“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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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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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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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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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 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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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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