Villa Azad, cairo/Zamalek Villa 39/Al Gezira Elwosta Street, Cairo (2026)

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Cairo/Zamalek Villa 39/Al Gezira Elwosta Street

23/08/2026

MOHAMED RADWAN
Elegance ||
Bronze 1/8 | 2026
34 x 12.5 x 12.5 cm

Mohamed Radwan (b. 1970, Cairo) is an Egyptian sculptor whose practice explores the spatial and structural possibilities of abstraction through iron and bronze. Working with geometric reduction and disciplined formal language, Radwan constructs sculptural forms that negotiate balance, tension, and continuity within space.

A graduate of the Faculty of Fine Arts, Helwan University, where he later obtained both his Master’s degree (2000) and PhD (2006) in sculpture, Radwan’s academic formation informs his rigorous approach to material and form. His works are not conceived as objects alone, but as spatial propositions lines extended into volume, voids activated as much as mass.

Characterized by controlled geometry and refined surfaces, his sculptures investigate the relationship between weight and lightness, solidity and openness. Iron and bronze, traditionally associated with permanence and monumentality, are articulated in ways that suggest movement and visual permeability. Through this reduction of form, Radwan invites direct physical and perceptual engagement, allowing the viewer to navigate the work rather than merely observe it.

Alongside his studio practice, Radwan serves as Assistant Professor and Head of the Sculpture Department at Helwan University, contributing to the development of contemporary sculptural discourse in Egypt. His work has been presented in numerous exhibitions and international sculpture symposiums, including Changchun (China), Morges (Switzerland), and Nanto Petra (Italy), situating his practice within a global sculptural context.

Recipient of Egypt’s State Prize for Artistic Creativity, Radwan continues to refine a sculptural language grounded in structural clarity and spatial dialogue positioning abstraction not as detachment from reality, but as a disciplined inquiry into its underlying form.

22/08/2026

Georges Bassil (b. 1965, Beirut) is a Lebanese painter whose practice centers on the human figure as a site of memory, projection, and aesthetic construction. Self-taught, Bassil began exhibiting in the mid-1990s, developing a visual language guided less by academic structure than by intuition and emotional resonance.
His work consistently returns to the female figure not as portraiture, but as an image-state.

The women who inhabit his canvases appear meticulously composed: refined makeup, perfumed presence, elegant garments.

They evoke a cinematic atmosphere suggestive of a suspended era, shaped as much by collective visual memory as by personal imagination. Rather than depicting specific individuals, Bassil constructs a recurring aesthetic condition an archetype of elegance and contained introspection.

Lightness defines his painterly approach. Through restrained pigmentation, translucent layering, and softened contours, his figures appear both present and untouchable. Transparency becomes conceptual as well as formal: bodies seem to hover between materiality and ether, between surface beauty and interior silence.

The gaze of the viewer is acknowledged yet unanswered; his subjects remain self-contained, absorbed within their own psychological space.

In an increasingly accelerated and confrontational world, Bassil’s paintings propose stillness. The compositions are warm, luminous, and composed spaces where femininity is rendered as poise rather than spectacle, and nostalgia operates not as longing for the past, but as a deliberate aesthetic refuge.

Through repetition of motif and atmosphere, Bassil constructs a sustained meditation on beauty, distance, and the fragile tension between visibility and inner life.

GEORGES BASSIL
Untitled l 2025
Acrylic on canvas l 163 x 111 cm

GEORGES BASSIL
Untitled l 2025
Acrylic on canvas l 170 x 123 cm

20/08/2026

Mohamed Elganoby
Untitled, 2025
Oil on canvas
133 x 225.5 cm

Mohamed Elganoby (b. 1965, Upper Egypt) is an Egyptian artist whose practice investigates memory as a sensory and material construct. Emerging from the cultural and ecological landscape of southern Egypt, his work translates lived experience into tactile, olfactory, and spatial forms that challenge conventional hierarchies of perception.

A graduate of the Faculty of Art Education at Minya University (1988), Elganoby developed an early interest in expanding the material vocabulary of painting and installation. Since the late 1990s, he has incorporated spices, aromatic oils, charcoal, sand, paper fragments, and industrial materials into his works positioning scent, texture, and residue as carriers of memory. By activating smell alongside sight, he destabilizes the primacy of the visual and proposes a multisensory reading of history and identity.

Migration—both geographic and psychological remains central to his inquiry. Having moved from Upper Egypt to Cairo, Elganoby frequently addresses the condition of displacement and the tensions between rural memory and urban modernity. Works such as Odor and Memory, Geographies of Defeat, and Conditions of the Southerner situate personal narrative within broader political and collective histories, examining how trauma, nostalgia, and belonging are materially inscribed.

His practice also extends into language and archival intervention. Through installations using everyday urban remnants tickets, receipts, official documents Elganoby reveals the bureaucratic and social systems that structure individual existence. Lead, charcoal, and sand appear not merely as materials but as conceptual agents, referencing violence, fragility, transformation, and the passage of time.

