Titled In Interludes and Transitions, the Diriyah Contemporary Art Biennale 2026 unfolds as a choreography in various movements, inspired by the flows, migrations, and transformations that have long connected the Arab region with the world. 

Group Exhibition with Teresa Arozena Ismaïl Bahri Eline Benjaminsen y Dayna Casey Bleda y Rosa Patricia Dauder Erik Estany Tigerström Max de Esteban Carla Filipe Lee Friedlander Marina Gadonneix Paul Graham Guido Guidi Linarejos Moreno Man Ray Joana Moll Pilar Monsell Julia Montilla Silvia Navarro Martín Mabel Palacín Joel Peláez...

Goup exhibition with Driss Aroussi, Ismaïl Bahri, Yto Barrada, Hicham Berrada, Bertran Berrenger, Roxane Borujerdi, Ali Cherri, Julien Creuzet, Marcel Dinahet, Anne-Charlotte Finel, Perrine Lacroix, Randa Maroufi, Josèfa Ntjam, Christine Rebet.

Group exhibition with Ismaïl Bahri, Hicham Berrada, Hélène Bertin, Hubert Duprat, Max Fouchy, Mona Hatoum, Ann Veronica Janssens, Stéphanie Mansy, Myriam Mihindou, Sabine Mirlesse, Jean-Baptiste Perret, Pétrel|Roumagnac (duo), Roman Signer, Anna Solal et George Trakas.

Group exhibition with Emné Nasereddine, Fatim Soumaré, Hani Zurob, Kan-Si, Majd Abdel Hamid, Mélinda Fourn, Robert Machiri and Thania Petersen.

Group show with Annaïk Lou Pitteloud, Gabriel Kuri, gerlach en koop, Hendl H Mirra, Ian Kiaer, Jacqueline Mesmaeker, Lisa Ivory, Mark Geffriaud, Shimabuku and Steve Van den Bosch.

Une œuvre à protocole se manifeste à partir d’un énoncé formulé par l’artiste, sorte de mode d’emploi qui décrit les conditions de son apparition. À partir d’instructions données (écrites, orales, dessinées), l'œuvre peut être matérialisée le temps de son exposition.

As it does every year when summer is just around the corner, the French Academy in Rome stages an exhibition of the projects created by its sixteen Fellows during their year-long residency at Villa Medici draws to a close.

The 9th edition of Biennale Gherdëina borrows its title from one of the most enchanting Ladin myths of the Dolomites, which tells the story of the Fanes: a meek and peaceful people whose kingdom extended beyond the seven mountains to the edge of the world. 

The 9th edition of Biennale Gherdëina, curated by Lorenzo Giusti with Marta Papini as associate curator, borrows its title from one of the most enchanting Ladin myths of the Dolomites, which tells the story of the Fanes: a meek and peaceful people whose kingdom extended beyond the seven mountains to the edge of the world. The secret of their prosperity lay in their alliance with the marmots that inhabited the plateau of the same name. 

This Atlas was first initiated in 2019 by a curatorial project at Vidéographe entitled “Questions adressées au Sphinx.” Surveying the Vidéographe collection, like an alley of Sphinxes, and guided by a perception of the visible apprehended as a mystery, this active commitment to documented wanderings gradually unfolded around open questions, fictional and existential concepts soliciting transdisciplinary encounters, leading to the choral project “Atlas, nébuleuses du Sphinx.”

Performances, readings, concerts, installations and screenings unfold in the spaces of Villa Medici: these encounters mark the time of the visit and weave a reflection with the architecture and nature of this place. They give the experience of the multiplicity of research that animates the French Academy in Rome and that, starting from this place, is linked to the city. 

When I was approached to do this masterclass, I found myself asking a question: How can I convey my way of working without relying too much on language and explanation? I realized that the best way to say as little as possible would be to show as much as possible.

Machinations explores different forms of resistance, coalition and creativity that materialises in the present by way of around fifty artists, most of whom hail from the Mediterranean area and African continent and reflect on the historical and present-day circumstances of such territories.

The exhibition Films is conceived as a set of observations, of “note-takings” or “pick-ups” and focuses essentially on a series of sculptures. These objects are a kind of recordings as they capture the essence of spaces and durations.

I am writing this text 20 days before the opening of the exhibition. I am in the anti chamber, eager to see it take form. I have always loved these moments of waiting, preparing for the intense time of installation. In the meantime, I'm writing to share with you certain intuitions that built this exhibition and to evoke, a bit, the works that constitute it.

