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Summer in color in Lebanon, Abu Dhabi and Egypt: Where to be this weekend in the Middle East

Summer in color in Lebanon, Abu Dhabi and Egypt: Where to be this weekend in the Middle East

When every weekend blurs into a never-ending scroll of flyers, exhibitions and underground gigs, having too many options can feel a lot like having none. This is why every Thursday, L'Orient Today, in partnership with The MYM Agenda, is going to guide you through the cultural happenings across the Middle East that are actually worth your time, whether it's a Beirut book launch, a rooftop concert in Amman or an experimental film screening in Tunisia.
Consider this your weekly shortcut to what matters in the region's buzzing cultural scene.
If you walk around the streets of Beirut, it's not hard to find a couple of shiny art galleries, displaying the next big artists. Here's our pick of two you can't miss this week:
If you're around Clemenceau, make sure to visit the Salah Barakat Gallery and take a trip inside Azza Abo Rabieh's vibrant and multidimensional world.
Abo Rabieh, a Syrian artist living in Beirut, is known for blending tulle and painting on her canvas, creating an almost illusionary effect that makes you never want to leave the inside of her brain. It is often so seamless and light that you find yourself perceiving everyday objects, such as strawberries and buildings, as infinitely delicate.
For more information, click here.
Water runs our lives, or at least that's the narrative that Joumana Jamhouri invokes in her latest photography exhibit at Mar Mkhayel's Galerie Tanit. Water demarcates our cities, reflects the sky, shapes the horizon and keeps us and our plants healthy and happy. It's a force much bigger than any of us, and Jamhouri's pictures of vast landscapes and close-ups of fish will feel like taking a swim on a hot summer day.
What does summer mean to you? Artbooth Gallery, in Al Rawdah, Abu Dhabi, asked that question to 10 multi-disciplinary artists. The answers are what summer feels like — bold, hot, bright, vague and melancholic. The artist's individualism shines through, yet it still comes together to build a cohesive experience and a universalized vision.
Summered is showcasing artworks by Soraya Abu Naba'a, Gilbert Halaby, Asaad Arabi, James Mathews, Habuba Farah, Noor Bahjat, Bruno Sfeir, Oussama Diab, Layal Khawly and Elias Naman until September.
Ever noticed the men on the streets in Lebanon who collect bottles from garbage cans to sell later? Artist Béchir Boussandel couldn't help but become obsessed with them as he visited his homeland in Tunisia, and began a journey into a new medium — blown glass.
His exhibition at Tabari Artspace in DFIC, Dubai, "Tempted By Other Suns," tackles his long-time muses: migration, urban transformation and survival. Boussandel, raised in France, blends paint, blown glass, metal and other organic materials to tell his story and that of the men he met on the streets of Tunisia.
As French philosopher Claire Marin said, 'Like migratory birds, we are always tempted by other suns.'
This Saturday, head to Dar al-Anda Art Gallery in Amman, Jordan, to catch the opening of painter Hiba Sweis' latest exhibition, "Let There Be Color and the World Shall Breathe." In a world where light was created on the first day, Sweis explores the reality of this theory. If light were present, then color would be the first word it spoke.
In our lives, we cannot experience any of our senses without color or hues. Even our touch, our hearing, our feelings are bright, loud, dull or overwhelming. Sweis tries to translate her saturated world on canvases, taking you on a trippy yet reflective experience.
For more information, click here.
Safar Khan Gallery in Zamalek, Cairo, is hosting another Anthology exhibition, this time (and fittingly, given today's theme) focusing on each artist's interpretation of the Egyptian summer. Running until mid-September, the show will feature multiple revisits and changes by the curators, allowing you to visit periodically and compare and contrast the additions you love or dislike, making the exhibition an ever-evolving experience.
Head over to visit your favorite established artists' latest works, or meet new and emerging voices in the scene, working in sculpture, photography, fabric appliqué, mosaics and various forms of painting.
For more information, click here.
This month, Stal Gallery in Muscat, Oman, is showcasing emerging artists in Omani contemporary art, particularly those who are not afraid to use bold colors to tell their stories. "Narratives of Colors" is a joint exhibition by H.H. Sayyidah Afra al-Said, Anwar Sonya, Hassan Meer, Moosa Omar, Idris al-Hooti and Hussain Obaid, which explores identity, memory and storytelling in screaming colors.
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What not to miss at the Night of the Museums
What not to miss at the Night of the Museums

