
Rahel Aima
writer, editor, critic; art, tech, gulf. she/her
Articles
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1 week ago |
theartnewspaper.com | Gareth Harris |Georgina Adam |Rahel Aima |Anna Brady
A new fund managed by Art Dubai and overseen by the UAE government aims to boost the Emirate’s presence in the global art market by offering homegrown galleries a cash incentive to participate in international art fairs. The new International Art Fairs Grant was launched earlier this year by the government’s Dubai Culture and Arts Authority. Under the scheme, eligible galleries in Dubai can apply for the grant to support up to 50% of stand costs at an international art fair.
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2 weeks ago |
canvasonline.com | Rahel Aima
The second edition of the Islamic Arts Biennale takes place in Jeddah and offers deep layers of history and heritage with a lighter twist of the contemporary.
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1 month ago |
architectural-review.com | Rahel Aima
Spanning both research and design, this practice documents the layers of Saudi Arabia’s architectural heritage and breathes new life into historic sitesSara Alissa and Nojoud Alsudairi are shortlisted in the 2025 Moira Gemmill Prize for Emerging Architecture, part of the W Awards. Read the full announcementAmong the most beautiful installations at the 2024 Desert X AlUla biennial in north-western Saudi Arabia was a jagged cut zigzagging into the desert landscape.
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2 months ago |
frieze.com | Rahel Aima
In one of the eeriest works at Jeddah’s inaugural Islamic Arts Biennale in 2023, a trio of giant streetlights tilted slowly from side to side, soundtracked by the otherworldly hum of locusts. This kinetic sculpture was In the Sound of Muzdalifah (2023) by Egyptian artist Wael Shawky, known for his richly textured filmic trilogies that challenge the hagiographic construction of history.
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Jan 23, 2025 |
canvasonline.com | Rahel Aima
Nobody quite agrees what post-internet art was, only that it’s already over. Coined in 2006 by artist and curator Marisa Olson, the term describes a short-lived yet influential grouping that peaked in the early 2010s and was effectively killed by the disastrous DIS-curated 9th Berlin Biennale in 2016. Unlike progenitors such as the net art of the 1990s, post-internet artists took the internet not as their medium but rather as their toolkit.
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