The idea for the foundation came to life as part of a broader commitment to elevate Lebanese culture, a mission rooted in Em Sherif’s ethos of hospitality and creativity. With a personal collection of over 600 artworks, Dani Chakour’s passion for contemporary art laid the groundwork for this initiative, which now gives back to the creative community by offering visibility and opportunity on an international stage.
Seamlessly merging cuisine, design, and art, the foundation transforms each Em Sherif location into a multi-sensory journey. Upon entering the restaurant, diners are presented with three menus: a food menu, a drinks menu, and an Art Menu. This integration invites guests not only to savor authentic Lebanese dishes but also to engage with the evolving story of contemporary Lebanese art.

This new venture reimagines Em Sherif restaurants as cultural hubs; spaces where food, design, and art coexist and where Lebanese artists can engage with diverse communities, contribute to international cultural conversations, and strengthen their global presence.
The foundation’s first major international activation launched at Em Sherif Café in Paris in February 2025, debuting with the work of Lebanese photographer Ziad Antar, whose reflective practice centers on memory, impermanence, and historical nuance. His work has been featured in major institutions including the Centre Georges Pompidou, the British Museum, and the Aïshti Foundation.
Whether it’s Lebanese diners abroad seeking a connection to home, or international guests discovering Lebanon through a new lens, the foundation adds a transformative layer to the Em Sherif experience; one that honors tradition while opening new dimensions for storytelling, cultural dialogue, and artistic exchange.

“As one of the founders of Em Sherif Group and the Em Sherif Art Foundation, I believe in the power of art to foster cultural appreciation. Our mission is to champion Lebanese artistry by providing a platform where talented artists can showcase their work within our restaurants worldwide. This initiative not only enriches the dining experience but also creates opportunities for Lebanese artists to engage with new audiences and contribute meaningfully to the cultural dialogue in each city we touch”, says Dani Chakour, CEO of Em Sherif and Co-Founder of Em Sherif Art Foundation.

“Art has always been part of my life – I studied it, worked in galleries, and began collecting early on. At the same time, I’ve always been inspired by what my family built with Em Sherif. When my uncle Dani suggested creating an art foundation, it felt like the perfect opportunity to bring these two worlds together. The Em Sherif Art Foundation is a non-profit initiative dedicated to promoting Lebanese artists on a global scale. Just as Em Sherif celebrates Lebanon through food, generosity, and hospitality, the foundation shares our culture through creativity and art”, adds Sherif Hayek, Curator of Em Sherif Art Foundation.

The Em Sherif Art Foundation is a non-profit organization dedicated to supporting and promoting Lebanese artists and talents. Its mission is to provide a platform for Lebanese talent, to showcase their work in Em Sherif restaurants worldwide. Through these collaborations, the foundation aims to increase visibility for artists while fostering a greater awareness for Lebanese art and culture.
The foundation envisions a world where Lebanese artists are celebrated and supported on a global stage. By partnering with Em Sherif restaurants and locations across the globe, the foundation seeks to create opportunities for artists to reach new audiences, thereby contributing to the cultural dialogue in each city while giving back to the artists directly.

Central to this exhibition is the motif of the evil eye – a primordial symbol used to ward off malevolent forces through a shielding gaze. Deeply embedded in the folklore and collective psyche of the Mediterranean region and beyond, this symbol is reimagined here as both a safeguarding and destabilizing force.
Mallat states: “While people fear what they do not understand, nothing can exist in someone’s mind if they do not believe in it. This exhibition is about challenging those beliefs, facing them and incessantly picking at them.”

Viewers firstly navigate through Mallat’s suspended bronze works which were inspired by ancient artifacts found in the ‘Eye Complex’ of Tell Brak in Syria. Meticulously crafted with a balance of raw tactility and refined detail, the artist’s Constellations of Protection (2023-ongoing) series evokes timeless anchors that bridge the past and present.
Mallat reflects: “These sculptures embody both strength and vulnerability, simultaneously serving as guardians and bearers of cultural memory.”

Moreover, one of Mallat’s Vista Visions (2024-ongoing) works on paper is reconfigured to produce a wallpaper of repeating patterns to recalibrate and confuse the viewer’s depth of field. This imagery woven throughout the installation incorporates references to the gaze as a metaphysical symbol of perception, surveillance, and spiritual defense to further amplify feelings of anxiety and transcendence.
“I chose Takeover Beirut to showcase this specific work because of its unique principle within the landscape of the country’s artistic scene. By embracing experimentation, it challenged me as an artist to respond within the constraints of the given space and the urgency imposed by the volatility of Lebanon’s socio-political situation.”