L'Orient-Le Jour

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  • L'Orient-Le Jour

What not to miss at the Night of the Museums

For 'Night of the Museums,' 24 museums across five cities (Tripoli, Jbeil, Jounieh, Beirut and Saida) will open their doors for free entrance tonight from 7 p.m. until 11 p.m., with buses shuttling visitors around Beirut. Ahead of the event, L'Orient Today asked curators to break the sacred vow of loving all their work equally and name the one piece that can't be missed… The Colossus of Byblos at the National Museum Unearthed in Byblos in 1926, the Colossus is a towering Egyptian-style statue that has watched over the National Museum of Beirut since it opened in 1942. Once part of a trio guarding a sacred pond, it's the only one to survive intact from the Bronze Age. 'It's the guardian of the sanctuary,' says Tania Zaven, Director of North Mount Lebanon at the Directorate General of Antiquities. 'And the museum is a sacred place too. Lebanon's past is here and we are all trying to protect it. At least, this is what I feel whenever I enter the place.' The broad-shouldered limestone Colossus was burnt during the Civil War, then sealed in cement cases for its protection. 'Covered then uncovered and covered then uncovered and it's still standing, it's still there!' Zaven says. 'It's protecting us… and it witnesses everything.' Artefacts and art at Sursock Museum At Sursock Museum, Joana Hadjithomas and Khalil Joreige use history as their metaphorical paintbrush in a new collection that spans nearly 10 years of multi-media artwork. Coming in parallel to a retrospective of their films at Metropolis Cinema, Hadjithomas and Joreige's 'Where is my Mind?' springs from extensive research and collaboration with archeologists, geologists and historians. It's their first showing since 2012 and a rare solo exhibition, says curator Karina al-Helou, despite the Lebanese duo's international recognition. Born into a lineage of Palestinian, Greek and Syrian refugees, the versatile artists' work is nonetheless rooted in Lebanon's heritage, and the vast collection of work is shaped by their knack for storytelling. The exhibit is a natural continuation of the history on display at the National Museum, Helou says. Initially planned before the 2020 Port explosions, the exhibit was reimagined to explore art as a form of transcendence. 'It's about poetry, beauty and art as a way of getting over chaos.' The broken glass of AUB's Archeological Museum The Beirut Port blast of Aug. 4, 2020, one of the largest non-nuclear explosions in history, reduced much of the glass collection at the American University of Beirut's Archeological Museum — located about three kilometers from the epicenter — to dust. 'Instead of trashing everything, we sifted through the shards, which were mixed with debris from the showcases and windows,' says curator Nadine Panayot. Out of the 72 glass artefacts that had been thrown to the floor, they managed to restore 28, eight of which were sent to the British Museum to be pieced back together and then featured in an exhibit, 'The Shattered Glass of Beirut,' which drew in record-breaking crowds before traveling to China and Japan. 'They're just glass vases, nothing special, ranging from the Roman to the Medieval period,' Panayot says. It wasn't the artefacts that people came to see, but the story of their cracks, which Panayot chose to leave visible, rather than masking with resin. 'I wanted to keep the scars,' Panayot says. They are now back on display in Beirut. Participating museums in Beirut: National Museum of Beirut, Sursock Museum, AUB Archaeological Museum, AUB Geology Museum, USJ Minerals Museum, USJ Prehistory Museum, USJ's Oriental Library, Banque du Liban Museum, Gallery of the Institut Français du Liban, Villa Audi, and the Nuhad Es-Said Pavilion for Culture. Participating museums outside of Beirut: In Tripoli, Saint Gilles Citadel Museum; in Jbeil, the Aram Bezikian Museum of Armenian Genocide Orphans, the Byblos Site Museum, the Marine Fossil Museum, the Pepe Abed Foundation, MACAM and LAU's Louis Cardahi Foundation; in Jounieh, the USEK Museum; and in Saida, Debbane Palace, Khan al-Franj, the Soap Museum, Hammam al-Jadeed, and Khan Sacy.

Death of Ziad Rahbani: How the Arab and international press reacted
Death of Ziad Rahbani: How the Arab and international press reacted