19/08/2026

MOHAMED BANAWY
Unlived Fishing 16 & 17
2026
Wood, Fiberglass & Sand
141 x 149 cm

Mohamed Banawy is an Egyptian visual artist whose practice repositions mosaic as a contemporary language of perception. Based in Cairo, where he also lectures at the Faculty of Fine Arts, Helwan University, Banawy constructs geometric and abstract compositions that draw from aerial perspectives of landscape, architecture, and cultural memory.

A graduate of Helwan University (BFA, 2000), Banawy later obtained an MA examining the relationship between Pharaonic and African American mural painting (2009), followed by a PhD in Philosophy of Art (2015). This academic trajectory informs a practice grounded in historical inquiry while remaining formally experimental.

For Banawy, mosaic is not merely technique but worldview. The fragmentation inherent in the medium mirrors how he interprets space assembled, layered, and restructured through calibrated units. Working across oil, watercolor, pastel, stained glass, clay, and mosaic, he integrates material disciplines to construct surfaces that oscillate between architectural order and painterly fluidity.

Recurring aerial viewpoints define much of his visual language. Landscapes appear mapped rather than depicted, reduced into geometric systems that suggest cultivated fields, urban grids, and sedimented histories. These abstractions are rooted in Egyptian cultural identity, yet they avoid literal representation. Instead, Banawy distills heritage into structural rhythm color becomes terrain; tesserae become topography.

His works have been exhibited widely in Egypt and internationally, including participation in the Egyptian Pavilion at the Venice Biennale (2013), Primo Simposio Internazionale del Mosaico at the Egyptian Academy of Fine Arts in Rome (2015), MNWR (Saudi Arabia), and major contemporary art platforms in Cairo. His works are held in public collections including the Museum of Modern Egyptian Art, the Ministry of Culture, and the Egyptian Academy of Fine Arts in Rome.

18/08/2026

Featured Artwork | Ibrahim Elhassoun
لازورد | 2025
Mixed media on canvas
99 x 99 cm

17/08/2026

يواصل الفنان مصطفي سليم رحلته مع الإنسان…
مع أولئك الذين لا يزالون هنا.
في مجموعة “الباقون”، لا يرسم مصطفي الأشخاص بوصفهم أفرادًا، بل بوصفهم حالةً إنسانية. صيادون، عمّال، نساء، عائلات، وعابرون يحملون إيقاع الحياة كما هو، بلا ادّعاء.

تعتمد أعماله على ألوانٍ ترابية وضربات فرشاة كثيفة تمنح اللوحة ملمسًا حيًا، وكأن الزمن نفسه قد استقر فوق سطحها. أما الوجوه، فلا تحمل ملامح محددة، لتصبح الشخصيات أكثر شمولًا؛ يمكن أن يكونوا أيًّا منا، أو جميعنا.

لا يبحث مصطفي سليم عن الحدث الكبير، بل عن اللحظة التي تبدو عابرة، لكنها تبقى في الذاكرة. لحظة انتظار، لقاء، عمل، أو عودة إلى البيت… تفاصيل تتحول في لوحاته إلى شهادة على الإنسان وقدرته الدائمة على الاستمرار.

تتحدّث أعماله عن قيمة البقاء نفسها. عن الكرامة والجمال الذي يسكن الحياة اليومية…

Artist Sleem continues his journey with the human being… with those who are still here.

In his collection Those Who Remain, Mostafa does not portray people as individuals, but as a shared human condition. Fishermen, workers, women, families, and passersby—carrying the rhythm of everyday life as it is, without pretense.

His works are grounded in earthy tones and dense brushstrokes that give the paintings a vivid, tactile quality, as if time itself has settled onto their surfaces. The faces remain undefined, making the figures more universal; they could be any of us, or all of us.

Mostafa Sleem is not drawn to grand events, but to the seemingly fleeting moments that stay with us. A moment of waiting, a meeting, a day at work, or a return home… details that become, through his paintings, a testament to the human capacity to endure and carr

17/08/2026

Jamal Bassiouni
Night Shoal, 2024
Acrylic on canvas
66 x 105 cm

Born in Alexandria in 1993, Jamal Bassiouni is an Egyptian multidisciplinary artist whose practice spans painting, sculpture, and installation. He received his BFA with Highest Honors from the Faculty of Fine Arts, Alexandria University, in 2016, where his graduation project explored color relationships and their impact on modern art. He later obtained his MFA in Oil Painting from the same institution in 2019, focusing on Ancient Egyptian beliefs and their influence on contemporary visual expression.

In 2020, Bassiouni relocated to Cairo, a move that marked a significant shift in his artistic practice. The contrast between Alexandria’s calm coastal atmosphere and Cairo’s fast-paced urban environment encouraged the expansion of his work beyond painting into sculpture and installation, incorporating materials such as metal, fiberglass, and clay.