This exhibition is a part of the cycle Généalogies fictives [Fictional Genealogies], developped by Guillaume Désanges for the art center from the end of 2018 to the end of 2020.

Solo show at Selma Feriani Gallery from February 22 to April 4, 2021.

Borrowing its title from an anthology of texts by Julio Cortázar, the exhibition Around the Day in Eighty Worlds revisits major works from the collection of the CAPC under the angle of changing systems of representation.

What do you do at two? I sleep. At three? I sleep. At four? I sleep. At five? I sleep. At six? I sleep. At seven? I sleep. At eight? I sleep. At nine? I wake up. 

The exhibition Le Plan libre [Open Plan], whose form and title have been inspired by the modernist architectural concept of eliminating bearing walls, pays homage to Marcelle Cahn’s final period and places it in a dialogue with other artists, brought together here with no chronological or geographic boundaries, but for their similar attitudes and formal chimes. Like Marcelle Cahn, Pierrette Bloch, Hessie, Georges Koskas, Guy Mees, Francisco Tropa or else Elisabeth Wild

This selection of sixteen video artists runs from April 3 to 11, 2020 at three sites in the city of Gabès: the Corniche, the Agora and the Souk Jara cafés.

This exhibition, built on immateriality, unfolds in two parts and brings together in the first part documents, ideas, protocols, and proposals from twelve artists. The second part will also include performances, installations, and interventions from writers. Most of the works will be different in the two parts. Oblique Strategies is the third proposal from the Voix Off Collective.

Today, hospitality is in question. It is even in danger. If the city of tomorrow is taking form on the coasts, frontiers and jungles of today’s Europe, then gratitude and hospitality are not its founding pillars. If taking people in leads all too often to taking it out on them, then that makes reaching out an act of vandalism. Just as the fact of welcoming the other can be envisaged only because it is prevented, then hospitality today is countered, or even illegal.

In autumn 2019, the Forum’s curator, Reiko Setsuda, offers carte blanche to Guillaume Désanges, her colleague at La Verrière in Brussels, for an exhibition. Désanges brings to Tokyo an experimental project on perception, which began in 2018 with Bahri’s solo exhibition, Des gestes à peine déposés dans un paysage agité.

This exhibition centres around the primary sign of the dot. Modest, but certainly decisive, it is what connects the artworks of the 6 artists gathered for this occasion in the space of AKINCI: Ismaïl Bahri, Charbel-Joseph H.Boutros, Stéphanie Dadour, Sirine Fattouh, Stéphanie Saadé, Lei Saito and Vincent Verhoef.

Touché (gestures, movement, action) is a collective exhibition that privileges the vitality of experimental practices and the fertility of the dialogue between the arts. Touché (gestures, movement, action) brings together the works of artists from Lebanon and the international scene, as an extension of Scènes du geste.

On February 21st we welcome you for a new edition of Artefact, an exhibition and festival on contemporary visual arts, current events and societal challenges. Parallel Crossings takes the text by stanley brouwn here above as its starting and crossing point. brouwn developed in his body of work a relation to the world, a relation which he constantly requalified by the act of walking and the use and reconsideration of measurements, distances and movements.

In this display of his work, Ismaïl Bahri makes full use of scenery outside Nijo Castleʼs Okiyodokoro and the light that infiltrates, bringing out the special qualities of the space.

There is, in this exhibition, that which stems from striking reads, encounters and conversations; that which stems from insignificant and random circumstances; that which stems from what happened prior to the gallery; that which gives consistency to our programme: our imagination and everything that arises among us, in between, and that finds its place.

Beyond the idyllic view of the Mediterranean Sea portrayed in the early 20th century by northern painters who were fascinated by its light, the Mediterranean has encompassed a superimposition, mingling and confrontation of languages, cultures and religions since the beginning of history. It is also an urban context, consisting of historic cities that have been destroyed and rebuilt, illusory holiday agglomerations and camps of people who do not have access to the city.

More than ever before, the CND has embraced its role as an art center for dance, inviting six art venues from around the world to transform it into a living, ephemeral museum. Taking the art exhibition by the scruff of the neck, giving the work the means of a living incarnation, and thinking about the sharing of all plasticities: these will be the watchwords of these weekends of creative effervescence.

