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CANVAS ISSUE 122: RESHAPING TIME IS OUT NOW

Our cover depicts Ali Cherri’s ‘A Mouth, A Wound’ (2024), which will be shown at the Centre for Contemporary Arts Tashkent’s (CCA)(@cca_tashkent) inaugural exhibition. The work represents how knowledge can emerge from wounds and trauma, and how wisdom can be passed on from moments of vulnerability.

In ‘Reshaping Time’, we delve into the realm of history and archives to examine how contemporary cultural narratives are shaped and who or what shapes them.

This issue also features Gayane Umerova (@gayane_umerova), Studio KO (@studioko), Lulwah Al Homoud (@lulwah_al_homoud), Desert X AlUla (@_desertx, @artsalula), Ali Eyal, Ala Younis, Hazem Harb (@hazemharb), Diriyah Contemporary Art Biennale (@contemporaryartbiennale_sa, @biennale_sa), Walid Raad, Lamia Joreige (@marchymelo), Mashael Alsaie (@mashaelalsaie) and more!

Click the link in our bio to purchase your copy!

Image: Ali Cherri. A Mouth, A Wound. 2024 | Photography by Aurélien Mole/ Pinault

The Canvas team wishes you a blessed Eid Al-Adha, celebrating the spirit of togetherness and gratitude.

Eid Al-Adha Mubarak!

CANVAS FEATURE // VAN CLEEF & ARPELS AT WATCHES AND WONDERS 2026

This year’s Watches and Wonders (@watchesandwonders) in Geneva saw Van Cleef & Arpels (@vancleefarpels) spotlight some of its most recent innovations, designs and new timepieces.

CEO of Van Cleef & Arpels, Catherine Rénier and head of research and development for watchmaking, Rainer Bernard shed light on the inspirations and stories underpinning the Maison’s latest Watches and Wonders showcase.

Click the link in bio for more information.

Image: Gouaché design of the Lady Retrouvailles Célestes | Image courtesy of Van Cleef & Arpels

CANVAS REVIEW // FROM THE PERSPECTIVE OF LANGUAGE

Check out our review of Sara Naim’s (@saranaim__) ‘From the Perspective of Language’ at The Third Line (@thethirdlinedxb) via the link in bio.

Through paintings filled with fragments of symbols, anatomical forms and digital references and a video work exploring how language is constructed, Sara Naim reflects on the ways meaning is formed and perceived.

‘From the Perspective of Language’ runs until 31 May

Images: Sara Naim. Skin 6. 2023 | Skin 9. 2025 | Skin 8. 2025 | Skin 5. 2023. Images courtesy of the artist

CANVAS REVIEW // FROM THE PERSPECTIVE OF LANGUAGE

Check out our review of Sara Naim’s (@saranaim__) ‘From the Perspective of Language’ at The Third Line (@thethirdlinedxb) via the link in bio.

Through paintings filled with fragments of symbols, anatomical forms and digital references and a video work exploring how language is constructed, Sara Naim reflects on the ways meaning is formed and perceived.

‘From the Perspective of Language’ runs until 31 May

Images: Sara Naim. Skin 6. 2023 | Skin 9. 2025 | Skin 8. 2025 | Skin 5. 2023. Images courtesy of the artist

CANVAS REVIEW // FROM THE PERSPECTIVE OF LANGUAGE

Check out our review of Sara Naim’s (@saranaim__) ‘From the Perspective of Language’ at The Third Line (@thethirdlinedxb) via the link in bio.

Through paintings filled with fragments of symbols, anatomical forms and digital references and a video work exploring how language is constructed, Sara Naim reflects on the ways meaning is formed and perceived.

‘From the Perspective of Language’ runs until 31 May

Images: Sara Naim. Skin 6. 2023 | Skin 9. 2025 | Skin 8. 2025 | Skin 5. 2023. Images courtesy of the artist

CANVAS REVIEW // FROM THE PERSPECTIVE OF LANGUAGE

Check out our review of Sara Naim’s (@saranaim__) ‘From the Perspective of Language’ at The Third Line (@thethirdlinedxb) via the link in bio.

