Yvette Achkar: Le Temps des Semailles, 2008
Architecture, Place, and Memory in the Work of Asma Belhamar
Héla Ammar, Hidden Portrait I: The Body as a Living Archive
Gathering the Land’s Stories: The Living Symbolism of Olive Pickers, 2013
Reverberations of Memory: The Resonant Power of Chant Avedissian's Icons of the Nile
Samia Halaby: Rhythms of Return
Kamrooz Aram: A Lyrical Meditation on Memory and Renewal
I Saved My Belly Dancer
Between Fragments: Togetherness, 2005
Alia Ahmad: Mapping Memory, Colour, and Belonging
Omar Najjar: A Modern Impressionist Reflection on Nostalgia
Etel Adnan: A Final Testament to Colour, Conflict, and Cosmic Witness
Suad Al-Attar’s Testament to Loss and Endurance
Modularity and Modulation: On the Subtle Art of Sarah Almehairi
Ribal Molaeb: A Sensory, Symphonic Experience of Visual Harmony
Helen Khal: Windows of Light and the Emotive Vocabulary of Colour
Hamed Abdalla: The Revolutionary Letterist of Modern Arab Art
Seher Shah: Of Absence, 2020
Harmony and Experimentation: Two Paintings by Mouteea Murad in the Dubai Collection
Marwan Chamaa: La Dolce Overdose (2012)
Assadour’s Clockwork Orange
How Do You Paint in Arabic? Exploring the Artistic Oeuvre of Etel Adnan
The Bride (Undated) and Motherhood (1987)
“I was born in a very modest place, therefore, I paint children, mothers, families, I paint misery, birth, death, and I paint the noise. I paint the tight-knotted groups that are lost, scarred, expelled, not knowing where is their next destination, I paint the neighborhoods which witnessed war, and hunger. Fear, genocide, siege, illness and death, from all of these ingredients I explode and I paint”. Paul Guiragossian, 1984 [1]