At the invitation of La Verrière, for his first solo exhibition in Belgium, Ismaïl Bahri created an ambitious project that transforms the architecture of the space into an optical instrument, playing with shadows and light, and the appearance and disappearance of images from both inside the building and outside.

As if on the periphery of the gaze, because often what commands our attention is located outside the frame, the work of Ismaïl Bahri, James Benning, Ralitsa Doncheva and Miriam Sampaio carefully document the occupation of a site which, for reasons both personal and political, is the only witness, even the sole legatee, of past or future events, giving form to an exile either desired or imposed, permanent or temporary.

For the 31st edition of Lundi de Phantom, Ismail Bahri returned to l’Espace Khiasma to present his most recent research, filmed between the Isle of Ushant and the Tunisian desert.

Light can be considered in two ways. On the one hand, it is what allows the appearance of beings, or their comprehension (if we make it a metaphor for any “enlightenment”); it is then a simple "condition" of what is, of what is found in it, and which it makes visible. 

Instrumentos explains the critical and at the same time sensitive dimension of Bahri's work, turning to the contemporary world and inviting the viewer to sensitivity and attention.

Uprisings is a cross-disciplinary exhibition on the theme of collective emotions and also political events where they involve crowds of people in revolt. It will be about social disorder, political agitation, uprisings, rebellions, revolts, revolutions, racket and riots – disturbances of all kinds.

Health as Metaphor is an exhibition that seeks to explore certain artistic practices dealing with the care and understanding of the human body and with the treatment of real or imaginary ills, from a perspective different from that of allopathic medicine.

The title of this exhibition is borrowed from the essay "Mathémathiques Existentielles” by French artist Laurent Derobert; In his work, Derobert tries to capture with mathematical formulas, impalpable feelings and emotions, using mathematical formulas as ghost traps.
 

From the militant cinema of the 70s to smartphones documenting the Arab Spring, the moving image captures fragments of history in the making.

Instruments presents a selection of  Ismaïl Bahri's principal works along with two new works, conceived and produced for the occasion. This set of eight video works reflects the main themes running through his œuvre; such themes as fundamentals, duration, scale, and transformation, but also visibility and invisibility, mystery and solving the mystery.

Curated by Christine Tohme, Sharjah Biennial 13, Tamawuj unfolds in five parts from October 2016 through January 2018. Featuring over fifty international artists, the biennial encompasses exhibitions and a public programme in two acts in Sharjah and Beirut; a year-long education programme in Sharjah; projects in Dakar, Ramallah, Istanbul and Beirut; and an online publishing platform.

Uprisings is a trans-disciplinary exhibition on the theme of human gestures that raise up the world or rise up against it: collective or individual gestures, actions or passions, works or thoughts. They are gestures which say no to a state of history that is considered too “heavy” and that therefore needs to be “lifted” or even sent packing. They are also gestures that say yes to something else: to a desired better world, an imagined or adumbrated world, a world that could be inhabited and conceived differently.

“What are emotions we are about to have in a future already present? The era of emotions is over. One prefers a mood or mood predictor […] which in turn become logos for products, which in turn become product-emotions, which in turn become consumers (by-products),” once stated American poet Tan Lin. In other words: What are the consequences of our incorporation into the abstract systems of our economic world?

Co-curated by  Hoor Al Qasimi and Hans Ulrich Obrist, do it بالعربي will be open to the public at Sharjah Art Foundation's Bait Al Shamsi from 23 January to 23 April 2016. On view will be a selection of artist instructions, some of which will have been previously realised and others which visitors can use to create art works of their own.

Telling Time explores the complex relationship between images and time. Inspired by Mali's rich traditions of storytelling and the nation's recent political realities, the biennale questions how artists narrate real and imagined experiences focusing especially on politics and social change. Celebrating the 10th anniversary of the Bamako Encounters, this year's biennale publication is unique in its content and design.

Invited by the BBB, artist and collector Laurent Fiévet presents part of his private collection in this three-part exhibition. The title "Collective Collection" highlights not just the collective nature of the exhibition, but also the existence of communities, artistic networks, and the shared experience brought to life through the displayed collection.

The exhibition Where the Day Begins, presented as part of lille3000 - Renaissance, takes the form of a poetic journey centered on the theme of individual emancipation through the (re)discovery of the surrounding world.