Through paintings filled with fragments of symbols, anatomical forms and digital references and a video work exploring how language is constructed, Sara Naim reflects on the ways meaning is formed and perceived.

‘From the Perspective of Language’ runs until 31 May

Images: Sara Naim. Skin 6. 2023 | Skin 9. 2025 | Skin 8. 2025 | Skin 5. 2023. Images courtesy of the artist

CANVAS REVIEW // FROM THE PERSPECTIVE OF LANGUAGE

Check out our review of Sara Naim’s (@saranaim__) ‘From the Perspective of Language’ at The Third Line (@thethirdlinedxb) via the link in bio.

Through paintings filled with fragments of symbols, anatomical forms and digital references and a video work exploring how language is constructed, Sara Naim reflects on the ways meaning is formed and perceived.

‘From the Perspective of Language’ runs until 31 May

Images: Sara Naim. Skin 6. 2023 | Skin 9. 2025 | Skin 8. 2025 | Skin 5. 2023. Images courtesy of the artist

CANVAS MÉTIERS D’ART // LES ENDIABLÉS AT SAINT-LOUIS

Saint-Louis (@saintlouiscrystal), the oldest crystal manufacture in France, has invited artist and designer José Lévy (@joselevyjoselevy) to lend his creative touch for the second time in over a decade to the beloved ‘Les Endiablés’ collection of crystalware.

Three new pieces conceived by Lévy complete the ‘Les Endiablés’ family: the Bubbles champagne flute, the Roemer Apollo and a cocktail glass. These join a vibrant cast of crystal-hewn characters, conceived by the daring hand of Lévy, alongside the expert craftsmen at Saint-Louis.

‘Les Endiablés’ is a testament to the power of collaboration and creativity, a collection which eschews traditional object functionality and in doing so becomes the subject of endless fascination and boundless possibilities.

Images: Saint-Louis Famille | Saint-Louis savoir-faire © Maxime Verret | Saint-Louis superposition | All images courtesy of Saint-Louis

CANVAS MÉTIERS D’ART // LES ENDIABLÉS AT SAINT-LOUIS

Saint-Louis (@saintlouiscrystal), the oldest crystal manufacture in France, has invited artist and designer José Lévy (@joselevyjoselevy) to lend his creative touch for the second time in over a decade to the beloved ‘Les Endiablés’ collection of crystalware.

Three new pieces conceived by Lévy complete the ‘Les Endiablés’ family: the Bubbles champagne flute, the Roemer Apollo and a cocktail glass. These join a vibrant cast of crystal-hewn characters, conceived by the daring hand of Lévy, alongside the expert craftsmen at Saint-Louis.

‘Les Endiablés’ is a testament to the power of collaboration and creativity, a collection which eschews traditional object functionality and in doing so becomes the subject of endless fascination and boundless possibilities.

Images: Saint-Louis Famille | Saint-Louis savoir-faire © Maxime Verret | Saint-Louis superposition | All images courtesy of Saint-Louis

CANVAS MÉTIERS D’ART // LES ENDIABLÉS AT SAINT-LOUIS

Saint-Louis (@saintlouiscrystal), the oldest crystal manufacture in France, has invited artist and designer José Lévy (@joselevyjoselevy) to lend his creative touch for the second time in over a decade to the beloved ‘Les Endiablés’ collection of crystalware.

Three new pieces conceived by Lévy complete the ‘Les Endiablés’ family: the Bubbles champagne flute, the Roemer Apollo and a cocktail glass. These join a vibrant cast of crystal-hewn characters, conceived by the daring hand of Lévy, alongside the expert craftsmen at Saint-Louis.

‘Les Endiablés’ is a testament to the power of collaboration and creativity, a collection which eschews traditional object functionality and in doing so becomes the subject of endless fascination and boundless possibilities.

