TABARI ARTSPACE

The Keepers (2026) by @randa_mdah This series of terracotta sculptures evolves from the same symbolic ecology as Randa’s paintings. Anamorphic figures flow from canvas into clay, extending an interior cosmos imprinted with mythology, spirituality and the landscapes of the Golan Heights where the artist was raised. Across Randa’s practice, folklore, childhood dreams and lived political tensions surface through densely charged compositions. In The Keepers, this language develops into sculptural form. Her hybrid creatures appear as guardians of her gardens, enigmatic presences that bind human experience to the cycles of the earth. Displayed at @artdubai

Within Me at @artdubai Featuring @remaghuloum , @randa_mdah , Irene Scheinmann (1933–2023) and @hashelamki . Across painting, sculpture, etching and mixed media, through abstraction, figuration and hybrid mythic language, the selected artists externalise what is held within. Rema’s sapphire field, pigment sanded back and reworked until the canvas generates its own atmosphere, sits in dialogue with Randa’s saturated cosmologies, where figures drift between human, animal and vegetal states across canvas and hand-worked clay. Irene answers them across the decades. The Iraqi-British modernist works through dreamy lunar landscapes, another work on canvas sees pursed pink lips tracing the contour of a hillside, body and earth inclining toward one another along a mutual horizon. Hashel’s Part-Time Lovers (2025) maps the cycles of seasons across natural pigments, oil, oil pastel and glitter on tent fabric and leather, the composition bringing clouds closer to mountains until sky and earth are indistinguishable. On view until Sunday at Art Dubai, Madinat Jumeirah.

Within Me For @artdubai , we present Within Me, a booth bringing together four artists working across distinct moments, disciplines and geographies: @remaghuloum (Lebanese-Jordanian-Kuwaiti-American, b. 1978), @randa_mdah (b. 1983, occupied Golan Heights), Irene Scheinmann (1933–2023, Iraqi-British) and @hashelamki (Emirati, b. 1986). Here, the artists reveal the distinct worlds within them. They offer four ways of rendering interior life tangible: through abstraction and atmosphere, through the metamorphic body, through the elemental forces of land and season, through dream-inflected terrain, suggesting that the most consequential territories are those carried within the self.

Ritual for a Gentle Space, (2026) @nasajm Salvaged and upcycled fabrics are stitched into bold geometric structure, each piece bringing a prior life into the work. This turn to textile marks a new material direction in Nasser’s practice. Here, earlier pieces are pulled back into the studio, intervened in, dismantled, reconstituted, establishing a line that runs from then until now. This work then forms an act of repair, as Nasser says, it’s a way to “forgive and forget.” Ritual for a Gentle Space is exhibited in Same Air / نفس الهواء, opening 11 May.

@jawad.almalhi (b. 1969, East Jerusalem) contributes new work to Same Air/ نفس الهواء For more than two decades, Jawad has captured the dynamics of crowds, the contour of a body in waiting, the nuances of small group formation. In these recent works on canvas, figures stand and lean in spaces devoid of colour, their forms washed out, walls dissolve into shadow. Jawad has titled an earlier body of work Measures of Uncertainty, and the phrase travels across his practice. The paintings summon the posture of a population that has learned to wait, and to wait, and to wait. Jawad’s art is held in the collections of the Centre Pompidou, the British Museum, the Imperial War Museum and the Barjeel Art Foundation, and has been shown at documenta 13 and during the Venice Biennale. Discover Afterwards_Wa Ba3den by Jawad Al Malhi at Same Air / نفس الهواء opening 11 May at Tabari

Flesh Simulator (2026) @talalnajjar A digital response probing what it means to be human in an age of disjunction. On view in Same Air, in the back room. Opens 11 May.

No Winners (2026), charcoal and pastel on paper, @tagreeddarghouth “Chaos in the ring does not represent conflict as an isolated event; it’s an ongoing condition.” “The wrestling ring is a recurring site of human projection. Beyond its role as a stage for entertainment and sport, it is an emblematic arena where physical conflict takes the place of verbal dialogue, where humanity is the subject and the instrument.” Tagreed’s recent work reflects on the wrestling ring as a structure through which broader cultural and historical tensions are rehearsed our desire for the ritualised confrontation that is broadcast, replayed, and rationalised. This is not a story of wrestling. It is a way of thinking about what we ask violence to perform on our behalf. Reflecting a shift in medium and concept, this new work will be on view in our forthcoming exhibition, Same Air, opening 11 May.

