Ahmed Morsi has spent a lifetime painting a place he cannot locate. And that is both by choice and by design.
Since it was established in 2009 as a non-commercial space for contemporary art, Beirut Art Center (BAC) has resisted reductive narratives of what it does, what it means, and how it keeps going.
Doha, Qatar | February 02, 2026
Some artists inherit their medium. Mona Saudi chose hers with defiance. Born in Amman in 1945, she grew up in a traditional Jordanian household, her ambitions constrained by conservatism, rather carved in stone.
For Pierre Ghattas, art has always been a continuum rather than a linear progression. For the seasoned art historian and archaeologist, it is second nature to create conversation and draw parallels between Iraq’s Uruk excavation sites, Giotto’s frescoes, and contemporary architecture and design.
Before Chafa Ghaddar paints on surfaces, she listens to what they remember, what they conceal, and what they choose to let go of.
A decade ago, a 15-day trip via the Rovos Rail from Dar es Salaam to Cape Town reshaped AbdulRahman Al Khelaifi’s relationship with art. It planted the seeds for what would become ARAK Collection…
Across four decades, Juliana Seraphim built a visual universe where women, nature, and the ethereal flowed into one another with intuitive ease.
In a Lebanon defined by fragility and resilience in equal measure, the act of protecting culture is one of resistance. Few understand this better than Youmna Ziadé Karam, who brings her multidisciplinary experience in law, banking, and heritage advocacy to the Nuhad Es-Said Pavilion for Culture – where she represents the National Heritage Foundation in the Pavilion’s Committee.
GHAZI BAKER | Constructing chaos