“Black and White: A Photographic Treasure” ois an exhibition dedicated to black and white photography in Morocco, highlighting this technique as a “treasure” due to its timeless artistic character and its ability to highlight contrasts and lights beyond the simple representation of reality in color. This term emphasizes that black and white, far from being a simple constraint, is a justified artistic choice that allows to bring out another dimension of the photographed subjects.
Network
Bringing together artists from Tate’s Collection, Gathering Ground explores the connection between environmental and social justice. Featuring works by Outi Pieski, Abbas Akhavan, Bruce Conner, Zheng Bo, and others, the exhibition honors Indigenous knowledge, queer multispecies relations, and the impact of land displacement. Set in a former power station, it invites reflection on our role in shaping a more just and sustainable future.
External Link
Drawing on the treasures preserved in the IMA Museum’s collections, this exhibition highlights a richness and diversity like no other: that of Arabic calligraphy in all its expression, from the first pages of the Quran to its investment in new media.
Link
YARAT Contemporary Art Space presents Me and the Ark, Me and the Great Flood, a group exhibition inspired by Nasimi’s philosophy. Featuring sculptures, installations, and audiovisual works by Azerbaijani and international artists, the show explores perception, identity, and the blurring of boundaries in the digital age. Through diverse media, the exhibition reflects on inclusion, decolonization, and our responsibility in shaping the world.
Network
“This tribute serves as an ode to the South and a remembrance of Baalbaki’s home in Odeisseh, envisioned as one of the village’s first cultural centers before its damage during the 2024 war.
Born in 1940 to a family of farmers in Odeisseh, Jabal Amel, Baalbaki’s discovered his passion for drawing at an early age. He pursued fine arts studies at the Lebanese University under the guidance of the renowned painter Rachid Wehbi. His parents instilled in him a love for the land, particularly the ochre earth of the South, which would later become a recurring theme in his work. After spending more than thirty years in Beirut, Baalbaki returned to Odeisseh to build his home and establish a library that housed over two thousand rare books.”
Network
The Archive Museum expands to Tabriz with Tabriz_Parallel Universe, opening in the historic Hariri House. This hidden Qajar-era underground space offers a unique platform for archive and contemporary art. Adjacent to the Tabriz School of Art Museum, it bridges past and present—fostering curatorial research and exhibitions rooted in both heritage and innovation.
External Link
‘I Paint Your Grace, I Paint Your Pain, I Paint Love’ , unveils a compelling selection of never-before-exhibited works that delve into themes of memory, identity, and transformation. Marking his first solo exhibition in half a decade, the show presents artworks from three of his acclaimed series: The Hunt / Riders, Day and Night / Fig Leaf, and Migration / Grey Zone. In these works, past and present converge, offering a rare glimpse into Derakshani’s artistic vision where form, color, and narrative intertwine in a profound exploration of the human experience.
Network
Gaza is home to a wealth of archaeological sites from all eras that are now in peril. The IMA is therefore offering an exceptional collection in more ways than one, made up of highly valuable pieces that the vagaries of history have saved from disaster and which reveal the depth of its history, a priceless treasure whose complexity is reflected in this exhibition.
External Link
The IMA Museum is renewing the photographic exhibition at the entrance to its exhibition (level 7): alongside the exhibition “Treasures Saved from Gaza. 5,000 Years of History,” it is offering a rich selection of old photographs from the collections of the Oriental Library of Saint Joseph University in Beirut (@bo.usj), dedicated to the sites and monuments of Lebanon—greatly endangered by Israeli bombardments—and shown for the first time in France.
In addition, the museum is exhibiting for the first time Li Bayrut, a large bronze by Chaouki Choukini created in the aftermath of the explosion in the port of Beirut.
External Link
Featuring a diverse range of artworks—including visual installations, photography, sound pieces, and video works—the exhibition brings together the work of eighteen artists and artist duos from occupied Palestine and the diaspora. Their collective practice expands and liberates the notion of the archive, transforming it from a rigid tool to define identity into a generative space for reclaiming imagination and envisioning the future.
