4 galleries · 0 museums · 0 places
A small, dignified district just south of the seafront between Hamra and Downtown, and home to one of Beirut's most monumental gallery spaces. Clemenceau is quiet, upmarket streets — medical centres, embassies, residences — with, at its centre, a white cube of unusual scale carved out of a cinema. It's not a gallery quarter so much as a single major destination in an elegant setting. The register is serious and architectural.
No published museums in this district yet.
No published places in this district yet.
A field guide to collecting Arab and Middle Eastern art — who buys, what it costs, why prices lag cultural significance, and where collectors are looking now.
How the Arab world went from selling its art history to the West to building the fastest-growing market for Middle Eastern art on earth — who buys, why, what it costs, and where the smart money is looking now
An entire century of extraordinary painting, sculpture and radical thinking got written out of the global canon. Someone made that decision. And now the market — and the collectors who pay attention — are making a different one.
Great art does not become invisible by accident. Arab Modernism reveals how museums, markets and cultural institutions shape what the world sees — and what it overlooks. A story about artists, recognition and the blind spots that define art history.
A demon catalogue in the conqueror's library, a sixteenth-century text where kingship is an office held seventy thousand times, and the columns a sultan dragged across three provinces to prove he held it.
Mehmed II kept a Greek catalogue of demons in his library at Topkapı. Seventy years later a sultan named for a prophet was rebuilding the walls of Jerusalem and hauling Roman columns out of Egypt and the Lebanon into a mosque above the Golden Horn. In between, Ottoman writers turned Solomon from a warning into a job — and the empire applied for it in stone.
The letter set loose, the line woven, the arabesque the West once threw away — and the women who built modern abstraction out of all three, then got written out of it.
Abstraction is usually told as a Western invention that arrived elsewhere late. Saloua Raouda Choucair, Etel Adnan, Madiha Umar and a room of others tell it differently — often as the only woman in the movement, building modern form from the geometry, craft and calligraphy their own culture already held.
Busan committee recognises landmarks across Iran, Lebanon, Palestine and beyond, while emergency protocols highlight sites under threat
The latest World Heritage roster features contentious emergency inscriptions from conflict zones alongside cultural and natural landmarks spanning five continents.