Mallat’s work resonates powerfully within Beirut’s dynamic cultural landscape – a city that embodies perseverance, tenacity, and adaptation amidst ongoing challenges. Through this installation, he gestures toward a reimagining of traditional narratives, offering new interpretations that honor heritage while embedding critical contemporary relevance. The artist urges viewers to consider how belief systems – whether cultural, personal, or societal – influence our understanding of reality.
Mallat concludes: “The installation becomes a site of both personal introspection and collective renewal, asking us to reflect on the invisible forces that shape our lives, whether through the protective gaze of the talisman or through the act of forging fictions that become themselves inherent truths.”

A refined and eclectic selection
PIK’D, the gallery founded by Randa Missir and which took up residence in Saïfi Village in 2022, lives up to its name, as “each piece exhibited here is unique and carefully selected”, she proudly explains. Entering PIK’D means discovering a fantastic universe, full of light and cheerfulness, reflecting the sunny and enthusiastic personality of its owner, both through the choice of ceramic works exhibited and through that of the architecture and colors, sunny yellow and white, chosen to dress the walls of this beautiful space. Vases of different sizes, urns, sculptures, candlesticks, floor lamps, suspensions, ceramic, glass and wooden pieces, so many exclusive pieces nicely arranged and highlighted, the installations and works being regularly renewed. Creations by more than 50 Lebanese and foreign artists of various nationalities – Greek, Danish, African, Korean, Italian and French – that the young art enthusiast, always on the lookout for great finds, scrupulously selects, and whose volume never ceases to grow with her many peregrinations.
“I buy a considerable quantity of works from certified artists to meet the specific demands of clients who want high-level fittings. Pieces for which I fall in love, whether for inclusion in my own collection or to furnish my customers’ interiors.”
And to best satisfy their desires, she also commissions custom creations from talented artists. “I frequently visit their homes to follow the progress of the work. For some foreign artists, I travel to villages very far from the center, sometimes requiring a day’s drive”, she explains.

From one exhibition to the next
“It started with the acquisition of 5 pieces, then 20 and quickly rising to 180, then 300 and so on.”
Back then, Randa Missir enjoyed frequently changing the decoration of her home, and between 2018 and 2020, she stacked the remaining objects between the warehouse and her office in Solidere, Downtown Beirut, where she has set up a showroom.
“I currently have a multitude of pieces that I arrange between PIK’D and the Solidere showroom, and occasionally at local exhibitions”, the first of which was Beirut Art Fair, and where it was a great success. “Others followed in Lebanon and abroad. Among the most important, Collect in London, the world’s largest arts and crafts fair, or Révélations, at the Grand Palais in Paris…”
Each exhibition takes around six months of preparation, from choosing the theme and colors to planning and decorating the space. “In addition, she says, every morning when I am in Lebanon, I go around the artists to make sure everything is running smoothly and to keep track of all the steps involved in executing the pieces.”

Exploring space
Her life takes place between two planes: on the one hand, she never misses an international fair to acquire new sculptures and objects, but also to unearth rising stars; on the other hand, she carries out, with her husband Claude, architect, projects in Europe, the USA, the Middle East and Africa.
Randa Missir, who has more than one string to her bow, always seems ready to bring new dreams to life.

In his speech, Maxence Duault, Managing Director of ESA Business School, explained the significance of hosting such an event on the Campus of this academic institution of excellence. “This exhibition allows us to affirm our deep conviction, at ESA, that art and education are essential pillars of human progress. In this School, where we train the leaders of tomorrow, we do not just pass on technical and theoretical knowledge, we also and above all cultivate critical thinking, aesthetic sensitivity, and the ability to grasp the depths of contemporary issues”, he declared.

Riad Obegi, President of Bemo Bank, a partner in the project and a major supporter of Lebanon’s art and culture sectors, emphasized the lucidity of the artist, but also the hope instilled by his productions: “If Nadim Karam is a little disillusioned and is not fooled by the picture he paints for us, he nevertheless keeps the faith that between the rubble and the smoke, the seeds of hope will end up giving trees that will climb to the sky and bring stars down from it”.

