In conversation with Sebnem Kirmaci, Al Khalifa discusses the relationship between painting and sculpture, the influence of Bahraini architectural traditions, the role of light, colour and movement, and the responsibilities of building a sustainable art ecosystem in the Gulf.
Şebnem Kırmacı spoke with Robert Montgomery about the ideas shaping his new exhibition.
We spoke with Alejandra Castro Rioseco about why she began collecting the work of women artists and what private collections can do beyond exhibiting artworks.
For Ayça Ceylan, nature is not a backdrop, the body is more than a subject, and ritual is not a return to tradition but a practice of attention. In this conversation, the eco-performance and new media artist reflects on ecology, embodied knowledge,
Aesthetic Memory: A Selection from the Terakki Foundation Art Collection opened on 17 June at the Terakki Foundation Art Gallery. Curated by Nazlı Pektaş, the exhibition brings together works by some of the leading figures of Turkish painting and sculpture.
Shiva Zahed Gallery presents Against Transparency, a solo exhibition by Iranian artist Ahmad Rafi, on view from 22 May through 5 July, curated by Shiva Zahed. Bringing together a landmark selection of works produced over the past two decades, the exhibition revisits
Consciousness has become one of the defining questions of the twenty-first century. While neuroscientists, philosophers, and cognitive researchers seek to understand how subjective experience emerges, artists have long navigated these uncertain territories through intuition, imagination, and visual language. Ayşe Bayram belongs to
The 61st International Art Exhibition of La Biennale di Venezia: historical memory and new forms of cultural dialogue
The Hong Kong Pavilion at the 2026 Venice Biennale features "Fermata: Hong Kong in Venice," a joint exhibition by artists Kingsley Ng and Angel Hui. Taking its name from the musical term fermata (a pause or prolongation of a note), the exhibition
The very first thing you encounter in CONCENTRATE is not an artwork, but rather a smell. The sharp scent of car paint, aluminium and solvent fills the gallery and spills outside. This sensory detail perfectly captures what Tom Fellows’ exhibition does best:
Many major exhibitions in 2026 are moving beyond merely presenting "art objects"; instead, they approach the idea that art can once again become a form of ritual, a field of consciousness, or a space for collective healing.
For Oğulcan Kuş, luck is not a sudden stroke of fate but the slow accumulation of effort. The analogue world — tools, vinyl, things made by hand — is where he feels most alive.