Curator: Reem Shadid
Link
Once a Sea features works by Azerbaijani artists exploring the cultural, emotional, and ecological ties to the Caspian Sea. Drawing on seascape epistemology and the writings of Hasan Guliyev, the show reimagines the Caspian not just as a site of loss, but as a space of memory, care, and spiritual connection—tracing past and present through a multidisciplinary lens.
Network
““Upside Down” reflects the changes and transformations occurring both within individuals and society. The collection is inspired by nature, particularly by trees that bend in the face of wind and storms yet do not break. These trees, with their curved forms, symbolize resilience and flexibility; just as in life, people too change under pressure and harsh conditions, being guided towards new paths.
Morteza Khazaie delves into the delicate balance between vulnerability and strength. Known for his poetic and deeply emotive approach to form and material, Khazaie captures the essence of human resilience through organic, sculptural works. His unique craftsmanship and thoughtful use of wood create pieces that are both grounded and transformative, resonating with the themes of survival, adaptation, and silent strength.”
Network
“The world continues out of step with itself. Time advances, but meaning falters. The gestures of daily life carry on, though they no longer feel proportionate to the moment. In Saadeh’s work, this imbalance becomes palpable. Her actions feel deliberate but disjointed, never quite arriving, never fully at rest. Going on becomes an act of endurance, but one that is constantly shadowed by the feeling of standing still.
The ordinary shifts in tone. Familiar acts appear strange; surreal moments pass unnoticed. Everything feels theatrical. Saadeh’s performances don’t heighten this atmosphere, they lay it bare, exposing a reality stretched thin by its own weight. Language struggles here. It arrives late, or breaks apart. Meaning surfaces not through explanation, but in the intervals: in pauses, fractures, and the weight of what remains unsaid. Her works speak only from within the act, never outside of it. They inhabit a friction: neither shielding us from collapse, nor surrendering to it entirely.”
Network
“a major solo exhibition by Joana Hadjithomas and Khalil Joreige. Spanning works produced mainly between 2016 and the present, the exhibition brings together installations, photographs, films, video and sculptures. It explores the vertigo of archeology, constructed imaginaries, fragilities, and persistence. In moments of extreme turmoil, the artists invoke poetry while also turning their gaze to what lies beneath our feet—surveying the emergence of subterranean, invisible worlds. These works evoke non-human perspectives on materiality, memory, cities, histories, and hidden narratives—uncovering what has been buried, forgotten, or concealed in a dizzying journey through the palimpsest of time.”
Network
The exhibition “With My Own Eyes” invites us to immerse ourselves in the living Palestinian timeline through the lens of the French photographer Joss Dray, who describes herself as the “Resistance Photographer.” At a time when standing with Palestine was tantamount to professional suicide, Dray bravely documented the atrocities of occupation, tracing the unwavering Palestinian resistance—both in the occupied land and in refugee camps in Lebanon. Through her lens, she captured moments of truth and defiance, creating a visual testimony of a people’s unyielding struggle, from the Sabra and Shatila massacre to the First Intifada, through the Oslo years, and into the Second Intifada.
External Link
“This is Not an Exhibition”, and certainly not a traditional one neatly displaying specific artworks by their artists. That is beyond our capabilities now; no one can do so, as basic communication with Gazan artists is almost impossible. They, like everyone else in the Gaza Strip, are resisting annihilation in a genocidal war. For months, they have been suffering the misery of displacement, hunger, and cold. They left their homes and studios behind, either destroyed or their destruction imminent, and have consigned their artworks to flames, shelling, and death. As for those who live outside Gaza, their hearts are being torn apart by the agony and martyrdom of their families, our families, and their fates. These considerations have made the mere mention of art seem a luxurious disconnection from reality, and consequently has made it seem preposterous to even think about creating a conventional exhibition.