To conclude, Nadim Karam addressed the hundreds of personalities present, explaining his work, which exudes humanity and creativity: “This series of works, now exhibited in the gardens of the ESA Business School, is fundamental for me because it represents a turning point in the evolution of my sculptural work. Throughout my career, I have constantly sought to promote creativity as a means of resistance against the destructive forces that surround us. These works have absorbed the very essence of Beirut. They require our full attention, as they invite us to perceive beyond their simple physical presence, into the depths of their substance. They seek out existence in its unfiltered essence. They emanate from the human condition in times of genocide, war, agony, sadness and confusion”.
The speakers also thanked Libano-Suisse Assurances and Ixsir for their collaboration.

Vie sur Vie continues at the ESA Business School Campus, in the Henry and Nadège Obegi gardens, open Tuesdays, Fridays and Saturdays, until July 26, 2024.

Choucair’s work is a unique blend of Western abstraction and Islamic aesthetics, deeply influenced by her interests in science, architecture, mathematics, and Arabic poetry. She is celebrated for integrating the mathematical principles of Islamic art with modern abstract forms, creating art that resonates with both intellectual discipline and poetic beauty. Her sculptures often reflect the concept of infinitude and the interconnectedness of forms, drawing inspiration from Sufi philosophy and Arabic poetry.

Celebrating Choucair’s 108^th Anniversary
Opened on June 24, on what would have been Choucair’s 108^th birthday, the Saloua Raouda Choucair Museum invites visitors to immerse themselves in the world of this pioneering abstract artist and to explore her innovative spirit and profound impact on modern art. As they stroll through the museum and its Sculpture Garden, visitors can engage with the artist’s work and appreciate the interplay between her art and the natural surroundings. They are also invited to experience the enduring influence of Choucair’s art and its place in the broader context of art history.

“Despite being born and raised in Beirut, Mother was always enchanted by the transparency of the pine tree forest,” said Hala Schoukair, the artist’s daughter and the president of the Saloua Raouda Choucair Foundation during the opening. “And when she first visited this plot where we stand today, she was so inspired by its trees, plants, and rocks, and immediately designed a plan for it. So here we are, many years later, inaugurating a museum on this same land that will allow my mother’s art to be admired by generations to come”.
The Foundation, which safeguards and propagates the artist’s rich legacy, has created a space that not only displays Choucair’s extensive collection but also houses her personal archives. These archives provide invaluable insights into the artist’s thought processes, artistic development, and the cultural and historical contexts that influenced her work.

A Diverse and Rich Collection
The museum houses around 600 pieces, with 500 on display, showcasing Choucair’s versatile use of materials as varied as terracotta, wood, stone, fiberglass, metal sheets, brass, bronze, aluminum, plexiglass, and stainless steel. The collection also includes her innovative creations in furniture, carpets, plates, and jewelry, underscoring her belief that art should be intertwined with everyday life.

Designed by the renowned Lebanese architect Karim Bekdache, the Saloua Raouda Choucair Museum is a marvel of modernity and environmental sensitivity. Bekdache’s vision aligns perfectly with the natural topography of its surroundings, with the structure appearing to float protectively over the lush vegetation. The building nestles among the pine trees, maintaining a minimal impact on the landscape, a true celebration of Choucair’s philosophy that art should be part of daily life.

“I hope this small country, with the effort of so many Lebanese working on so many fronts and with so many institutions to preserve our heritage and promote our art and culture, will revert to its rightful place as the beating heart of innovation, said Hala Schoukair. I also hope this small museum we are opening today will play a part in that endeavor”.

The museum will be open to visitors by appointment only.
Tel. +961 71 583 904
www.salouaraoudachoucair.com
Instagram: @salouaraoudachoucair

Rony Zibara, the owner of Villa Chamoun and initiator of KDSHA Art Narratives declared: “KDSHA is dedicated to fostering discussions about the role of contemporary art in today’s complex world, set against the serene and inspiring landscapes of Lebanon’s north”.

A key highlight of KDSHA is the annual unveiling of the Villa Chamoun pool installation, recognized as one of the largest canvases in the world. This year’s 3^rd edition installation, Alchemical Splash, is created by London-based Venezuelan artist Daniel Rey who has been selected for Bloomberg New Contemporaries (2023) and received the LVHM Maison/0 The Earth Award (2023). Rey’s large-scale drawing transforms the pool into an enigmatic underwater dreamscape, inviting viewers to ponder themes of escapism and our complex relationship with the built environment. For Rey, the pool goes beyond its usual function as a place for recreation or sports; it transforms into a sanctuary, a portal providing an escape from the chaotic and uncertain times we face above the surface.
This year’s KDSHA exhibition, titled MASHAWIR (Journeys), is curated by Rania Tabbara in collaboration with Crème Fraîche, London. The artists’ works animate the Villa Chamoun gardens, enhancing the visitor experience with their creative visions. Part of the MASHAWIR exhibition are artists: Ghassan Zard, Samar Mogharbel, and Hady Sy with 17 artworks all together. Curator Rania Tabbara stated: “The narratives of the artists, diverse yet interconnected, reflect personal quests and interpretations that transcend boundaries, inspired by Gibran’s universal insights”.

