“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.
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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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“Following the earlier exhibitions Merciless (2018) and Roofless (2023), this solo exhibition of Neriman Polat presents the third part of an exhibition trilogy. Its parts are linked by a common suffix –less – referring to an absence: without mercy, without a roof, without land. Polat investigates in this series the progressive loss of protection, structure, and stability – physical, social, legal, and existential. Her work speaks of freedom and its endangerment, of cracking foundations, of inequality, democracy, and the attempt to gain new ground in the midst of ecological and economic crises.”
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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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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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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.
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The exhibition commemorates Sfeir-Semler Gallery’s 40th anniversary in Germany and 20th in Lebanon, presenting a survey of works that resonate with the tumult of global events and recent history. Featuring mostly new works never before shown in Beirut, the exhibition includes Wael Shawky’s video on the Israeli-Palestinian conflict, Rabih Mroué’s installation on regional violence, and Walid Raad’s politically charged birthday cakes dedicated to dictators.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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The Bouquet and the Wreath: Araya Rasdjarmrearnsook is the first large-scale survey exhibition dedicated to the celebrated Thai artist, writer, and professor (b. 1957). Spanning 45 years of work, including ambitious new commissions, the exhibition is presented in two parts: first at MAIIAM Contemporary Art Museum in Chiang Mai (July 26, 2025, to March 25, 2026), and subsequently at Jameel Arts Centre in Dubai (November 5, 2025, to March 8, 2026). The exhibition is curated by Kittima Chareeprasit and Roger Nelson. Core to Araya’s practice are enduring preoccupations with desire and mortality, difference and curiosity, reflected through recurring motifs like flowers, beds, and words. These motifs suggest the inseparable nature of happy and unhappy states: a bouquet of flowers for a celebration versus a wreath marking loss; a bed as a site of rest versus a site of suffering. A landmark publication compiling responses to Araya’s practice will accompany the exhibition.
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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.
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Nottingham Contemporary is proud to present a major new commission by the Palestinian artist duo Basel Abbas and Ruanne Abou-Rahme. This exhibition features the artists’ largest multi-media installation to date, celebrating their significant contribution to the field of research driven audio-visual art.They excavate, activate and invent incidental narratives, figures, gestures and sites as material for re-imagining the possibilities of the present, ultimately questioning what is and what could be.
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Iraqi-American artist Michael Rakowitz draws upon his Arab-Jewish heritage to scrutinize Western interventions in the Middle East. His works foreground the significance of cultural heritage in times of war and probe the ways in which societies negotiate the relative value of human life and cultural monuments. At the centre of this exhibition are eight reliefs conceived specifically for Stavanger Art Museum, presented as a room within a room. These reliefs are reconstructions of sculptures that once adorned the walls of a chamber in the Assyrian Northwest Palace of Kalhu (near present-day Mosul). They form part of Rakowitz’s ongoing series “The invisible enemy should not exist,” originally initiated as a response to the looting of the Iraq Museum in 2003 following the US-led invasion of Iraq. Rather than replicating the lost objects, the artist “reappears” them using discarded materials to evoke their absence.
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5 Film & Photo Awards Festival is an international event for film and photography with the intention to create a bridge between different countries and cultures. The Festival is inspired by a 500 years old tree in the suburb of Damavand, located in the village of Aro, which was the subject of photographs by Abbas Kiarostami in different seasons for many years. The number 5 in the festival’s title derives from the movie 5 made by Kiarostami (2002). Festival 5 shows and supports independent artists from Iran and all over the world.
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This is the first presentation of works from the Sharjah Art Foundation Collection on the east coast, held at the Kalba Ice Factory, featuring rarely seen large-scale works by nine international artists. The exhibition juxtaposes the ambitions of the postcolonial state with the grief of the dispossessed. It concludes with John Akomfrah’s three-screen film Vertigo Sea (2015), which uses archival and staged footage to explore diverse sea narratives, including migration, environmental collapse, and the refugee crisis. Water is viewed alternately as a border, a gateway, and an open network.
