Sharjah Biennial 10: Plot for a Biennial

Figures intertwine, almost floating, while recurring images of faces recall Zayat’s other endeavour – conservator and restorer of orthodox icons.

Lydda Airport is a short film named after the facility built in 1930 in what was then known as the British Mandate of Palestine.

Camar Cande’s Journey chronicles a trek Abdullah Al Saadi took through the northern region of the United Arab Emirates and Oman.

In Aisha Khalid’s Pattern to Follow series, the artist devises a contemporary approach to painting classical Islamic geometric patterns.

Through Aisha Khalid’s labour-intensive process of inserting pins through a layer of two shawls, Kashmiri Shawl inspires contradictory responses.

All that remains from Rashid Ghossein and Mariam Hamadeh’s relationship is a large collection of messages recorded over a period of ten years on audiocassettes.

Almagul Menlibayeva and Bahar Behbahani explore the dialogue between two ancient cultures that border the Caspian Sea on the crossroads of the Middle East and Central Asia.

A Love Story is a miniature narrative in four acts where time becomes fluid as the image is distilled to its inner self.

He began culling images from newspapers and magazines, instinctively juxtaposing them.

The Sharjah InfoCart is a mobile kiosk that traveled to malls and outdoor public places in Sharjah including Al Qasba, Sahara Centre Mall, Rolla, and Al-Jubail bus station, during January and February 2011.

Javad Yassari rose to fame in the late 1970s in Lalezar, Tehran’s club strip where he sang in smoky theatres and cabarets.

Maportaliche/ It has no importance is a mixed-media installation of a patchwork of words, texts, short descriptions in languages from the artist’s lived socio-linguistic reality in Algeria as well as from his world of literary and theatrical production.

Anna Boghiguian’s project is about migration, whether of goods and ideas or the movement of people in global labour markets.

A Typology of Houses is a descriptive record of culture made manifest in the building vernacular of residential housing in Dubai.

'In the eyes of the Islamist terrorists I belonged to the hateful category of the tagh’out' – a traitor to the cause of God.