Green Art Gallery

Green Art Gallery Contemporary Art Gallery in Dubai, UAE Green Art Gallery is a contemporary art gallery based in Dubai, UAE.

Representing a mutil-generational mix of artists, the Gallery’s program is focused on contemporary artists from the Middle East, North Africa, South Asia, Turkey and beyond, working across different media, traditional and new, who employ a research based approach. Artists represented include Turkish artist Hale Tenger, NY-based Iranian artist Kamrooz Aram and NY-based Palestinian artist Shadi Habi

b Allah. The Gallery has continued to grow and in 2012 added NY-based artist Seher Shah and Venezuelan artist Alessandro Balteo Yazbeck to the artist roster. Green Art Gallery represents artists and presents special collaborative projects. For further information please visit www.gagallery.com

Our Facebook and other social media accounts provide further information on our program and artists as well as behind the scenes at the Gallery, offsite exhibitions, studio visits, art fairs, etc

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ON VIEWHera BüyüktaşcıyanTURANDOT: To the Daughters of the EastCollateral Event of the 61st International Art Exhibition...
19/06/2026

ON VIEW

Hera Büyüktaşcıyan

TURANDOT: To the Daughters of the East
Collateral Event of the 61st International Art Exhibition - La Biennale di Venezia
Parasol unit, Palazzo Cavalli-Franchetti, Venice
9 May – 31 October 2026

In her layered film The Dream of a Falling Star (2019–2023), Hera Büyüktaşcıyan explores the tensions between absence and presence, sound and silence, erasure and resistance. By retracing apocalyptic histories through the morphology of stone, she reflects on how matter bears witness to time.

Continuing her investigation into contested histories, territorial divisions, and space as a repository of memory, the work draws on a recorded dream from the memoir of a Livissi expatriate, describing undefined forms falling from the sky onto the village. Now known as Kayaköy, this site in southwestern Turkey, within the ancient Lycian region, has remained abandoned since the population exchange following the Asia Minor Catastrophe of 1922.

Through phantasmagorical imagery, stop-motion sequences, and site-specific footage, Büyüktaşcıyan reconstructs the village as a layered, dreamlike narrative in which earthly and celestial elements converge. The film drifts between ancient dreams, fallen meteors, and constellations, alongside petrified bodies and reawakening voices, forming an anthropomorphic procession. Architecture and landscape emerge as witnesses to time: each hollow, crack, and wall takes on a skin-like quality, transforming traces of departure into an expansive cosmological form that bridges the perishable and the non-human within cycles of existence.

Here, the dream becomes a space of revelation—where hidden truths surface and the lithic silence of a turbulent past unfolds through the petrified imprints of an abandoned village, carried on oneiric waves.

More information: https://parasolunit.org/

NOW REPRESENTING: KHALED JARADAGreen Art Gallery is pleased to announce the representation of Khaled Jarada.Khaled Jarad...
18/06/2026

NOW REPRESENTING: KHALED JARADA

Green Art Gallery is pleased to announce the representation of Khaled Jarada.

Khaled Jarada (b. 1996, Gaza, Palestine) captures figures caught within unfolding moments. His compositions are marked by a quiet tension: bodies appear off-balance, restless, and subtly displaced, inhabiting spaces that feel both immediate and estranged. At times, these precarious arrangements carry a muted, almost wry humour-gestures that hover between awkwardness and intention.

Jarada's exploration of this condition is deeply informed by his experience of exile. Born and raised in Gaza and recently moved to Paris, he engages the emotional and spatial dislocations of displacement while resisting fixed structures or singular narratives. Instead, he turns his attention to the overlooked-mundane gestures, peripheral spaces, and fleeting encounters-elevating them into sites of contemplation, care, and quiet idealization.

In 2026, Jarada received an Honorary Mention for the Reiffers Art Initiatives Prize.

His work has been featured in numerous group exhibitions across Europe and the Middle East, including Freeing the Voices, Cité Internationale des Arts, Paris, France (2026); Tinkering with the unknown, Reiffers Art Center, Paris, France (2026); Dissonant Shelters, 229 Lab, Paris (2025); Résistances, Maison des Sciences Sociales et des Humanités, Dijon, France (2025); What the Eye Brought Back, P420, Bologna, Italy (2025); and Key of Return, Potassi K19, Barcelona, Spain (2025) among others.

