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interplay between space and identity, the Omani collective ‘Altqadum’ presents ‘Alhoush³ - The
Courtyard ,’ emphasising the courtyard as a core element of local architecture. Similarly,
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Palestinian Lebanese artist Amer Madhoun – Collectus revives the annex as a key feature of
Emirati heritage in his work ‘Annexe House.’ Capturing the essence of everyday rituals, Indian
artist Aqib Anwar documents post-Friday prayer moments in Dubai. Focusing on the senses,
Emirati artist Deenah Alhashemi’s ‘Childhood Archives’ examines whether scents serve as a
universal language or a deeply personal memory trigger. Emirati researcher Jumaanah
Alhashemi’s ‘Future Histories’ also uses scent, but as a medium to craft an immersive
experience that reveals the profound impact of olfactory perception on enriching artistic
expression. Syrian artist Zena Adhami’s exhibition, ‘Between Nature and Design: The Private
Gardens of Dubai,’ displays works by students from Zayed University’s College of Arts and
Creative Enterprises.

The ‘Urban House by The Workshop DXB’ (House 196) curated by Lebanese artist Ahmad
Makary, brings together a diverse collection of thought-provoking artworks. Among them,
Filipino artist Gerard Roxas Rechdan’s ‘The Audible Self’ offers an immersive sensory
installation that translates the internal processes of our emotional world through sound. Indian-
Canadian artist Fatspatrol’s ‘Between Hope and Devastation’ examines the tension between
these two opposing states. Iranian artist Kav Ahangar, in ‘Don't Pull My Strings,’ invites the
audience to delve into the delicate fabric of human emotions. New Zealand artist Noah
Perelini’s ‘Fragments’ navigates the complexities of identity and authenticity. Meanwhile,
Makary himself presents ‘Veiled Tension,’ a striking installation confronting passive-aggressive
communication. The Workshop DXB also celebrates printmaking in ‘The Print Room.’

The House On Memory Lane (House 200) presents a collection of creations exploring concepts
of nostalgia, a sense of self, and cultural legacy. Alya Alhosani’s ‘Beyond the Memory’ visualises
the perception of memory and its artistic embodiment. ‘Remnants of the Past’ by Aysha
Aldhaheri integrates handmade paper, natural dyes, and traditional crafts like Al Sadu, Al Talli,
and Al Khoos, blending texture, sound, and heritage. Fatema (Fay) Alkaabi’s project ‘The City
Surrounds Her’ reflects on her grandmother’s life and its connection to the UAE’s
transformation. Reem Alhashmi’s ‘Among the Acacia’ captures personal memories of nature
through hand-dyed silk. In ‘Take a (Car) Seat,’ Shama Almazrouie unpacks family dynamics and
Shamsa Almansoori’s ‘Whispers Through Walls’ explores the curiosity sparked by house
facades, questioning the contrast between external appearances and internal realities. Duo
Maitha Al Omaira and Amna Al Zaabi’s ‘Paradox of Preservation’ gathers natural materials from
Al Shindagha Historic Neighbourhood to create a topographical database of the area.

The themes of House 202—Archiving the Now, curated by Ola Allouz, centre on heritage
preservation and storytelling through traditional and digital practices. A collaboration between
Allouz and supervising professor Dahlia Mahmoud, and the University of Europe | Dubai design
team—including Dalia Ayman, Khuloud Al Khateb, and Mariam Al Ali—the exhibition highlights
interactive moments that examine the intersection of technology and the arts, using a series of
images and specially crafted artworks.

Meanwhile, The House In The Back Of Your Mind (House 206) features a collection of works
exploring identity, memory, and human connection across various mediums. abdelghani
alnahawi, in ‘Underwater Tunnel’, examines the interplay of nature and industry, weaving
parallel loops that merge elements of the ocean and the desert. Ahed Al Kathiri’s ‘I Heard
Longing in Jada’s Throat’ is a sound piece featuring recordings of her grandmother singing a
traditional Yemeni bridal chant in the Radaai dialect. In ‘Symmetry series’, Aseel Azizieh

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