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.
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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.
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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.
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“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.”
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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.
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‘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.
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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.
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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.
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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
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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.
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““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.”
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“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.”
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“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.”
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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.
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“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.
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“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.”
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“‘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.”
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