Gallery Isabelle van den Eynde

Gallery Isabelle van den Eynde Contact information, map and directions, contact form, opening hours, services, ratings, photos, videos and announcements from Gallery Isabelle van den Eynde, Visual Arts, Unit 17, Alserkal Avenue, Street 8, Al Quoz 1, Dubai.

After establishing B21 Gallery in 2006, one of the first contemporary art spaces in the United Arab Emirates, Isabelle van den Eynde launched her eponymous space in Dubai's Alserkal Avenue in 2010, representing a pluralistic roster of artists from the Mid

OPENING | Déjà Vu 📌 Saturday, April 25 at 4PM📍Alserkal Avenue, Concrete ‘Déjà Vu’ is a collective exhibition bringing to...
22/04/2026

OPENING | Déjà Vu

📌 Saturday, April 25 at 4PM
📍Alserkal Avenue, Concrete

‘Déjà Vu’ is a collective exhibition bringing together 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 misalignments, memory glitches, and slippages of language.

We will present works by Raed Yassin from The ‘Company of Silver Specters’ series (2021) and ‘The Absent Album’ series (2012-15), where the artist reconstitutes lost personal memories through archival images; Vikram Divecha’s ‘Google Images’ series (2019), which isolates the familiar moment of a Google image slowly loading—those partial, blurred, or fragmented states before resolution—and treats them as visual events in themselves; Lubna Chowdhary’s ‘Bind 1’ (2021), an exploration of binding as the act of holding disparate elements in tension within a shared structure, reflecting on hybridity and circulation; and ‘Untitled’ (2025) sculptures by Shaqayeq Arabi, where modest, everyday materials form compositions that feel both delicate and insistent.

The exhibition is curated by Kevin Jones - Director of Strategy at Alserkal (), Nada Raza - Director of Alserkal Arts Foundation (), and Zaina Zaarour - Curator & Manager of Programmes at Alserkal Avenue (), in consultation with participating galleries.

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Slide 1: Raed Yassin, ‘Déjà Vu’ (2016), installation view
Slide 2: Raed Yassin, The Company of Silver Spectres (2021)
Slide 3: Vikram Divecha, ‘Google Images search entry: Need; Device: iPhone SE (A1723); Display aspect ratio 16:9’ (2019)
Slide 4: Lubna Chowdhary, ‘Bind 1’ (2021)
Slide 5: Shaqayeq Arabi, ‘Untitled’ (2025)

THANK YOU!Thank you to everyone who showed up—physically and remotely—and made our 20-year anniversary a truly communal ...
16/04/2026

THANK YOU!

Thank you to everyone who showed up—physically and remotely—and made our 20-year anniversary a truly communal celebration. We are deeply grateful to all the artists, writers, collections, and neighboring galleries whose contributions made this exhibition possible. What began before this period of uncertainty became, in many ways, a timely moment—to look forward, to revisit, and to affirm what has been built within a scene that continues to sustain us.

A special thanks to Alserkal Avenue () and all its teams for their generous support in bringing this gathering to life and hosting the community we hold dear. To the writers, whose reflections opened new readings and connections across the works—we are very thankful for the depth and care you brought.

20 years, 20 days, 20 encounters—movement, pause, return.

With gratitude as well to the institutions and individuals who supported this project, including Jameel Arts Center () for technical assistance, and curator Alexie Glass-Kantor (Executive Director, Curatorial, Art Dubai Group) for helping spark its initial conception.

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Photos by Niño Consorte of Seeing Things Studio

Day 20/20 | JumairyFrom pieces of paper and mixtapes with numbers scrawled on the inlay to bluetooth, airdrop and snap c...
12/04/2026

Day 20/20 | Jumairy

From pieces of paper and mixtapes with numbers scrawled on the inlay to bluetooth, airdrop and snap codes, tarqeem or car flirting has always reflected the technology of its time.

Here, a 1990s Nissan Patrol Super Safari takes on the persona of one such romantic hopeful. Say the right things, and this interactive sonic installation ‘Hala Walla!!!’ (2021) might just respond back to you.

But—does he wish you were Jumairy instead?

Invited writer: Rahel Aima ()

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Jumairy, ‘Hala Walla!!!’ (2021), interactive sound installation

Day 19/20 | Mohammad AlfarajThe evil eye articulates a condition many of us recognise: feeling exposed to invisible forc...
11/04/2026

Day 19/20 | Mohammad Alfaraj

The evil eye articulates a condition many of us recognise: feeling exposed to invisible forces of envy and projection. We inherit subtle systems of protection – recited phrases, rituals and talismanic gestures integrated into intuitive daily practices.