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This exhibition is part of the Festival d’Automne 2025. Paris des Vi(ll)es: Public Intimacies is an in situ artists’ residency, an exhibition, and a series of performances. Participating artists are: Bruno Carpentier, Sélima Chibout, Saad Eltinay, Nathalie Harb, Inssa Hassna, Djodjo Kazadi, Jeanne Tara, Vicente Lesser, Sandra Madi, Gabriela de Matos, Cara Michell, Androa Mindre Kolo, Mega Mingiedi Tunga, Oliver Musovik, Lasseindra Ninja, Léonce Noah, Efrin Özyetiş, Scénos Urbaines (François Duconseille and Jean Christophe Lanquetin), Sello Pesa, Rester.Étranger, Ika Ryu, Beatriz Santiago Munoz, Kristina Solomoukha + Paulo Codeluppi + Barbara Manzetti, Samuel Suffren, Ika Yuliana.
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This solo exhibition by Iraqi Kurdish artist Avan Sdiq is curated by Shad Abdulkarim. The show features sculpture, video, and painting. It offers an immersive exploration of time, space, and perception, transforming the gallery into a site where reality and illusion merge. Sdiq uses transparent surfaces and fluid forms to create layered compositions that require active viewer engagement. The works bridge personal memory with universal experiences of presence and belonging, capturing the tension between stillness and motion.
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The exhibition explores the element of air through the lens of Arabic terminology: “Sukoon” (stillness/pause), “Hawaa” (gentle, everyday air), “Naseem,” and “Riyah.” The exhibition examines how these states influence our internal rhythms and environments, encouraging contemplation of pause and transformation. The show displays works by 15 artists, including Yousif Abdulsaid, Ammar Al Attar, Moza Al Falasi, Mohammed Kazem, and Ayman Zedani.
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Darat al Funun with The Khalid Shoman Foundation present a major collective exhibition featuring nineteen artists and collectives from countries including Jordan, Palestine, and South Africa. Inspired by global solidarity with Gaza, the exhibition spans film, installation, and research-based practices across multiple buildings. The works invite engagement with current central questions, charting a geography of reflection and resistance, and exploring themes of witnessing, memory, disappearance, and persistence.
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YAY Gallery presents the first solo exhibition, by young artist Mouk (Ali Israfilov), featuring new works created during his residency at YARAT. The show, which references a half-forgotten motel and noir-like characters, creates a space of deceleration and prolonged encounter with existence. The philosophical foundation draws on Jean-Paul Sartre’s existentialist principle that “existence precedes essence,” and also references Albert Camus, exploring the simultaneous anguish and relief in recognizing the arbitrariness of being. Israfilov’s works encourage a slowness of gaze, resisting “clip culture” by focusing on private rituals, objects, and social relations that define the rhythm of solitude.
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The exhibition marks the ten-year anniversary of 421 Arts Campus, offering a space for reflecting on emergent artistic practices in the UAE, their possibilities and challenges for the future. Munira Al Sayegh’s Leading to the Middle draws on the nature of expansion found within a ripple effect, pegging that movement onto the UAE’s arts landscape over the past decade. Through this lens, she traces the generosity and influence of key actors whose contributions have created lasting reverberations, marking formative turning points in the development of the scene and illuminating what preceded them. Featured artists and spaces include Mohammed Ahmed Ibrahim, Tarek Al-Ghoussein, Bait15, Adele Bea Cipste, Khaled Esguerra, Lamya Gargash, and Auguste Nomeiakaite.