Images: Saint-Louis Famille | Saint-Louis savoir-faire © Maxime Verret | Saint-Louis superposition | All images courtesy of Saint-Louis

CANVAS MÉTIERS D’ART // LES ENDIABLÉS AT SAINT-LOUIS

Saint-Louis (@saintlouiscrystal), the oldest crystal manufacture in France, has invited artist and designer José Lévy (@joselevyjoselevy) to lend his creative touch for the second time in over a decade to the beloved ‘Les Endiablés’ collection of crystalware.

Three new pieces conceived by Lévy complete the ‘Les Endiablés’ family: the Bubbles champagne flute, the Roemer Apollo and a cocktail glass. These join a vibrant cast of crystal-hewn characters, conceived by the daring hand of Lévy, alongside the expert craftsmen at Saint-Louis.

‘Les Endiablés’ is a testament to the power of collaboration and creativity, a collection which eschews traditional object functionality and in doing so becomes the subject of endless fascination and boundless possibilities.

Images: Saint-Louis Famille | Saint-Louis savoir-faire © Maxime Verret | Saint-Louis superposition | All images courtesy of Saint-Louis

CANVAS REVIEW // SOUR THINGS: THE DOOR

Check out our review of Mirna Bamieh’s (@mirna_bamieh) ‘Sour Things: The Door’ at NIKA Project Space in Paris (@nika.projectspace) via the link in bio.

Curated by Anne Davidian (@annedavidian), the exhibition features sculptural installations, works on cotton paper as well as video and sound works, continuing the Palestinian artist’s “ongoing and committed gesture towards preserving culinary practices, especially as they become ever more complicated by geographical displacement.”

‘Sour Things: The Door’ runs until 23 May

Images: Mirna Bamieh. Sour Things: The Door. Lila’s Luggage. 2026. Still from the video. 2026. Image courtesy of the artist | Sour Things: The Door. Exhibition views at NIKA Project Space, Paris, 2026. Photography by Nicolas Brasseur. Image courtesy of NIKA Project Space

CANVAS REVIEW // SOUR THINGS: THE DOOR

Check out our review of Mirna Bamieh’s (@mirna_bamieh) ‘Sour Things: The Door’ at NIKA Project Space in Paris (@nika.projectspace) via the link in bio.

Curated by Anne Davidian (@annedavidian), the exhibition features sculptural installations, works on cotton paper as well as video and sound works, continuing the Palestinian artist’s “ongoing and committed gesture towards preserving culinary practices, especially as they become ever more complicated by geographical displacement.”

‘Sour Things: The Door’ runs until 23 May

Images: Mirna Bamieh. Sour Things: The Door. Lila’s Luggage. 2026. Still from the video. 2026. Image courtesy of the artist | Sour Things: The Door. Exhibition views at NIKA Project Space, Paris, 2026. Photography by Nicolas Brasseur. Image courtesy of NIKA Project Space

CANVAS REVIEW // SOUR THINGS: THE DOOR

Check out our review of Mirna Bamieh’s (@mirna_bamieh) ‘Sour Things: The Door’ at NIKA Project Space in Paris (@nika.projectspace) via the link in bio.

Curated by Anne Davidian (@annedavidian), the exhibition features sculptural installations, works on cotton paper as well as video and sound works, continuing the Palestinian artist’s “ongoing and committed gesture towards preserving culinary practices, especially as they become ever more complicated by geographical displacement.”

‘Sour Things: The Door’ runs until 23 May

Images: Mirna Bamieh. Sour Things: The Door. Lila’s Luggage. 2026. Still from the video. 2026. Image courtesy of the artist | Sour Things: The Door. Exhibition views at NIKA Project Space, Paris, 2026. Photography by Nicolas Brasseur. Image courtesy of NIKA Project Space

CANVAS REVIEW // SOUR THINGS: THE DOOR

Check out our review of Mirna Bamieh’s (@mirna_bamieh) ‘Sour Things: The Door’ at NIKA Project Space in Paris (@nika.projectspace) via the link in bio.

