In a moment when Lebanon continues to navigate political uncertainty, economic instability, and the lingering weight of collective trauma, Nothing Ends Here arrives not as a statement of loss, but as an act of continuation.
Opening at Homecoming Gallery in Amsterdam from June 25 to September 20, 2026, the group exhibition, curated by AAZ Art Advisory, brings together seven artists whose practices have been shaped by Lebanon’s shifting realities across generations. Rather than attempting to define a singular Lebanese experience, the exhibition embraces multiplicity, offering a nuanced portrait of how artists continue to create, remember, and imagine amid change.
The exhibition emerged from conversations between Homecoming Gallery and AAZ Art Advisory founders Amar A. Zahr and Nathalie Ackawi, who previously led Beirut Art Residency for more than a decade. As news from Lebanon grew increasingly difficult, those conversations evolved into a desire to support and amplify artistic voices that continue to work through uncertainty.
Spanning two generations, the exhibition features Tamara Al-Samerraei, Ziad Antar, Tagreed Darghouth, Chafa Ghaddar, Yasmina Hilal, Hatem Imam, and Salah Missi. While their practices differ dramatically in medium, language, and approach, they are united by a shared attentiveness to memory, transformation, fragility, and endurance.
The exhibition moves fluidly between painting, photography, collage, printmaking, and mixed-media works. Some artists engage directly with personal and collective histories, while others approach memory through atmosphere, gesture, and abstraction. Together, the works ask what it means to continue making art when the ground beneath you is constantly shifting.
The title itself, Nothing Ends Here, becomes the exhibition’s central proposition. It rejects finality and instead speaks to artistic practice as an ongoing process of return, revision, and persistence. Creativity, the exhibition suggests, is not simply a reaction to instability but a way of navigating it.
Among the featured artists, Beirut-based painter Tamara Al-Samerraei presents works that unfold through layered surfaces and rhythmic gestures, balancing monumentality with intimacy. Photographer Ziad Antar continues his long-standing exploration of photography’s relationship to memory, examining the medium’s unreliability and its ability to preserve fragments of place and experience.
Tagreed Darghouth, based in Dubai, navigates the space between figuration and abstraction, creating paintings that reflect on conflict, perception, and the instability of images. Chafa Ghaddar’s multidisciplinary practice, spanning fresco, painting, photography, and site-specific interventions, explores materiality and emotional intensity, moving seamlessly between the personal and the architectural.
For younger voices in the exhibition, memory becomes equally central. Beirut-based visual artist Yasmina Hilal employs photography, collage, and experimental image-making techniques to explore femininity, intimacy, and materiality. Salah Missi’s drawings and prints examine landscape, mortality, and the social realities of the contemporary Arab world through careful observation and historical awareness. Meanwhile, Hatem Imam’s expansive practice across publishing, painting, printmaking, and installation constructs layered narratives where dreams, memory, and perception intersect.
Yet Nothing Ends Here extends beyond the artworks themselves. The exhibition also serves as a reflection on visibility within the global art world. Homecoming Gallery openly acknowledges that conflict often creates distance, limiting opportunities for meaningful engagement with artists working outside dominant cultural centres. By bringing these practices to Amsterdam, the exhibition becomes an invitation to look beyond familiar circles and remain open to perspectives that may otherwise go unseen.
In many ways, the exhibition’s title resonates far beyond Lebanon. It speaks to the enduring power of artistic practice itself: the belief that stories remain unfinished, that memory continues to evolve, and that creativity persists even when certainty disappears.
At a time when narratives about Lebanon are too often framed through crisis alone, Nothing Ends Here offers something more complex. It presents artists who are not defined by adversity, but who continue to create through it, transforming uncertainty into new forms of seeing, remembering, and imagining what comes next.
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