Bassiouni has participated in several local and international exhibitions and cultural programs, including Egypt’s Youth Salon and General Salon. In 2014, he took part in an international videography workshop at École Supérieure d’Art in Aix-en-Provence, France, followed by participation in the Biennale des Jeunes Créateurs de l’Europe et de la Méditerranée in France in 2015.

16/08/2026

Alaa Ayman (b. 1995, Cairo) is a painter and video artist whose practice investigates memory as a constructed image rather than a fixed document. Working primarily in oil, she develops layered compositions through processes of addition, erasure, and blurring, allowing figures and spaces to oscillate between presence and disappearance.

A graduate of the Faculty of Fine Arts (2018), she further pursued studies in Visual Arts at Studio Khana for Contemporary Art and Cultural Development in Cairo. This dual formation informs a practice grounded in painterly experimentation and conceptual inquiry.

Central to Ayman’s work is her engagement with personal archives and found materials old photographs, letters, tapes, and negatives which she collects and reinterprets.

Drawn to the tonal qualities of vintage film, amateur lighting, and informal gestures, she reconstructs fragments of memory into newly imagined narratives. Her paintings do not attempt to preserve the past; instead, they recompose it, weaving personal mythology with broader historical and collective memory.

Human relationships remain at the core of her inquiry. Through attentive observation and intimate storytelling, Ayman transforms everyday moments into suspended, atmospheric scenes where identity feels both familiar and elusive.

By treating the painted surface as a site of accumulation and revision, Ayman positions memory as fluid constantly rewritten through gesture, pigment, and time.

15/08/2026

Ali Alsheikh
Untitled, 2023
Acrylic on canvas
145 x 220 cm

Ali Alsheikh (b. 1981) is a passionate and experienced Art Director and artist with a proven track record of successfully leading art direction for projects. With 20 years of experience as a professional artist and interior designer, Ali brings a wealth of knowledge and enthusiasm to his work.

Ali is dedicated to generating and adapting equipment and technologies to serve user needs, particularly in the field of art and theatre scenography. He is also the founder and director of the Professional Symposium of Sand Sculpture in Syria since 2015.
Ali holds a Diploma in Fine Arts from the Visual Arts Centre in Lattakia, Syria, which he obtained in 2004.

His memberships include being a member of the Syndicate of Cinema Technicians in Lebanon, undergoing training as a member of the Syrian Plastic Artists Union, and serving as a member of the arts committee at the Monodrama Theatre Festival in Syria. Additionally, Ali works as an art consultant at the RiserHub Consultancy and Training Center in both Syria and Lebanon.

Ali El-Sheikh’s latest project “Diving” is an artistic journey that symbolizes his deep connection with the sea and humanity.

Through this project, he explores the diver’s complex persona, expressing unity with nature and the sea’s profound impact on life. The incorporation of diving and masks into portraiture adds layers of symbolism, courage, and mystery, enriching the art form.

Ali’s vision revolves around depicting the diver’s spiritual and existential connection with the sea, portraying the constant search for self and integration with reality amidst the vastness of nature.

13/08/2026

في مجموعة «سَرد»، لا تُروى الحكاية بقدر ما يُفكَّك مَفهومها. يقدّم أَمجَد الطيّار مشاهد تبدو مكتملة في لحظتها، لكنها تترك خلفها سؤالاً مفتوحًا: ماذا حدث قبلها؟ وماذا يمكن أن يحدث بعدها؟

كل لوحة هي مقطع من سَردٍ غائب؛
لحظة معلّقة بين حدث لم نراه، وآخر لم يقع بعد.

بِهذا المعنى، لا تعمل اللوحة بوصفها رواية مكتملة، بل كمساحة احتمالية.
فالفراغ داخل العمل ليس نقصًا، وإنما جزء من بنيته؛ مكانًا يلتقي فيه ما يقدّمه الفنان بما يحمله المتلقّي من ذاكرة وتجربة ومزاج.

هنا، يتخلى السَّرد عن تسلسله التقليدي.
لا بداية واضحة، ولا نهاية محددة، ولا تفسير واحد يستقر عليه العمل.
بدلًا من ذلك، تتجاور شظايا بصرية تستدعي احتمالات متعددة، وتترك للمتلقي مهمّة وصل ما انقطع.

وفي معرضه الشخصي الأول في القاهرة، يقدّم الطيّار هذه التجربة بوصفها حوارًا مع المتلقي؛ حوارًا لا يبدأ من إجابة، بل من مساحة تسمح لكل عين بأن تعيد بناء ما تراه بطريقتها الخاصة.

في النهاية، ما نراه ليس القصة كاملة،
بل اللحظة التي تسبقها…

أو تلك التي تظل بعدها معلّقة في الذّاكرة.

Villa Azad

23/08/2026

22/08/2026

20/08/2026

19/08/2026

18/08/2026

17/08/2026

17/08/2026

16/08/2026

15/08/2026

13/08/2026

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