Images: (1) Portrait of Khaled Jarada; (2) Khaled Jarada, Remaining Gesture, 2026, Charcoal on paper; (3) Khaled Jarada, Remaining Gesture, 2026, Charcoal on paper; (4) Khaled Jarada, Réflexes séries (detail), 2025, Charcoal on paper; (5) Khaled Jarada, Waiting Rituals 01, 2025, Charcoal on canson paper; (6) Khaled Jarada, Untitled I, 2025, Charcoal on paper; (7) Khaled Jarada, Untitled, 2025, Charcoal on paper

All artwork images: Photo by Carlo Favero

ON VIEWFATMA AL ALIGlobal Positioning SystemJameel Arts Centre, Dubai, UAE9 May – 4 October 2026Fatma Al Ali's "Water wa...
16/06/2026

ON VIEW

FATMA AL ALI

Global Positioning System
Jameel Arts Centre, Dubai, UAE
9 May – 4 October 2026

Fatma Al Ali's "Water was once here" draws on the geological history of Green Arabia — a period ending approximately 5,000 years ago, when a wetter climate sustained rivers, lakes and vegetation across the Arabian Peninsula, enabling human migration across the region. Fatma Al Ali treats present-day rain paths as echoes of those ancient river systems, working with materials gathered from sites where water has recently flowed.

The surface of the sculpture is densely embossed with a pre-Arabic script, characters that dissolve into texture. Embedded within it is a text by the artist that connects childhood memories, connections to the land and her research into ancient riverways. Conceived as a monumental stamp, the sculpture carries impression and erasure. The work is a record of water traces that continue to quietly structure land, memory and movement long after its source has receded.

More information: https://www.gagallery.com/exhibitions-worldwide/fatma-al-ali3

ON VIEWNAZGOL ANSARINIAGlobal Positioning SystemJameel Arts Centre, Dubai, UAE9 May – 4 October 2026Global Positioning S...
12/06/2026

ON VIEW

NAZGOL ANSARINIA

Global Positioning System
Jameel Arts Centre, Dubai, UAE
9 May – 4 October 2026

Global Positioning System is an exhibition dedicated to mapping and navigation systems. It tells stories of fast cars and donkeys, spinning globes and street barricades, cosmic highways and broken bridges. Gathering over forty artists across Art Jameel’s two centres in Dubai and Jeddah, the exhibition presents a wide range of artistic practices—from research-based engagements with infrastructure projects to conceptual works that question the very perception of distance.

Maps, remaining the dominant representation space, carry a heavy weight. Far from reflecting geography objectively, they are instruments of power that embody specific worldviews. Though based on mapping, navigation systems render traditional maps redundant; they reduce navigation to an abstract exercise and remove the need to comprehend the physical space one moves through. This exhibition’s central provocation is to steer away from the map’s imposing presence, asking what remains of space and movement in its absence.

Focusing on movement, conceptual gestures and time-based practices, ‘Global Positioning System’ approaches navigation with friction, interruption and uncertainty. Navigation situates bodies and calibrates speed across shifting coordinates. When these systems fail, they produce aberrations and standstills ranging from minor inconvenience to profound catastrophe. Yet, failure can also offer protection, providing opaque camouflage against all-seeing technologies and creating generative zones of illegibility and evasion.

More information: https://www.gagallery.com/exhibitions-worldwide/nazgol-ansarinia12

ON VIEWAll the Lands from Sunrise to SunsetAlla Abdunabi, Fatma Al Ali, Alessandro Balteo-Yazbeck and Michael Rakowitzon...
10/06/2026

ON VIEW

All the Lands from Sunrise to Sunset
Alla Abdunabi, Fatma Al Ali, Alessandro Balteo-Yazbeck and Michael Rakowitz

on view until 31 July 2026

All the Lands from Sunrise to Sunset—a phrase attributed to the ancient Mesopotamian king Sargon of Akkad—invokes one of the earliest claims to total dominion. Taking this assertion as both point of departure and provocation, the exhibition brings together works by Alla Abdunabi, Fatma Al Ali, Alessandro Balteo-Yazbeck, and Michael Rakowitz to examine the persistence of imperial logics across time—through language, image, material, and myth.

