2 galleries · 1 museum · 0 places
The campus district on Sharjah International Airport Road, about ten kilometres from the centre, holding the House of Wisdom and the College of Fine Arts and Design galleries. Landscaped grounds, a thirty-six-metre sculpture at the entrance, and a library that works as a public cultural centre rather than a reading room. Free, quiet, and built for spending a day in.
No published places in this district yet.
Constantinople to Ravenna: gold mosaics, icons and court craft that shaped Christian imagery for nearly a millennium.
Byzantine art was the Christian visual culture of the Eastern Roman Empire. This guide explains how mosaics and icons worked in liturgy and empire, follows the tradition from Constantinople across the Mediterranean, and points to works that still define the style after empire, conquest and modern museum display.
Angela Harutyunyan and Paula Nascimento frame the 2027 edition around archival residue and spatial memory
The seventeenth iteration of the Sharjah Biennial runs from January to June 2027, presenting a dual curatorial methodology that examines historical legacies and infrastructural critique across multiple emirate locations.
Exploring concealment, materiality, and memory in new triptychs
A review of the artist's latest survey, examining how layered wax and pigment transform painting into a site of quiet resistance.
An old circle at a crossroads, sharpened by British road engineering, became the way an Arabian city found its way and remembered itself — and it took the bulldozers to reveal it.
In a city where a landmark was more useful than an address, Doha's roundabouts became its navigation, its landscaping and its national image all at once. Now they're being torn out for signalled junctions — and the affection for them arrived, as one scholar put it, only posthumously.
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.
A village half-buried in sand an hour from Dubai, a name that means "she of the little sickle," and what Emirati sources actually say.
The houses at Al Madam went up around 1980 and stood empty by the mid-1990s. People will tell you she lives there — not in the old stories, though. That attachment is recent, and it is the interesting part.
