In this series, objects alone remain anchored to the world through their shadows, solid, defined, undeniable. The human figure, however, has no shadow, it appears almost transparent, slipping away from this quiet certainty. Deprived of shadow, these figures exist in a fragile state between presence and disappearance, as if light passes through them rather than around them. The absence of shadow becomes a metaphor for fragility and transparency, suggesting that what is most human is not always what is most visible. Here, beauty is not weight or form, but a fleeting, intangible presence, felt more than seen.

On Sabah Al Yawm, Iraqi visual artist Riyad Ne’mah joins Lorca Sbeity on Al Jadeed TV to discuss his artistic journey and human-centered vision.

The exhibition “Oversized” by Iraqi artist Riyad Ne’mah was born from a fleeting moment with his son, when the child wore a jacket that was too big for him and laughed, saying: “It doesn’t look like me!”

This is how Riyad Ne’mah presents himself in his new exhibition: a series of works that begin with the simple image of an oversized military jacket, transforming it into a broad visual metaphor. Small bodies are burdened with tasks larger than their size, much like our societies, which are forced to carry responsibilities and policies that do not resemble them.

On the ninth of this month, the capital, Beirut, witnessed a group exhibition at Art Scene Gallery, located in the Gemmayzeh district opposite the local police station. The exhibition brought together a number of artists, with all the displayed works revolving around a single theme: cats.

Overall, the works were marked by a remarkable sense of movement and vitality no doubt owing to the diverse array of cats they depict, varying in size and form. These feline presences animate the pictorial surface, imbuing it with a lively, almost kinetic energy that transcends mere representation.

Link to article: Cats On Canvas

Originally from the Bekaa Valley, the artist began this series a year ago, as war broke out just a few kilometers from her home, near Hadath. It began with a few musical notes: the poetic and romantic ones of Wadih El Safi. They inspired a first triptych in pastel colors, as if a need for tenderness and gentleness in the face of the initial turmoil of the conflict.

In Collaboration with Modern.Arabesque, Jihad Mikhael hosts Riyad Ne’mah an Iraqi Artist, lived , imprisoned and fled the Iraq during the Saddam Hussein regime. His work is inspired by social influences , always trying to disrupt conventional beliefs for a better world

Under the title Eye Contact, The Portrait Exhibition (1894–2024), the Art Scene Gallery presents a group exhibition bringing together works by more than forty artists. The unifying thread across all the exhibited pieces as the title itself suggests centers on portraiture.

La galerie Art Scene à Gemmayzé s’est transformée en féerie de l’enfance, à l’occasion de l’exposition de Shaza Bazerbashi qui dévoile le monde enchanté du Prince heureux.
Shaza Bazerbashi, jeune artiste syrienne, explore à travers son art, le rêve de l’enfance, son innocence, sa joie et son honnêteté inhérentes.

À la Art Scene Gallery de Gemmayzé, l'exposition Let It Bloom de Fatima Al Housseini est une éclosion artistique vibrante et débordante de vitalité.
Diplômée en Beaux-Arts, et actuellement professeure d’art, Fatima Al Housseini a toujours été éprise d’art et de peinture, et ce, depuis son plus jeune âge, lorsqu’elle remportait des prix au fameux concours Fabriano.

Fatima Al-Husseini, whose works are on view at Art Scene Gallery under the title Let It Unfold (or Let Her Unfold), beginning April 26, is a young painter yet one whose artistic future appears laden with verdant promise. She possesses a powerful chromatic identity: gifted, daring, provocative (without ever lapsing into crudeness), confident in her energies, exploratory, and engaged in a search for her own distinctive pictorial voice one marked by specificity, differentiation, and a palpable spirit of adventure.

Many of us conceal our true emotions, each person adopting their own form of hiding. As a result, we collectively create a society that resembles a beautiful being adept at concealing feelings and highlighting the opposite. This societal role can be compared to that of a clown.

Thus, we form a society of clowns, bearing the pressures imposed by our governments, the manipulation of our destinies, and the theft of our lives while wearing a facade of smiles.

It is important to distinguish between chaos and the art of clowning. The former represents disorder, while the latter entails creating actions and words that evoke laughter. Between these two ideas lies "nothingness."

This concept is inspired by the poem "About the Nothing" “عن اللاشيئ"written by the renowned poet Mahmoud Darwish
Link To Article: Nothing

Like a Lebanese Dutch mountain carpet it is a painting by Jihad Abu Sleiman, currently on view at Art Scene Gallery, where an exhibition of the artist’s works runs from May 18 to 28 (acrylic on canvas, as well as pastel and mixed media on paper).

How closely this “carpet” resembles an Eastern dream: a rug woven of light, dawn, and radiance indeed, a paradisal garden drawn from the landscapes of Mount Lebanon. These four evocations the Dutch carpet, the Eastern dream, the rug, and the garden coalesce into a single, patient and sustained pictorial endeavor. Its foundation rests on a refined aesthetic shaped by the sensibility of Eastern light, the “voracity” of pure, dazzling color, and a mastery of craft, professionalism, geometric structuring, and chromatic variation.

Link to the Post: Jihad Abou Slieman

Elles sont en train d’éclore presque au même rythme que les restaurants et les bars à Gemmayzé et Mar Mikhaël, secteurs où elles se concentrent fortement d’ailleurs. Mais qu’est-ce qui justifie cette frénésie d’ouverture de galeries d’art à Beyrouth ? Et comment expliquer cet engouement que semble susciter le métier de galeriste ? « L’Orient Le-Jour » a défriché quelques pistes...