If the 20th century was shaped by the rise of the nation-state, the present moment is increasingly defined by the return—or exposure—of imperial structures: extractive economies, contested geographies, and the symbolic afterlives of domination. Rather than presenting empire as a concluded historical form, the exhibition treats it as an ongoing condition—one that mutates, rebrands, and embeds itself in contemporary visual culture.

Across the exhibition, acts of naming, erasure, reconstruction, and repetition emerge as central gestures. A gulf is renamed; an artifact is rebuilt; a coin circulates; a lion persists only as symbol. These works do not attempt to stabilize history, but dwell in its distortions, where fragility and power remain entangled.

Across these practices, the exhibition resists singular narratives. Instead, it stages overlapping temporalities in which ancient empires, colonial enterprises, and contemporary geopolitical formations mirror and refract one another. Humor, material transformation, and narrative disruption emerge as strategies for confronting systems that often present themselves as inevitable or immutable.

What emerges is not a fixed account of empire, but a shifting field of relations—where naming becomes an act of power, absence carries as much weight as presence, and histories persist not as distant pasts, but as active forces shaping the present. Rather than offering resolution, the exhibition invites sustained attention to the ways power endures, adapts, and continues to structure how the world is seen, remembered, and lived.

More information: https://www.gagallery.com/exhibitions/all-the-lands-from-sunrise-to-sunset

ON VIEWMICHAEL RAKOWITZRememory, 25th Biennale of Sydney, Australiaon view until 14 June 2026The Ballad of Special Ops ...
08/06/2026

ON VIEW

MICHAEL RAKOWITZ

Rememory, 25th Biennale of Sydney, Australia
on view until 14 June 2026

The Ballad of Special Ops Cody takes as its starting point a 2005 incident in which an Iraqi insurgent group posted a photograph online of a captured US soldier named John Adam. The group threatened to kill him if US-held prisoners in Iraq were not set free. The US military took the ultimatum seriously but were unable to identify John Adam within their ranks. As it turns out, this soldier was actually Special Ops Cody, a US infantry action figure made to exacting detail. These toys were sold exclusively on US military bases in Kuwait and Iraq and were often sent home to the children of active soldiers, functioning as a surrogate for their fathers deployed abroad.

The Ballad of Special Ops Cody plays off this story and gives life to the figurine through the production of a stop motion animation filmed at the University of Chicago’s Oriental Institute, which has had a relationship with the National Museum of Iraq since the 1930s. In the animation, Special Ops Cody enters the Institute’s vitrines, which hold Mesopotamian votive statues taken during Western colonial exploits. Left behind by worshippers, these votive statues, with their hands clasped in prayer, served as surrogates for those who visited the temples of their deities. Although Cody offers the statues liberation, urging them to leave their open vitrines and return to their homes, the statues remain, petrified and afraid, unable to return in the current context.

More information: https://www.biennaleofsydney.art/rememory-overview/

ON VIEWHera Büyüktaşcıyan: Phantom QuartetArter, Istanbul27 November 2025 – 30 August 2026'Phantom Quartet' brings toget...
05/06/2026

ON VIEW

Hera Büyüktaşcıyan: Phantom Quartet

Arter, Istanbul
27 November 2025 – 30 August 2026

'Phantom Quartet' brings together Hera Büyüktaşcıyan’s newly produced works for this exhibition, along with a selection of earlier works, some drawn from the Arter Collection. The exhibition traverses the artist’s core engagement with the notions of invisibility, cyclicality, memory, architecture and nature, through both personal and political histories rooted in the topography surrounding Arter and he ruptures inscribed within. Büyüktaşcıyan weaves the traces of these ruptures together with imaginary landscapes shaped by fragments, echoes and voids distilled from her memory.

Drawing on the term ‘phantom limb’, evoking a lingering presence that follows loss and used originally in the medical field, Phantom Quartet unfolds in four chapters. This fourfold structure resonates through the elements of fire, air, water and earth, each seeping into the works in different ways. Interlacing four distinct temporalities – past, present, future and purgatory – the exhibition creates a sensory terrain that summons the ghosts hidden within objects, forms, surfaces, sounds and colours.