This exhibition explores the means by which knowledge of the elemental forces and geopolitical processes impacting upon us in the 21st century can be generated in the presence and absence of evidence. Combining raw minerals and high-tech elements, each work in the exhibition makes visible the forces of composition and decomposition that are rumbling just below or flowing across the surface of the Earth. 

Ismaïl Bahri's work is open to a wide range of cultural and aesthetic references, and develops precise and sensitive artistic experiments. The results take the form of drawings, videos, photographs, installations and hybridizations between these different media.

This Phantom Monday will offer the opportunity to observe and contemplate some initial attempts at spatializing the videos currently being made, with the aim of transforming the venue into a space for seeing.

Film à blanc proposes an elaboration of the exhibition Sommeils which took place at the Espace Khiasma at the end of 2014. This exhibition provides a different approach to similar motifs such as pulsing lights, film, as well the mechanics of appearance and disappearance.

 

Ismail Bahri’s presence is evident. His work is the expression of an exploration into the primordial state of things and triggers, in the immediacy of what he portrays and in the simplicity of the relationship with the elements which he imbues, the desire to speak of the result — an uncomplicated beauty.

This exhibition presents a selection of works all derived from experiments that shape various simple elements, most of which were created in Tunisia. The videos and installations are used to capture experiences while visually presenting the terms of different enigmas.

sommeils brings together pieces created during Ismaïl Bahri's year-long residency. For a year, the artist shared his research with the public at Espace Khiasma. It’s this space once again that he invests in and transforms to create a true perceptual experience. The videos, utilizing the same filming approach, exist on a threshold of visibility, exploring the limits of perception.  

Through the medium of video or film, the performative dimension of visual and sound recording and the thickness of the image, the living force of drawing as a primordial field of expression is recalled, signaled and embodied for the viewer.

Ismaïl Bahri extends the reflection he began at the start of his residency and shares new videographic research focused on projections, screens, ellipses, and "blank films." 

The 6th Phantom Monday invites you into Ismaïl Bahri's studio. This new meeting with the artist will revolve around a series of videos in progress, inviting the public to enter the heart of a developing setup—where each image pulses and transforms imperceptibly.

By referencing a magic trick, Mandrake a disparu highlights a unique space and type of illusion. Centered on the figure of the show magician — Mandrake being a symbolic name for this role — this magician-led magic, reminiscent of early cinema, is presented as a space of shared experience.

In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposed a Biennial that reassess the Western-centrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin America.

 This first meeting with the artist in residence will be articulated around "ways of doing". Ismaïl Bahri invites Marie Doyon to mediate this process of giving and capturing between the artist and the audience. 

Gesture is being released and emancipated; lines free themselves from the paper and from the wall, and spread across space. Artists create before our eyes, playing with the duration and repetition of the same gesture, calibrating space and spinning the yarn of time, to the point of exhaustion. 

The exhibition, “Chkoun Ahna,” which translates to “who are we?” or “about us” in Tunisian Arabic, inaugurates Carthage Contemporary, a contemporary art exhibition to be installed in a different site in the city annually. 

The exhibition and program JF_JH Libertés marks the 10th anniversary of L'appartement 22 in Rabat, Morocco. Established in October 2002 by Abdellah Karroum, L'appartement 22 is an independent art space located in the heart of Rabat in a building from the 1920s facing the Moroccan Parliament.

Each attempt does its utmost to find a point of balance for observing the world, reversing the principles to create the event on the surface and pierce its obviousness, obliterating its banality in order, in the end, to rediscover the dizziness of the infinitesimal. 

Selected works from painting, drawing, sculpture and video art reflect the qualities and facets of meaning that arise from the contrasting interplay of black and light. These range from the darkening to the dissolution of space, from the abstract surface value to the metaphysical charge of the image.

The exhibition Human Frames is dedicated to the human being, the Condition humaine and the various states of mind that accompany man on his journey through life. In the form of ten thematically compiled film programmes with works by contemporary artists and filmmakers from Europe and Asia that concentrate upon themes such as happiness, desire, madness, fanaticism, fear, anger, isolation, melancholy.

Working for Change is a research and action-based project that focuses on producing artworks and sharing documents. After a research period in the Rif (Morocco), the project continues in Venice in order to propose and study connections between artistic production and social contexts. 

The exhibition questions the notion of fragility related to issues of volume and space by bringing together works of different natures: photographs, sculptures, installations, drawings and videos. This proposal associates artists from various geographical horizons, recently discovered, with others more recognized.