature works from these territories, much like an essay, a draft, a speculative curatorial exercise that seeks to question the boundaries and definitions of modernism. Around forty artists who were active in the art contexts of West Asian and North Africa such as Baghdad, Beirut, Cairo, Damascus, and Tehran, are included in the exhibition, among them Dia al-Azzawi, Huguette Caland, Gazbia Sirry, Marwan, and Bahman Mohasses.
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This project has been developed using the visual archive of a entomologist from Tabriz and the collection of Nasser Bakhshi. It aims to depict the viewer being placed or positioned in a situation that is relevant to contemporary human. Placing the human on a path where their expectations are met.
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‘‘Unfolding the Embassy ‘‘presents a fictitious time-space, a rediscovery of the human condition in the very present of 2024, through the perceptual distance of the dauntingly near future. The date is 2040, and we are situated in a Space-X satellite orbiting around a meta-earth, decomposed of its state borders due to environmental failure, and regulated by cyborgs wary of human intervention. ‘‘Unfolding the Embassy ‘‘brings together works of installation, video, photography, and print media that address the state of our globe in relation to the economy, the Anthropocene, and artificial intelligence. In exploring the works of art and their conversations with one another, exhibition visitors are invited to speculate on the role of fiction in constructing the systems that hold our societies together.
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Looking at port cities, shifting sands and riverbanks, ‘At the Edge of Land’ delves into the intricate and often concealed relationships between landscapes and trade. The exhibition highlights unexpectedly interconnected geographies, resources and commodities, moving between land and sea to tell stories of conflict, erosion and extraction. It challenges ideas of emptiness and development, shedding light on the regions and people on the margins of trade routes.
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The Hamburg-based French-Egyptian artist Hoda Tawakol ( born 1968 in London) is developing a new site-specific work for the garden of the Georg Kolbe Museum, Berlin. With her outdoor textile work, she creates spaces for dialogue: with native and non-native plants, with her own and other identities, as well as experiences and challenges that appeal to the senses and stimulate the mind.
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Made up of a composition of vertebrae, disks, joints, soft tissues, nerves and your spinal cord – the backbone serves as a central, internal structure of strength that binds and connects things together. Backbone explores the complexities and fragilities of these structures which at times can be exposed, excavated or elusive. Salasil invites six artists who engage in risk and interruption within their practices, ranging from painting, sculpture, video, sound and textile. backbone reveals how the “image”, whether dreamt or felt, can begin to materialise into a physical form, producing outcomes that self-alter within a constant balance & tension between shifting & collapsing temporal spaces.
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“Unobservable dreams” focuses on the diverse realities of society and the contrasting desires arising from them. The exhibition explores how social values and economic prosperity are replaced by crises in a rapidly changing and unpredictable world, and how these changes impact different layers of society. This results in a more nuanced and complex societal landscape, reflecting its sensitive and multifaceted nature. The artists, adapting mythological references to contemporary realities, attempt to “voice” the “unobservable” dreams of their characters through their video works.
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An exhibition of works by Tala Madani as part of the museum’s exhibition cycle, “What If Women Ruled the World?”
This four-part series is exclusively dedicated to the work of women artists or artists who identify as female. Initiated by EMΣT artistic director Katerina Gregos and inspired by Yael Bartana’s 2017 neon work of the same name, this cycle of exhibitions is based on an often-repeated hypothetical question: What would happen if governance was characterized by female traits?
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Samy Zarka offers us a contemporary journey into the imagination of the identity of Palmyra in Roman Gaul. Through the collection of testimonies of exiles about their destroyed, abandoned Syrian homes, the artist approaches the site of the mosaics with its traces of Syrian presence, like a landscape of memories of lost dwellings offering a captivating temporal echo to the faces of Palmyra, cycles of construction and deconstruction over time.
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Shirin Neshat (b. 1957) is an Iranian visual artist and photographer who lives in New York City. For decades, Neshat’s expansive body of work has focused on the problematics of the female body in Islamic cultures, specifically in relation to her country, Iran, and the way in which the female body has continued to be a contested space for sin, shame, desire, repression, political & religious ideology, while also rebellion, power and protest.
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The exhibition VALLEYS OF THE SIMORGH emerged from the INTRA project with the same title and, inspired by the Persian poet Attār’s Conference of the Birds, embarks on the quest for the Simorgh . Following the structure of the tale, the exhibition consists of the Valley of the Quest (Ahmadjan & Maren Amini), Valley of Love (Tanja Boukal), Valley of Knowledge (Monika Huber), Valley of Detachment (Ali & Maheen Kazim), Valley of Unity (Anahita Razmi), Valley of Wonderment (Mohsin Shafi), and Valley of Poverty and Annihilation (Farkhondeh Shahroudi). This exhibition addresses the political sphere of Attār’s narration while it recounts the collective struggle for freedom and equality.
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The artist Mona Hakimi-Schüler, who grew up in Tehran and now lives in Berlin, uses a wide range of artistic forms of expression to address the political situation in Iran and the role of women in society. Her own life story is also reflected in her works and the artist herself appears again and again in her works.
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Curatored by Dodie Kazanjian, the exhibition of artworks by Hadi Falapishi, an Iranian artist who lives and works in New York, takes place at Great Friends Meeting House in Newport, Rhode Island.
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With her solo exhibition, Nairy Baghramian concludes her series ‘Modèle vivant,’ initially begun on the occasion of her exhibition at the Nasher Sculpture Center in Dallas TX in 2022. For this presentation, Baghramian will present eight new sculptures.
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Yalda Bidshahri is an Iranian writer and curator in the United Arab Emirates. She creates communal spaces of imagination and freedom through exhibitions, programs and publications developed in close collaboration with artists and practitioners across disciplines. Born from a premonition, In your dreams features multidisciplinary artworks that often combine traditional elements of Iranian culture with imagination and provocation offering emancipatory perspectives on identity and gender.
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