Through the materials and the deconstructive form language she employs, Büyüktaşcıyan points to a surface tension and examines both the collision and coexistence of different elements transformed by time. Tracing the imprints of individual and collective memory through textures, sounds and urban landscapes, her works attest to a world woven with dualities such as presence and absence, life and death, body and spirit, erasure and reconstruction.

More information: https://www.gagallery.com/exhibitions-worldwide/hera-buyuktasciyan-phantom-quartet

ON VIEWMICHAEL RAKOWITZLamassu of Nineveh | Michael Rakowitz & Ancient CulturesNEON + Acropolis Museum, Outdoor Garden, ...
27/05/2026

ON VIEW

MICHAEL RAKOWITZ
Lamassu of Nineveh | Michael Rakowitz & Ancient Cultures

NEON + Acropolis Museum, Outdoor Garden, The Acropolis Museum, Athens, Greece
on view until 31 October 2026

The work is a major sculptural extension of Michael Rakowitz’s ongoing series The Invisible Enemy Should Not Exist (2006-ongoing). The series consists of ‘reappearances’ of artefacts looted from the National Museum of Iraq in Baghdad following the U.S. invasion in 2003 or destroyed at other sites in its aftermath.

The Lamassu of Nineveh (2018) was originally commissioned for the Fourth Plinth in London’s Trafalgar Square. Constructed from empty cans of Iraqi date syrup, the sculpture reconstructs the protective Assyrian deity, a Lamassu: a colossal 4.3-metre winged bull with a human face that once stood at the entrance of the Nergal Gate in ancient Nineveh. The original monument, dating from around 700 BCE, was destroyed in 2015 by ISIS, along with many other artefacts in the Mosul Cultural Museum.

The Lamassu of Nineveh (2018) installation – situated in the surroundings of the Acropolis Museum – brings the sculpture into immediate dialogue with multiple layers of history and memory: the archaeological excavation visible beneath the Museum, the sacred landscape of the Acropolis above, the modern city around it, and the contemporary architectural space of the Museum itself.

Rakowitz uses empty cans of Iraqi date syrup for his Lamassu installation. These cans represent the once-renowned Iraqi industry that was decimated, as well as the human, economic, and ecological devastation wrought by the Iraq wars and their aftermath. Through objects, Rakowitz refers to the people who live alongside them and to their stories. The Lamassu ‘reappears’ and continues its role as guardian in the past, present, and future.

More information: https://www.gagallery.com/exhibitions-worldwide/michael-rakowitz-lamassu-of-nineveh-michael-rakowitz-ancient-cultures

UPCOMINGSeher Shah at Hamburger KunsthalleGreen Art Gallery is pleased to share Seher Shah’s participation in "BUT I | W...
25/05/2026

UPCOMING

Seher Shah at Hamburger Kunsthalle

Green Art Gallery is pleased to share Seher Shah’s participation in "BUT I | WORLD | I SEE | YOU" at Hamburger Kunsthalle, presented as part of the 9th Triennial of Photography Hamburg 2026, opening on 5 June 2026.

"BUT I | WORLD | I SEE | YOU" provides a philosophical and historical grounding for the exploration of photographs, films and artifacts informed by personal experience, myth and ideology. Across its three sections, the exhibition meditates on landscapes of memory, the transformations of form, and the poetic and political charge of the archive.

More information: https://www.hamburger-kunsthalle.de/en/exhibitions/i-world-i-see-you

.Please note that the gallery will be closed in observance of Eid holidays from 25–29 May 2026.We will reopen on 30 May ...
25/05/2026

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Please note that the gallery will be closed in observance of Eid holidays from 25–29 May 2026.

We will reopen on 30 May 2026.

Wishing you and your loved ones a joyful and peaceful Eid.

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Al Quoz 1, Street 8, Alserkal Avenue, Unit 28
Dubai
25711

Opening Hours

Monday 11:00 - 19:00
Tuesday 11:00 - 19:00
Wednesday 11:00 - 19:00
Thursday 11:00 - 19:00
Friday 11:00 - 19:00
Saturday 11:00 - 19:00

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