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“Through a language that combines formal minimalism with political tension, Hatoum questions how space is regulated, surveilled and colonised. Her work does not offer solutions, but rather builds environments of experience and suspension, in which viewers are continuously called upon to reposition themselves, to negotiate their perspective and to “see” what remains behind the scenes. In this sense, her works act as critical zones of perception, where the artistic gesture becomes a tool of excavation, deconstruction and unveiling. The exhibition’s title plays on the double meaning of “seen” and “scene,” suggesting a gaze beyond appearances, toward the hidden spaces of human experience: memory, trauma and the desire for resistance.” Curated by Giuliana Altea, Antonella Camarda and Luca Cheri.
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Eugenio Viola, General Curator of the 24th Bienal de Arte Paiz, comments: “Similar to the synaptic cartography of the ‘dendritic tree’ in neuroscience, which maps the complex connections within neural networks, ‘The World Tree’ opens up a constellation of voices, reimagined as a synaptic map, which visualizes our society as a dynamic, interconnected network—a fluid cartography of human relations, social bonds, and cultural exchanges. 46 participating artists includes both eminent and emerging Guatemalan and international figures: Maria José Arjona* / Kader Attia / Sonia Barrett / etc.
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To mark its 10th anniversary, Marfa’ is hosting an exhibition in Beirut featuring eighteen international galleries. The show promotes cross-cultural dialogue and celebrates togetherness, with artists like Ahmad Ghossein and Lamia Joreige exploring Lebanese civil war, memory, trauma, and conflict history. Participating galleries include Alexander Gray Associates (New York) and Galerie Chantal Crousel (Paris).
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The exhibition presents the works of the iconic Palestinian artist Laila Shawa (1940–2022), offering insights into her uniquely trans-cultural visual language. In her art, Islamic ornament meets Western pop art and Byzantine calligraphy sits alongside graffiti tags. Throughout her career, Shawa critically addressed systems of violence, be it patriarchal, colonial, military, or religious and turned them into emotionally charged, but often playful visual forms. She understood the commodification of the human body, especially the female body, as a central mechanism of power: whether through religious control, cultural roles, political propaganda, or the global media machine.
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Abu Dhabi Art expands beyond the notion of a traditional art fair in placing emphasis on a diverse public engagement programme, including art installations and exhibitions, talks and events, that take place in different locations throughout the year. The culmination of this year-long programme is the Abu Dhabi Art event in November, which provides an important sales platform for participating galleries whilst also offering these galleries an opportunity to showcase ambitious installations and site-specific works by their artists to a wide audience.
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The comprehensive exhibition, curated by Jihad Mikhael, brings together a distinguished selection of artworks spanning one hundred years of Arab visual expression. It highlights pioneering modernists, influential mid-century artists, and contemporary voices whose works have shaped the evolving landscape of Arab art.
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The Gaza Biennale, an art project rooted in displacement, scatters like seeds around the world to create new hybrids. Through repetition and reproduction, artworks survive the destruction of a genocidal war machine and reappear by virtue of partnerships in different parts of the world. Transcending territory, the Gaza Biennale expands through a human topography that cannot possibly be besieged. Arriving in Berlin on November 21, 2025, the Berlin Pavilion unfolds across different venues in the city to show the works of over thirty artists with exhibitions at sites including Flutgraben, Agit, and Khan Aljanub, and with programs hosted at Galerie & Atelier Arabisk, Casino for Social Medicine, Spore Initiative, and KM28, as well as around the streets of Berlin.
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The exhibition, curated by Alfons Hug, features twelve leading artists from across the African continent. It explores the extraordinary diversity of Africa’s art, positioning the continent not as a periphery but as a main engine of world civilization and creativity. It situates contemporary demographic, ecological, and social shifts within deeper historical lineages, highlighting Africa’s long role as a catalyst for global transformation. The works span painting, photography, installation, and sound, and unfold through four thematic directions: The echo of history, bodies and portraits, the urban drama, and vanishing voices. The show aims to introduce Azerbaijani audiences to this new generation of internationally celebrated but locally less-known African artists, whose work resists colonial frames and draws from hybrid aesthetics.
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