Ghassan Zard features his Wandering Turtles—three nomadic turtles among a group of 70 others, part of his mobile exhibition across Lebanon. Separating from their herd, they now find themselves in the serene Kadisha Valley, forever a site of pilgrimage, devotion, and tranquility – qualities often associated with tortoises across cultures. With their dome-shaped shells and imposing presence, they radiate a sense of serene wisdom. Khalil Gibran once praised the tortoise, extolling the wealth of knowledge acquired by embracing a slower pace of life, in contrast to the hurried pace of hares. A recurring motif in Zard’s artistic repertoire, the turtle evokes both nostalgia and a sense of the sublime in his creations.  In his Echoes of Nature, Zard explores the delicate balance between nature and intervention, occasionally introducing foreign elements into organic settings, playfully deviating from nature’s course. Imagery of mushrooms, flowers, or even ears subtly emerges in his work. Sound becomes a central theme within this seemingly lifeless forest, where trees serve as both recipients and creators of music. Through Zard’s sculpted tree trunks (Seven), once towering giants now transformed into colossal insects or ancient dinosaurs, viewers encounter relics of a bygone era. Despite their demise, these trees engage in a tangible exchange with humanity, transcending their former molecular interactions in life.

Samar Mogharbel mingles Clay and Gravity in her three artworks, The Unbearable Lightness of Sculptures. She delves into the bond between them that embodies a dance of resistance and surrender, of shaping and being shaped. It speaks to the inherent harmony between the fundamental forces of the physical world and the artistic pursuit of crafting forms that both respect and challenge their confines.

Hady Sy bridges humanity and numbers through art. With this purpose in mind, he deciphers a landscape where conflicts, global health crises, and the relentless chase for wealth frequently diminish individuals to mere data points. It’s a Numbers Game embarks on a mission to confront this dehumanization through the transformative medium of conceptual art. The four artworks showcased delve deep into the intricate interplay between humanity and numerical representations, unveiling steel sculptures that infuse numerical figures with vitality, animating them with human, animal, and botanical characteristics.

Villa Chamoun which is nestled in the picturesque Kadisha Valley and close to the majestic Cedars of Lebanon, stands as an enchanting guesthouse retreat, steeped in the charm and tempo of the 1960s. Originally built as a family home in 1965, this historic villa has been meticulously restored to honor its storied past. This ambitious revival project brought together the talented artisans and craftspeople of Hasroun alongside renowned Lebanese designers, creating a sustainable micro economy that celebrates local skills and traditions.
The artworks are insured by Commercial Insurance.

The exhibition will be on view until October 2, 2024
Tel.: +961 3 023 305
www.villachamoun.com
@villachamoun

The installation, designed in collaboration with Archivio Cini Boeri, follows one of the principles that guided Cini’s work as an architect: the idea of a house with separate rooms with independent exits and a common area that inhabitants share by choice, not by imposition. The central room of the installation hosts the iconic Strips system, while each of the surrounding spaces is dedicated to a product family. The path was interactive and invited guests to experience the pieces, to touch and sit on them, always following Cini Boeri’s teaching that furniture should be able to engage with users, adapting, and evolving according to their needs.

Exploring the different areas means interacting with the most famous pieces designed by Cini Boeri: the modular Strips system, awarded the Compasso d’Oro in 1979, the Strips bed, the Pecorelle sofas and armchairs, the Bobo and Boborelax armchairs, and the Botolo high and low chairs – all dressed for the occasion in the most refined Loro Piana Interiors fabrics. The Botolo chairs are reinterpreted in soft Cashfur, an incredible blend of cashmere and silk, produced in a special colour in a limited and numbered series of 100 pieces. For the modular Strips sofa, Cashmere Raw was chosen, a pure, undyed cashmere in two shades, and for the Strips bed and Boborelax armchair, Tiepolo wool was used, naturally elastic and resistant, while Bobo armchair is upholstered in Cashmere Sherpas in the signature Loro Piana Kummel colour. The Pecorelle are upholstered in unique and lustrous Pecora Nera, a fabric obtained by working the dark-coloured fleece of New Zealand merino sheep, always in two shades to create a game within the game: a soft and comfortable “flock” where the light Pecorelle stand out among the dark ones, just as happens in the real flock from which Loro Piana exclusively sources the wool.