Same Air | نفس الهواء A Group Presentation Tabari Artspace, DIFC, Dubai When something changed in the air it registered in the body; a tightening of the chest and a stillness. Fourteen artists, all rooted in the region, returned to their studios. Without a prescribed theme or formal directive they began to create. The works that came forth, unfinished, unresolved, and in motion, span multiple media and expressive forms. They are connected by the conditions of their making: the same place, the same moment, the same air. Presented online and in the gallery, the exhibition holds as a living record of how the present moment is absorbed by those breathing within it. Featuring @almahajaralla @aacanvas @hazemharb @tagreeddarghouth @chafaghaddar @iamayahaidar @ziadnajjar_ @talalnajjar @maithaabdalla @zalhashemi @jawad.almalhi @nasajm @lulwah_al_homoud @miramar_alnayyar Audio: Same Air, 2026, a sound piece by Miramar Al Nayyar

We’ve been here before. Except we haven’t. @chafaghaddar participates in Déjà Vu, a multi-gallery exhibition conceptualised by Alserkal, which opens at Concrete on Saturday, 25 April. The 14-day exhibition features 50+ artists represented by 20 of the UAE’s leading contemporary art galleries. Inspired by Raed Yassin’s neon work, Déjà Vu (2016), the show unpacks the absurdity of repeated cycles, historical mis-matching, memory glitches, and language slippage. Curated by: Kevin Jones, Director of Strategy at Alserkal (@junipermind ); Nada Raza, Director of Alserkal Arts Foundation (@nada_raza ); and Zaina Zaarour, Curator & Manager of Programmes at Alserkal Avenue (@zinazarour ), in consultation with participating galleries. Pictured: The Visit (2026), Chafa Ghaddar, mixed media

We are proud to announce our representation of the estate of Irene Scheinmann (née Reuben-Karady, 1933–2023), an Iraqi-British modernist painter and printmaker whose six-decade career traces the meeting points of body, landscape and the diasporic experience. Born in Baghdad and later based in London, Irene developed a visual language influenced by her experiences of embodying and observing movement and dislocation. She worked across media: first in painting, before developing her own distinct language in etching, monoprint and collagraph. Mentored by the legendary artist Julian Trevelyan RA in his Hammersmith studio, she built her own printing press in her garden and exhibited her work internationally. She was an active member of Trace, the French printmaking association, and the California Society of Printmakers and founded the artists' association Print Europe in 1991. Her paintings and prints move through the landscape as if via a subconscious. Here, horizons tilt, rock formations fracture and reassemble into bodily forms brimming with metaphor. Irene's work poses aesthetic questions regarding the tensions embedded within the pictorial landscape, a matter of great significance to our aesthetic world. Representing her estate gives us the bold opportunity to bring her art to MENA audiences for the first time, placing it in dialogue with the contemporary artists in our programme. Irene's work will be on view at @artdubai and in Fellow Travellers (forthcoming), curated by @dromarkholeif Irene’s work is the subject of ongoing independent research by Professor Kholeif, who will be presenting her work in their forthcoming project, Dreamwork.

Within Me at @artdubai Our presentation brings together four artists across two generations and four geographies: @remaghuloum , @randa_mdah , Irene Scheinmann and @hashelamki . We all carry stories within us; they reside in the body as colour and warmth, in fleeting dreams, in the ache of people and places once known. Taking this idea as a point of departure, Within Me considers what occurs when interior states assume material form. Art Dubai is one of the first opportunities to encounter Irene Scheinmann’s work in the Gulf. 14–17 May 2026, Madinat Jumeirah, Dubai.

The Visit, 2026, mixed media, by @chafaghaddar Pale grounds of raw terracotta and sand are interrupted by single incisions, deep red vertical wounds that open the surface. The body here is both the site of violence and its survivor. Chafa’s use of fresco, which matures in layers and cannot be corrected once set, carries the trace of every movement made under pressure and in time. The slits are at-once rupture and scar, marks left by something that has passed through, a visit. The Visit is exhibited as part of Same Air / نفس الهواء which opens 11 May, bringing together fourteen artists rooted in the Gulf in direct response to a shared moment of disruption.