External Link
“Unstable Grounds: NYUAD MFA Graduate Exhibition 2025 presents the work of graduate students completing the two-year Master of Fine Arts in Art and Media at New York University Abu Dhabi (NYUAD). Marking the fourth year of collaboration between 421 Arts Campus and NYUAD, this exhibition highlights the research and experimentation of the 2025 MFA cohort, whose work explores the environment, displacement, migration, memory, and human connection.
The artists in this exhibition, Dima Abou Zannad, Bao, Adele Bea Cipste, Hala El Abora, Mowen Li (Amira), Jude Maharmeh, Safeya Sharif, and Danutė Vaitekūnaitė, engage with themes of the origin stories of flora, fauna, and water as metaphors for environmental and economic cycles; memory and its role in shaping contemporary perceptions; and communion as a site of vulnerability and celebration, reflecting on displacement, community, and belonging.”
Network
“Redrawing the Boundaries” traces the emergence of modern art movements across Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, and the United Arab Emirates, collectively referred to as the Khaleej. Rather than outlining a linear progression, the exhibition assembles practices that intersected during formative moments of nation-building, where the tension between tradition and modernity gave rise to distinct artistic vocabularies. The selected artists were not only influential in shaping modernist aesthetic languages but were also central to the founding of art institutions and the cultivation of cultural communities throughout the Arabian Peninsula.
Network
A fearless interdisciplinary artist (working across drawing, sculpture, installation, architecture, and video), Nazgol Ansarinia brings together a compelling set of practices converging toward a new stream of critical materialism (and minimalism) in contemporary art from the Global South. Her work opens new fields of investigation on the complexities of public infrastructure development. It also evokes the subjective memory — visual forms appealing to the viewer’s touch or bodily presence — hidden behind different strategic raw materials. By proposing new dialectics of materialism (a backlash to the idea that we would live in a dematerialized world and economy) and minimalism (more political, intimate, and resilient than Western 1960–70s minimalism), her work reveals contested spaces and memories, bearing witness to the city and its evolution — mainly Tehran, in Iran.
Network
Monument of Oblivion: River of Lethe by Neda Saeedi with Nicholas Busmann is a sound installation using building site elements in a continuous cycle of construction and deconstruction. Installed at a monastery ruin, it reflects on permanence and absence, collapse and renewal, and is accompanied by screenings, performances, readings, and an educational programme.
External Link
Curated by Misal Adnan Yıldız, unbecomings gathers international artists to explore queer bodies, vulnerability, and resistance. Moving across drawing, photography, installation, and performance, the exhibition reflects on failure as possibility, the politics of visibility, and the search for collective forms of care and resilience in a world marked by crisis and transformation.
Network
In an era defined by violence, displacement and environmental crisis, the question of what survives catastrophe has become increasingly urgent. Through this new body of work, Adel Abidin returns to painting to investigate how trauma inscribes itself upon landscape, memory, and collective consciousness. His return to painting amid our current global crises proves particularly resonant — the medium itself becomes a way of preserving and processing collective trauma, much as ruins continue to tell stories of both destruction and persistence.
Network
This exhibition surveys a decade of works (2015–2025) by Ahmad Morshedloo, presented in collaboration with Hashtcheshmeh Art Space and the Ahmad Morshedloo Foundation. Born in 1973 in Mashhad, Morshedloo is known for his realist paintings and drawings that engage deeply with social concerns. His works have been shown in leading galleries and museums worldwide, including the Met in New York, the Venice Biennale, and the Museum of Islamic Art in Berlin.
Network
Saleh Barakat Gallery presents “False Witnesses,” a solo show by the influential Iraqi artist Dia al-Azzawi (b. 1939), whose iconic work is inspired by the long and shared history of the Arab world, from ancient Mesopotamia to the present day. This exhibition is a biting critique of the corruption endemic to all political systems, seen through the prism of recent events in Iraq.