L'Orient-Le Jour

time21 hours ago

  • L'Orient-Le Jour

Death of Ziad Rahbani: How the Arab and international press reacted

BEIRUT — The death of Ziad Rahbani has plunged Lebanon and the region into mourning, with international media hailing his artistic genius, sharp social critique, and lifelong support for the Palestinian cause. The eldest son of diva Fairuz and Assi Rahbani, icons of the Lebanese music scene, died on Saturday, July 26 in Beirut, at the age of 69, after years of illness. His funeral was held Monday afternoon at the Church of the Dormition in Mhaydsé-Bickfaya, attended by political leaders and figures from the country's artistic scene. From al-Jazeera to Libération, and through to the Washington Post and the New York Times, L'Orient-Le Jour looks back at the main headlines from the media outlets that paid tribute to Rahbani's genius and saluted a man who left his mark on contemporary Arab music and fought for the Palestinian cause. 'Lebanon and the Arab world lose one of the most important pillars of art and music' The Qatari channel al-Jazeera lamented the passing of 'the rebellious and melancholic voice of Beirut, (...) after a long career in which [Rahbani] developed a particular artistic style combining irony and depth, rebellion and love.' According to the channel, Fairuz's son was 'one of the most outstanding figures of contemporary Arab music' who 'introduced elements of jazz and Western styles into Eastern music' and 'succeeded in developing his own style blending experimentation and identity.' 'With his departure, Lebanon and the Arab world lose one of the most important pillars of art and music.' The Palestine Chronicle, a Palestinian publication dedicated to raising awareness of human rights, paid tribute to the 'unyielding voice of resistance and revolution' of Rahbani, calling him a 'pillar of radical music.' Describing the artist as 'a committed communist who had rallied to the Palestinian cause,' it praised 'Ziad's compassion for the poor and the oppressed, which was quickly expressed through music.' 'His works broke social taboos, violently attacking discrimination and highlighting characters from the working class,' the media outlet recalled. 'Ziad unsettled the rich, embarrassed the conservatives, and irritated the liberals, to the point where some even wished for his downfall.' Syria and Rahbani While Rahbani's silence on the Syrian revolution troubled some of his admirers, the Syrian site Enab Baladi, known for its opposition to ousted President Bashar al-Assad, still paid tribute to the Lebanese figure. 'He was known for his outspokenness and the vehemence of his statements, regularly criticizing Lebanese and Arab politicians and artists,' wrote the platform. More about the artist However, Enab Baladi criticized the artist's 'ambiguous political positions' and his 'explicit support for Hezbollah' which was fighting alongside the Assad dictatorship. But the site acknowledges that Rahbani's works 'continued to arouse interest and to be disseminated, which reflects the depth of his influence and the diversity of his audience.' 'Multi-talented artist, genius of the cultural scene' In France, the major daily Le Monde paid tribute to the 'multi-talented artist, genius of the Lebanese and Arab cultural scene.' 'He had become immensely popular by portraying Lebanese society in plays with biting humor,' the newspaper wrote, referring to Rahbani's 'provocative spirit' and 'leftist commitment.' 'A fervent supporter of the Palestinian cause, he championed resistance against Israel and expressed his admiration for Hassan Nasrallah,' the Hezbollah leader assassinated in September 2024 in an 'Israeli' strike, it noted. While Le Monde reminded that the great artist had 'sided with the Damascus regime,' which earned him significant criticism, it observed that this 'in no way diminished the almost heritage-like status of his work.' Le Monde then discusses the secularism of the late artist, 'a scourge of sectarianism (…)', explaining that 'it is also for this reason that his work has transcended generations. (…) For a large part of today's youth, notably those who participated in the anti-system demonstrations of autumn 2019, he embodied the hope of a country freed from communal shackles.' 'To say that Lebanon is mourning him is an understatement. Yet, despite being iconic, Ziad Rahbani (…) was not the consensual type, a Communist Party member always quick to highlight the clan-based excesses of a country subject to deals among the well-connected,' wrote the left-leaning French daily Libération, referring to the passing of a 'legend of Lebanese music who placed his art of musical hybridization and staging at the service of political satire in his country.' In 1998, the artist was interviewed by Libération on the occasion of a concert in Paris. 'He didn't bother with circumlocution: This country does not exist. It produces nothing, people aren't used to working. It's like a bad photocopy. Like Taiwan, they copy everything: movies, sex. Lebanon is a Third World country,' Ziad Rahbani replied. RFI (Radio France Internationale) in turn paid tribute to 'one of the greatest artists' of Lebanon, known 'for his plays that have become cult classics,' 'for inventing oriental jazz,' and 'revolutionizing the world of Lebanese song and theater.' ' A rebellious figure on the Lebanese cultural scene, he leaves behind a profoundly engaged body of work,' notes the French media outlet, whose news bulletins are broadcast on Radio Liban. 'A Lebanon at war with itself' Across the Atlantic, the New York Times recalled that Rahbani's songs 'forged a new sound for the Arab world and his plays sharply criticized the political corruption of his country.' 'Lebanese who attained adulthood during the war, like Rahbani, saw in his melancholic and sarcastic lyrics the brutality and contradictions of their small eastern Mediterranean country as it was tearing itself apart. He remained much loved by later generations of Lebanese, who grew up in the shadow of the war as sectarian divides, corruption, and economic stagnation took over Lebanese life,' the NYT recalled. The Washington Post in turn praised Rahbani's 'irreverent satire, uncompromising political critique, and jazz-influenced compositions that reflected the chaos and contradictions of a Lebanon at war with itself.' The daily described the artist's musical work as 'deeply rooted in the traumatic events of sectarian conflict, bloody street fighting between rival militias, and three years of violent Israeli occupation after the 1982 invasion.'

Diaries from Gaza: In these moments, I see a version of my daughter that war can't touch
Diaries from Gaza: In these moments, I see a version of my daughter that war can't touch

L'Orient-Le Jour

timea day ago

  • L'Orient-Le Jour

Diaries from Gaza: In these moments, I see a version of my daughter that war can't touch

Noor al-Yacoubi is a 26-year-old translator and writer. She hasn't left the Gaza Strip since the war began on Oct. 7, 2023, and has been sharing reflections on her life with L'Orient Today during the war. Today she speaks of the bitterness she feels over the childhood that war has stolen from her daughter, Lya, and the rituals she puts in place to help them both forget — if only for a moment — the horrors of the Israeli aggression that destroys everything around has become my favorite time with Lya. Not because either of us is especially passionate about it. It's not about art, it's about safety. It's the only activity we can share that feels remotely normal while the world around us falls the war began, Lya hasn't lived a single normal day. Not one. She's never been to a park or a playground. She's...

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