In The Seventh Continent, installations don’t so much play off one another as lead to a feeling of fatigue, as one ponders a stream of disparate weighty topics in rapid succession.
Raad’s latest exhibition in Beirut explores history, archives, and reality with his signature inscrutability and dry humor.
Act II the final component of the Sharjah Biennial Tamawuj has the feeling of a magnifying glass being held up to the wide-ranging dialogues chief curator Christine Tohmé seeks out with curators, artists, performers, writers, and researchers.
Over the summer, Murillo, known for his monumental installations of black flags at the Venice Bienniale, came to Ras al-Amud to take this ongoing body of work, “The Institute of Reconciliation,” in a new direction.
Dealing with themes of surveillance, personal and shared space, and what defines home in film, installation, and more.
The Paper Revolution at the ADAM: Brussels Design Museum unite close to 100 original works on paper from a variety of artistic Soviet luminaries.
Aravrit, made by Liron Lavi Turkenich, is meant to be readable for both Arabic and Hebrew speakers.
An expansive and enthralling exhibition at London’s Barbican Centre pulls work from more than 40 architects.
A Gillian Wearing exhibition at the National Portrait Gallery puts her work in dialogue with her largely forgotten Surrealist inspiration.
A new film looks at the life of the female explorer, spy, translator, and archaeologist, who’s been largely written out of history.
An exhibition at the Israel Museum brings together the photographs and videos that Ron Amir made over three years in the desert surrounding the Holot Detention Facility.
Barbur Gallery held an event with the left-wing NGO Breaking the Silence, and now the municipality of Jerusalem is trying to kick it out of its space.