Mohammad AlFaraj superimposes supplications (In the name of God, Praise be to God), Ayat al-Kursi and verses of protection, recited to the point of internalisation. Through a field of text, symbols and mirrored forms arranged in grids and shapes, the work reveals the presence and power of a greater force. Distributed across geopolitical space, these inscriptions operate as a dispersed architecture of protection, forming a ritualised counter-map grounded in inherited spiritual lexicons.

To encounter the work is to enter a participatory field of address – an activation of collective utterance, an invocation goodness and a symbolic suspension of the logics of the evil eye.

Invited writer: Zainab Hasoon ()

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Mohammad Alfaraj,حرز أمان للعالم (2026)
‘Protective amulet for the world’ (2026)
Acrylic, pen and mud on paper

Tomorrow! We’re excited to welcome you for a gathering around 20 artworks and notes celebrating artists from across the ...
10/04/2026

Tomorrow! We’re excited to welcome you for a gathering around 20 artworks and notes celebrating artists from across the region and our scene shaped and sustained over the years. In moments of uncertainty and ongoing violence, coming together carries a different kind of weight.

Expect a takeover of the lane with on the decks, .manoushe serving bites, and ‘Hala Walla!!!’, an outdoor work by Jumairy ().

Kindly RSVP via the link in our bio.

This gathering is generously supported by Alserkal Avenue. Our warmest thanks to their teams for their continued support.

Day 18/20 | Sarah BrahimSide by side, Sarah Brahim () presents two films in the work ‘He said, we must forget’. On the o...
09/04/2026

Day 18/20 | Sarah Brahim

Side by side, Sarah Brahim () presents two films in the work ‘He said, we must forget’. On the one hand, memory is forming, trying to remember or perhaps forget. The other attempts to trace or interrupt—the artist’s marks and gestures overlaid on the film negatives. Together, the films hold each other in quiet tension, neither resolving or answering.

Using collected moments filmed over a year, Brahim explores the tenuous relationship between memory and imagination. What does it mean to construct and to unfold one’s self?

Passing scenes melt into each other, at times within a glance—her hands reveal themselves, measuring the space between the material of the physical world and the self. Through the materiality of film, Brahim attempts to capture and override memory itself; although fleeting, the feelings still linger.

Invited writer: Sara Bin Safwan ()

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Sarah Brahim, ‘He said, we must forget’ (2023), 16mm film, 2-channel video with sound, 09:23 min

Day 17/20 | Rami FarookAkin to Didi-Huberman’s fireflies, flickering as they do far within the shadows of a blinding lig...
08/04/2026

Day 17/20 | Rami Farook

Akin to Didi-Huberman’s fireflies, flickering as they do far within the shadows of a blinding light, the figures in Rami Farook’s () ‘We Care, Until We Don’t’ (2025-6) sound a polyphony of intermittent, fragile and fleeting encounters that otherwise exist on the peripheries of a grand event. All-encompassing, perhaps even superseding all other forms of kinship and alliance, the promise of forever is here hidden in an unseen center beneath soft pastels and sketch-like strokes. Togetherness is foregrounded as lacunary and precarious.

In situations of crisis, that which is deemed ‘celebratory’ is often the first to be postponed—the crisis becomes the spectacle. It is now most pertinent to verge into the shadows it casts, and seek encounters where fragments of subjectivity and nuance can unexpectedly resurface.

Invited writer: Abdulla Aljanahi ()

‘Move Pause Return’ marks the gallery’s 20th anniversary, presenting one new work each day at the gallery, accompanied by a note from an invited writer, through April 11.

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Rami Farook, ‘We Care, Until We Don’t’ (2025-2026), charcoal, oil and soft pastels on canvas, 110 x 150 cm

Day 17/20 | Rami FarookAkin to Didi-Huberman’s fireflies, flickering as they do far within the shadows of a blinding lig...
08/04/2026

Day 17/20 | Rami Farook

Akin to Didi-Huberman’s fireflies, flickering as they do far within the shadows of a blinding light, the figures in Rami Farook’s () ‘We Care, Until We Don’t’ (2025-6) sound a polyphony of intermittent, fragile and fleeting encounters that otherwise exist on the peripheries of a grand event. All-encompassing, perhaps even superseding all other forms of kinship and alliance, the promise of forever is here hidden in an unseen center beneath soft pastels and sketch-like strokes. Togetherness is foregrounded as lacunary and precarious.

