The inaugural edition is organized around the central theme "Shifting the Center: From Fragility to Resilience," reclaiming African architecture's place as a site of spatial intelligence and cultural memory.
We don't eat batteries. They take away the water; they take away life. This pronouncement, in Spanish, appears in a photograph that the artist Tomás Saraceno sent via WhatsApp last month from Salinas Grandes, a high-altitude salt flat in northern Argentina. There, in one of the world's largest lithium reserves, the artist is working alongside 11 Indigenous communities to build El Santuario del Agua (The Water Sanctuary), a monumental work about the global energy transition.
The designation prohibits the sites from being targeted or used for military purposes, with violations potentially constituting serious breaches of the 1954 Hague Convention and grounds for criminal responsibility.
After years of operating from exile, Yemen's Saudi-backed, UN-recognised cabinet is spending Ramadan in Aden, a move that has coincided with improvements in basic services and a renewed sense of relief. Yet that relief was overshadowed by the deadly confrontation between security forces and antigovernment protesters, in which at least one person was killed.
Ali Sbeity painted vibrant portraits and landscapes of his rural hometown in Southern Lebanon, often sharing his works on his Facebook. He participated in numerous local arts exhibitions and created murals for schools in Beirut.
There is a scene in "Morgenkreis | Morning Circle" (2025), a 16-mm film by Berlin-based Palestinian artist Basma al-Sharif, that unfolds at the threshold of a daycare center. A young boy clings to his father, his fists locked into the fabric of his coat, his arms wrapped tightly around him. The father gently tries to pry himself free while a daycare worker crouches nearby, attempting to distract the child and coax him inside. It is an ordinary moment, one that anyone who has ever been a child - or cared for one - recognizes instantly, as well as the gut-wrenching feeling it provokes.
As an artist, having the freedom to create without boundaries is incredibly rare. That's why I reference the Sistine Chapel-not to compare myself to Michelangelo, but to evoke that moment in history when an artist was entrusted with complete creative freedom to interpret humanity as it was understood at the time,
Titled "في الحِلّ والترحال" / In Interludes and Transitions, the exhibition is led by Co-Artistic Directors Nora Razian and Sabih Ahmed, while Milan-based architect Sammy Zarka contributed as the Associate Architect and Exhibition Designer. The exhibition scenography is designed by Formafantasma, and the event brings together more than 65 artists from over 37 countries, including more than 25 newly commissioned works.
The quadrennial exhibition introduces a new type of transnational, transdisciplinary program to Doha, rooted in issues that affect both Qatar and the wider region. The artists exhibiting broadly represent the diverse nationalities that live in Qatar, while their work reflects the shared geographical, environmenta
