Mounira al-Solh resists homogenizing narratives about Arab women in her work’s specificity and its rejection of expected characters or sensationalized accounts.
This is an imaginary landscape crafted by humans, but the urban dweller will recognize it as scarily quotidian.
For seven years, Gregory Buchakjian has surveyed and photographed Beirut’s deserted buildings, memorializing a vanishing urban landscape and the lives that intersected with it.
The mysterious promise of the old gates of Aleppo’s old town and its patchwork of faiths are woven through Kevork Mourad’s pictures of “in-between spaces.”
Mahwish Chishty projects Pakistan’s folk art traditions against the blank flanks of America’s weapons of war, subsumed by the very culture they target.
The exhibition features 17 artists, whose wide-ranging works put the lie to prevailing notions that the weather is a soporific subject, that environmental issues cannot be made engaging.
LONDON — Pakistan is not an old nation state, but its history — and, indeed, its present — is uncommonly steeped in blood.
LONDON — Five figures stand cocooned in the radiating steel cables of the Brooklyn Bridge — four of them are naked and covered in painted spots, hanging out beneath a banner that reads “SELF-OBLITERATION.”
SANANDAJ, Iran —In the far west of Iran, in a small region called “Kordestan” — a chunk of land clinging to the Zagros mountain range and named after the ethnic Kurds who inhabit this and much of the surrounding area — is the city of Sanandaj (formerly Senna), the administrative center of the region.
ISTANBUL — Central Istanbul looks markedly different today than it did around this time two years ago.
LONDON — The documentary Restrepo (2010) opens with a dramatic shot of a helicopter whirring through the craggy brown peaks, green fields, and deep valleys of Afghanistan.
LONDON — Outside The Mosaic Rooms, a small gallery and cultural center in Kensington, a red and white-striped air sock hangs improbably from the otherwise uniform stone façade.