“The thinking of Cini Boeri is extraordinarily contemporary, said Francesco Pergamo, Director of Loro Piana Interiors. Just as extraordinarily contemporary remain the pieces we have chosen to exhibit together with Arflex and Archivio Cini Boeri, and to dress with our fabrics. The dual centenary of Cini’s birth and the founding of Loro Piana has offered us the opportunity to contribute to the appreciation of the architect’s figure, embarking on a journey that will last three years. In the meantime, we start with this special collection that Arflex produces and distributes with a selection of our most representative but also most versatile fabrics. We have chosen them with a focus on the key elements of Cini Boeri’s design: functionality, modularity, pieces conceived to be used and to become part of everyday life. Similarly, all our fabrics, even the most precious ones, are crafted to be used and appreciated within environments. The combination has proved simply ideal”.

Giulia and Antonio Boeri, founders of Archivio Cini Boeri in 2023 with the aim of reorganizing and making accessible the work of an extraordinary grandmother, spoke about her work: “Cini taught us to practice Joy, in life’s choices and future expectations. And this is what we want to convey by working with her Archive, the joy of planning for the future, with commitment, but also with responsibility and passion”.
Irony, joy, and a touch of irreverence characterise the entire installation, to uphold these teachings and offer visitors a unique experience, showing how Cini’s design is still deeply connected to modern housing needs.

“A Tribute To Cini Boeri” stems from the collaboration between Loro Piana Interiors, Archivio Cini Boeri, and Arflex, the historic Italian company that has always produced Cini’s pieces of furniture. This marks the beginning of a journey of research and storytelling that will accompany Archivio Cini Boeri until the first major retrospective of Cini Boeri’s life in 2026 at Triennale.
“The unique celebration of the iconic models, designed by Cini Boeri for Arflex and the exclusive collaboration with Loro Piana Interiors create an extraordinary exhibition. The intention is to be immersed in the designer’s creative world, to play and to savour the models created by Arflex, wrapped in an harmonious fusion with ultimate quality fabrics”, stated Arflex.
“A Tribute To Cini Boeri” is not the only initiative celebrating Cini’s figure during Milan Design Week 2024. Archivio Cini Boeri and Triennale Milano presented the exhibition “Cini Boeri nella Biblioteca del Parco”, curated by Antonio Boeri, Giulia Boeri and Cristina Moro, staged from April 15^th to 28^th at the renowned library designed by Ico Parisi for the 1954 Triennale within Parco Sempione. Loro Piana Interiors will follow the enhancement path by working closely with the Archive and becoming a Partner of Triennale Milano.

Placed under the auspices of the Ministry of Culture and organized and produced by the Lebanese Visual Art Association (LVAA), the Pavilion of Lebanon invited Mounira Al Solh to create a bridge between myth and reality within its walls in the Arsenale. Her extensive multimedia installation “A Dance with her Myth”, composed of 41 pieces—drawings, paintings, sculptures, embroideries, and video—is spread across the 180 square meters Pavilion. Revisiting the myth of the rapt of Europa, the artist offers a perspective on the aspirations and challenges faced by women today. On canvas, paper, and screen, her creative process combines allegorical narrative with a documentary approach, appropriation with diversion, and gives realistic, poetic, and very contemporary representations.

Representing the Lebanese Minister of Culture, Judge Mohammad Wissam al-Mortada, Nada Ghandour conveyed his message at the opening ceremony: “In Lebanon, we recognize the importance of international cultural events in promoting mutual respect and understanding. Our Pavilion, positioned in the heart of the Arsenale, is an occasion to celebrate the power of art as a universal language. It is also an opportunity for our artists to engage with a global audience and foster cultural exchange. We are honored to be part of this esteemed event and to highlight the vibrant cultural scene in Lebanon”.
During her speech, Nada Ghandour stated: “The 2024 Lebanese Pavilion is a space celebrating emancipation, freedom, solidarity, and gender equality. It serves as a platform for bold dialogue across time, in a country that is more resilient than ever. The Pavilion of Lebanon presents this exhibition to the public, aiming to nurture the collective social and political awareness through the transformative power of art”.