In situations of crisis, that which is deemed ‘celebratory’ is often the first to be postponed—the crisis becomes the spectacle. It is now most pertinent to verge into the shadows it casts, and seek encounters where fragments of subjectivity and nuance can unexpectedly resurface.

Invited writer: Abdulla Aljanahi ()

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Rami Farook, ‘We Care, Until We Don’t’ (2025-2026), charcoal, oil and soft pastels on canvas, 110 x 150 cm

Day 16/20 | Alia ZaalReflection is the return of light, and in that return, a production of an image is born- one that ...
07/04/2026

Day 16/20 | Alia Zaal

Reflection is the return of light, and in that return, a production of an image is born- one that mirrors a tangible reality, onto a felt surface, which pursues the distortion of that image, through the rulership of light. Reflection, is also a deep mental state, which attempts to unpack and make sense of particular experiences and in this, the act of remembering and recalling, redraws a merged memory borrowing from the variety of lived and shared experiences that helps one understand it.It is in this that Alia Zaal’s () paintings hold their weight. Rooted to place in various geographies of gardens, skies and seas- the paintings trace light that moves between the gaps of contrasting naturescapes to a rhythm reinterpreted through reflection, creating an image divided between movement and stillness, differentiation and similarity.

Invited writer: Munira Al Sayegh (.alsayegh)

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Alia Zaal, ‘Stories’ (2015), oil paint on wood panel (set of 3)

Day 15/20 | Lubna Chowdhary Riddle me a city against time.Speed is intrinsic to a city, especially one with a prominent ...
06/04/2026

Day 15/20 | Lubna Chowdhary

Riddle me a city against time.

Speed is intrinsic to a city, especially one with a prominent skyline. Yet we repeatedly confront cities stilled by disruption — pandemics, wars, climate ruptures and cosmic shifts.

In her long-running series ‘Certain Times’, Lubna Chowdhary () bakes an aesthetic of stillness into the city’s silhouette. Each piece, made of glazed and coloured ceramic, is assembled to conjure an abstraction of a cityscape. Against the expectation of movement, the work stages a paradox: a hypercity brought to stillness. Chowdhary renders a dislocated city with a flattened skyline of irregular contours, handmade forms and ambiguous shapes, suspended in time.

Invited writer: Indranjan Banerjee ()

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Lubna Chowdhary, ‘Certain Times L###I’ (2024), ceramic with shelf.

Day 14/20 | Raed YassinIn ‘Self Portrait with Foreign Fruits and Vegetables’, Raed Yassin stages his body alongside impo...
05/04/2026

Day 14/20 | Raed Yassin

In ‘Self Portrait with Foreign Fruits and Vegetables’, Raed Yassin stages his body alongside imported produce, using food as a metaphor for migration and assimilation. While foreign goods are easily absorbed into everyday consumption, the body remains marked by difference—caught between visibility, estrangement, and the uneasy performance of belonging.

Invited writer: Ruba Al-Sweel ()

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Raed Yassin, ‘Self portrait with Foreign Fruits and Vegetables’ (2011), archival inkjet print on archival paper

‘Shaping Resistance’ (2015) | Vikram Divecha Divecha’s () public intervention subtly disrupts the manicured order of Al ...
05/04/2026

‘Shaping Resistance’ (2015) | Vikram Divecha

Divecha’s () public intervention subtly disrupts the manicured order of Al Majaz Park in Sharjah by collaborating with migrant gardeners to reshape its hedges using forms drawn from their own visual language of beauty. What begins as a municipal landscape becomes a site of shared authorship, where routine labor gives way to modest moments of self-expression. At the gallery, the project’s residues—the ‘Gardeners Sketchbooks’—are currently on view, foregrounding the often-unseen hands that shape the city.

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Vikram Divecha, ‘Shaping Resistance’ (2015), 100m hedge, 5 patterns, Site-specific intervention, Al Majaz Park, Sharjah

Participating gardeners: Tariq Mahmood Muhammad Riaz Ahmed, Sajad Hussain Bughio, Muhammad Shabbir Ahmad Din, Vikram Divecha, Shahid Ahmad Bashir Mahmood, Mohammed Mostafa Mohammed Junu Mia

The project was made possible with the support of Maraya Art Centre team, Shurooq and Sharjah Municipality.

Address

Unit 17, Alserkal Avenue, Street 8, Al Quoz 1
Dubai
18217

Opening Hours

Tuesday 10:00 - 18:00
Wednesday 10:00 - 18:00
Thursday 10:00 - 18:00
Friday 10:00 - 18:00
Saturday 10:00 - 18:00

Telephone

+97143235052

Website

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