Network
The exhibition at Sotheby’s gallery space in DIFC is presented by Aisha Alabbar Gallery. It features works by leading contemporary artists Dr. Najat Makki, Khalid Al Banna, Sara Al Haddad, Sara Aref Ahli, and Samar Hejazi. It brings together a multi-generational group of artists whose practices engage with the themes of memory, identity, and the cultural residues that shape our present. Spanning painting, sculpture, textile, and glass installation, the exhibition presents a quiet but powerful meditation on how histories, both personal and collective, are carried through materials, gestures, and forms.
External Link
“Zwischen Ferne und Nähe” – where the gaze reaches into infinity and at the same time a sense of security is palpable – a color emerges that is capable of combining both: blue. It is the color of peace, allowing distance without separating, and giving closeness without monopolizing. It reveals a state of equilibrium in which calm, passion, and freedom can be experienced simultaneously.
External Link
Galeri Nev Istanbul presents Us and Them, Cevdet Erek’s second solo exhibition at the gallery. Continuing his Away Terrace series, first shown in 2023, the exhibition reintroduces stadium frame structures in a new site-specific installation. Using earth blocks from Central Anatolia, Erek explores unity and opposition, public space, and the controlled conditions of access and belonging.
External Link
The free public display returns to The Regent’s Park, curated by Fatoş Üstek, including artists such as Assemble, Elmgreen & Dragset, Jaune Quick-to-See Smith and Erwin Wurm. Also “Neighbours”, a large-scale outdoor sculpture by Iranian artist Abdollah Nafisi (b. 1982) is on display, brought to the exhibition by Dastan Gallery, Tehran.
External Link
Salt Beyoğlu presents We’ve Been at the Tapestry Studio Since the 90s, an exhibition tracing the history and impact of the Tapestry Studio at Mimar Sinan Fine Arts University. Established in the 1970s and transformed from the 1990s onward under Gülçin Aksoy, the studio combined weaving with contemporary art, fostering collective, experimental, and feminist practices that bridged academia, everyday life, and Istanbul’s independent art scene.
Network
GAZA BIENNALE – THE ISTANBUL PAVILION features the work of over 50 artists from Gaza, Palestine, and beyond. The exhibition unfolds across three floors at Depo, Istanbul during the 18th International Istanbul Biennale and is curated by House of Taswir in collaboration with the artists of the Gaza Biennale and international collaborators.
External Link
Resting on three legs from 2025 through 2027, the 18th Istanbul Biennial is thoroughly feline. It secures its footing by stretching in time, following a rhythm nourished by conversations, gymnastics, and incessant news streams. Its first leg, running from 20 September to 23 November 2025, presents an exhibition with over 40 artists, alongside performances, screenings, and talks centred on themes of self-preservation and futurity. The second leg, in 2026, is dedicated to creating an academy and collaborating with local initiatives on a series of public programmes. In 2027, the biennial leans on its third leg to rest, bringing together what has been encountered along the way through a final round of exhibitions and workshops.
External Link
P21 Gallery is proud to present “Against Erasure – Photographs from Gaza” a group exhibition co-curated by Yahya Zaloom, Photo Humanity Grant and Razan AlSarraf, featuring 11 artists: Mahmoud Abu Hamda, Belal Alhams, Jehad Alshrafi, Hammam Younis Alzyatuniya, Anas Ayyad, Majdi Fathi Suleiman Qraiqea, Belal Khaled, Ahmed Salama, Fatima Alzahra Shbair, Ali Jadallah, and Abdul Rahman Zaqout. From September 24th to October 10th, 2025, P21 Gallery will be exhibiting a survey of works created by the artists in response to being awarded the Photo Humanity Grant. It brings to light the extraordinary work of Gaza-based photographers who document the realities of life under one of the world’s most violent genocides. This exhibition is a vivid portrayal of the immense hardships endured, the unwavering resistance displayed, and the indomitable spirit of survival in Gaza, Palestine.
External Link
A group show Curated by Foad Sharifi featuring works by Raana Farnoud, Dariush Hosseini, Farshid Maleki, Ali Nassir, Nicky Nodjoumi is being held at Emkan gallery.