The artist Mounira Al Solh declared: “The installation I created for the Pavilion of Lebanon is very much connected to the Mediterranean whether it is in the use of references to history, use of imagery, or color. There are a large number of references to our history and in particular to elements from Phoenician times. They are both recognizable and also vital to our history”.

A Dance with her Myth is set up around a boat, inviting visitors on a symbolic journey of emancipation and gender equality. Its unfinished structure indicates that the journey is not fully completed. The itinerary of the installation is rooted in a power play. In the center, the skiff is located half-way between the paintings and the graphic works that advocate the questioning of gender norms and the struggle for equality, and the masks embody the conservative forces of society. The objects present in the space also play a role in the 12-minute film projected on the boat’s sail-screen.

Mounira Al Solh’s drawings constitute the narrative of the central pattern developed in the paintings which defy traditional iconography. Transposition, deviation, and distortion are the tools used in the artist’s strategy. Various archetypical figures of Phoenician culture or of mythology populate, in an explosive and at times comical way, an intermediary world between allegory and reality. The temporality of A Dance with her Myth is not that of the myth, but that of the artist in dialogue with the viewer, here and now.
The scenography, designed by the architect Karim Bekdache, with no reorganization or partitioning of the space, allows a total immersion in the display. It contributes to a progression towards an endless horizon painted in blue-grey—the color of the sea and the skies of Tyre—as well as the long, winding pontoon that crosses the Pavilion from side to side, and creates the link between land and sea. The encounter between the works and the visitor occurs throughout the visit.

Like a great registry of present times, Nadim Karam’s work records his time, particularly the last 30 years of lived experience and history. The 2006 war, the displacement of populations in the Middle East, the context of confinement and the catastrophic explosion at Beirut’s port all have their place. The large triptych panel entitled Massacre (mixed media on canvas, 200 x 360 cm, 2009) is of central importance. Violence and the weight of history, ruins, roots and exile are themes that run through this polymorphous work, evoked through the supports and formats that it uses, as much as by the mediums, materials and techniques through which it takes shape and the characters and stories that it generates. It is the fluidity of these figures which migrate in a continuous flow from his sketchbooks to the public space, passing through multiple avatars, that this exhibition, in 5 sections retracing Karam’s trajectory, invites us to contemplate.

This story is also that of the 30 years of frenetic output through the atypical career of Nadim Karam. Atypical, because the language that Nadim Karam has developed over these years is not a conceptual language, where theory remains important, nor a material language in the sense that his research and experiments, however material they may be, do not seek to question the medium or resolve an aesthetic question.  The visual objects that Karam creates are intended for public space, even if they originate in the exercise of drawing. To understand them, we must first become familiar with the things that happen in this space, the issues that underlie what we call “art in the public space”, and we must also start by wanting to defend the idea of art in public space and to recognise that it has an artistic status. It is indeed within this shift from the dominant conceptual trends of contemporary art that Karam’s creativity unfolds. This gap defines him as a free agent in relation to the expectations of the art world of his time.

Nadim Karam’s work does not call into question the world order it describes, although it does not fail to be controversial, undoubtedly because it gives rise to fundamental questions of a political, ethical, aesthetic and institutional nature. Exhibiting this work also means committing to highlight the debates it has sparked.
Nadim Karam declared: “Sketching is a therapy that takes me away from the daily hassles of the world and throws me into the infinite vastness of empty white pages waiting to be filled, connecting me to my inner self and beyond’’.
The curator Nayla Tamraz said: ‘‘Like a great registry of present times, Nadim Karam’s work records his time’’.

About Nadim Karam
Nadim Karam is a contemporary artist who creates narratives engaging with cities and contexts through his works. His site-specific projects engage in re-examining contextual issues and enhancing perceptions of diversity within society, taking a playful and often absurdist approach even when addressing the most critical issues. During his doctoral studies in concepts of eastern space Japan, he developed a language of forms relating to spaces, memories and peoples through his performance art projects. Later, his public art projects emerged as a natural synthesis of his architectural affinity for urban contexts and his auto-didactic artistic output of drawings, paintings and sculptures. With his multi-disciplinary practice, Nadim Karam Studio (NKS), Karam has realised numerous major site-specific public art projects around the world, commissioned by cities and institutions. His paintings and sculptures have been exhibited in galleries, biennales, institutions and museums, and four monographs on his work have been published by Booth-Clibborn Editions in London. He lives and works in Beirut and Rotterdam.