Curated by Anne Davidian (@annedavidian), the exhibition features sculptural installations, works on cotton paper as well as video and sound works, continuing the Palestinian artist’s “ongoing and committed gesture towards preserving culinary practices, especially as they become ever more complicated by geographical displacement.”

‘Sour Things: The Door’ runs until 23 May

Images: Mirna Bamieh. Sour Things: The Door. Lila’s Luggage. 2026. Still from the video. 2026. Image courtesy of the artist | Sour Things: The Door. Exhibition views at NIKA Project Space, Paris, 2026. Photography by Nicolas Brasseur. Image courtesy of NIKA Project Space

CANVAS REVIEW // SOUR THINGS: THE DOOR

Check out our review of Mirna Bamieh’s (@mirna_bamieh) ‘Sour Things: The Door’ at NIKA Project Space in Paris (@nika.projectspace) via the link in bio.

Curated by Anne Davidian (@annedavidian), the exhibition features sculptural installations, works on cotton paper as well as video and sound works, continuing the Palestinian artist’s “ongoing and committed gesture towards preserving culinary practices, especially as they become ever more complicated by geographical displacement.”

‘Sour Things: The Door’ runs until 23 May

Images: Mirna Bamieh. Sour Things: The Door. Lila’s Luggage. 2026. Still from the video. 2026. Image courtesy of the artist | Sour Things: The Door. Exhibition views at NIKA Project Space, Paris, 2026. Photography by Nicolas Brasseur. Image courtesy of NIKA Project Space

Come with Canvas as we visit the group show “Before Our Eyes” at Z33 (@z33be) in Hasselt.

Curated by Tim Roerig (@timroerig), “Before Our Eyes” gathers 11 artists, including Hamishi Farah (@merlincarpenter), Mohammed Sami, Rabih Mroué and Rosalind Nashashibi (@rosishibi) who explore the ethics and the responsibility of representing violence in times of political conflict.

Through painting, film, photography and installation, the exhibition reflects on visibility, silence and the ongoing violence in Palestine.

“Before Our Eyes” runs until 23 August

Artist Abdullah AlOthman (@abdullalothman) takes Canvas through his exhibition ‘Syntax of the Ever-Changing’ curated by Rotana Shaker (@rotanashaker.jpg) and Ahmed Alaqra (@la_palaa) at ATHR Gallery (@athrart) in Riyadh.

Inspired by Muhyiddin Ibn Arabi’s quote, “Time is liquid space, space is frozen time,” AlOthman investigates the relationship between memory, material and urban transformation.

Working across sculpture, assemblage, photography, archival imagery and found materials, AlOthman reconstructs compositions that reflect the city’s continuous cycles of growth, accumulation and renewal.

‘Syntax of the Ever-Changing’ runs until 20 August

CANVAS NEWS // WASSAN AL-KHUDHAIRI APPOINTED ARTISTIC DIRECTOR OF ART BASEL QATAR 2027

Art Basel (@artbasel) has announced the appointment of Wassan Al-Khudhairi (@wassan16) as artistic director for the next edition of Art Basel Qatar, set to take place from 28 to 30 January 2027.

Al-Khudhairi, an Iraqi curator who is currently a partner at The Curatorial / Office, which aims to look at curating beyond museum settings, has extensive experience curating large-scale projects including most recently the 2025 Hawaii Triennial as part of the curatorial team, the 6th Asian Art Biennial as co-curator and the 9th Gwangju Biennial as co-artistic director. She is also one of the founding directors of Mathaf: Arab Museum of Modern Art in Doha.

Presented in partnership with Qatar Sports Investments (QSI) and QC+, with Qatar Airways as Premium partner, the upcoming fair will unfold under the theme ‘between / بين’ which looks into the state of being “between” as one filled with possibilities and which cannot be limited by definitions.

Image: Wassan Al-Khudhairi, Artistic Director, Art Basel Qatar 2027 | Photography by Jim Lafferty. | Image courtesy of Wassan Al-Khudhairi

CANVAS NEWS // VAN CLEEF & ARPELS AND TASHKEEL ANNOUNCE WINNERS OF 11TH EMERGENT DESIGNER PRIZE
 
Van Cleef & Arpels (@vancleefarpels), in partnership with Tashkeel (@tashkeelstudio), have announced Joud Malhas (@joudmalhas) and Rachel Antoun (@rachel.antoun) as the winners of the 11th Emergent Designer Prize.
 
This year, the Van Cleef & Arpels Middle East Emergent Designer Prize was under the theme of ‘Blooming Poetry’. Malhas and Antoun’s winning concept, ‘Where There Is Uns’, takes the form of a light installation inspired by Gulf hospitality traditions and sustainable design practices, while blending material innovation with sensory design and storytelling
 
The work reimagines Bedouin welcoming rituals, and through layered bioplastics made from discarded cardamom husks paired with the proximity-activated light of the lamp, it creates a moment to pause and connect.
 
The winning piece will be unveiled later this year as part of a dedicated public exhibition.

Image: Joud Malhas and Rachel Antoun | Image courtesy of Van Cleef & Arpels

CANVAS NEWS // KYIV BIENNIAL REVEALS DETAILS OF 2026 EDITION

The Kyiv Biennial (@kyivbiennial) has revealed the details of its upcoming edition, set to take place from 11 June to 13 September.

The nomadic and international art project’s next chapter at the KW Institute for Contemporary Art (@kwinstitutefcontemporaryart) in Berlin, entitled ‘A Bird That Cannot Land’, will host an exhibition as well as a live programme and discursive programme.

Expanding upon the concept developed in the previous edition of the Kyiv Biennial, namely that of the ‘Middle-East-Europe’, the KW chapter will feature more than 40 local and international participants across its exhibition and live and discursive events. These include Samia Halaby (@samiahalaby), Abdullah Miniawy (@abdullahminiawyofficial), Adam Hanieh, Anna Ehrenstein (@annaehrenstein) and Yara Mekawei (@yaramekawei), Assaf Gruber (@assafgruber), Aykan Safoğlu (@aykansafoglu), Eda Aslan (@eeda_aslan), Farahnaz Sharifi (@farsharifi), Fehras Publishing Practices (@fehras_publishing_practices), Gulnur Mukazhanova (@gulnurkia), Hiwa K (@hiwakhiwa), Joyce Joumaa, Lida Abdul, Lucia Kagramanyan (@luciaelhuron), Majd Abdel Hamid (@majdabdelhamid), Mona Hatoum (@mona_hatoum), Nazanin Noori (@nznnsmmnr), Neda Saeedi (@neda_saeedi), Nour Sokhon (@noursokhon), Saodat Ismailova (@saodatismailova), Seyyare – Anatolian Women’s Choir (@seyyarechoir) and Wafaa Saied (@wafaa_saied), among others.

Image: Samia Halaby. Land. 1988. Image courtesy of the artist

CANVAS NEWS // THESSALONIKI BIENNALE OF CONTEMPORARY ART ANNOUNCES DETAILS FOR 2026

The Thessaloniki Biennale of Contemporary Art (@thessalonikibiennale) has revealed the artists, participants, and projects of its upcoming edition.

Organised by MOMUS-Metropolitan Organisation of Museums of Visual Arts of Thessaloniki (@momus_museums) and curated by Nadja Argyropoulou (@nadjaarg), the ninth edition of the biennale is set to run from 23 May to 5 July.

Entitled ‘everything must change. Radical Intelligence. Saloniki 9’, it posits itself as a “para-biennale”, focusing on artworks made of diverse and sometimes contradictory tales, that provide a way to courageously confront the status quo, guiding emotional responses in the process.

Participating artists include Basma al-Sharif (@basmalsharif), Meriem Bennani (@meriembennani), Alexis Fidetzis (@alexis.fidetzis), Arthur Jafa (@anamibia) and Forensic Architecture (@forensicarchitecture), among others.

Image: Alexis Fidetzis. Oblivion. 2025. Image courtesy of the artist