Asia NOW 2025: West Asia at The Forefront

Asia NOW wrapped up this week, marking a vibrant conclusion to its 11th edition in Paris. The curated art fair, dedicated to amplifying the artistic voices of Asia and its diaspora, continues to redefine the relationship between East and West. Under the theme Grow, the 2025 edition explored art as fertile ground for transformation and empathy. Drawing on Leela Gandhi’s notion of “affective communities,” this year’s fair invited audiences to consider how solidarity and shared sensibilities emerge across geographies, histories, and cultural divides.

Asia NOW 2025 – Installation Topographies of Belonging Homeskins I–VI, Muhannad Shono. Photo by lionel belluteau

This edition positioned West Asia at the heart of its programming, acknowledging that regions once seen as peripheral are now central to shaping contemporary discourse. The West Asia Public Program, titled My East is Your West, extended this vision by spotlighting artists and initiatives from Saudi Arabia, Lebanon, and the UAE, each offering distinct perspectives on identity, landscape, and memory.

Ghost of Today and Tomorrow by Ahaad Alamoudi. Noor Riyadh 2022 – Courtesy of the artist

The Saudi Visual Arts Commission presented Ghosts of Today and Tomorrow by Ahaad Alamoudi, a performative installation of sound and light that blurred the temporal boundaries between the ancestral and the contemporary. AFALULA showcased Under the Aegis of the Moon, a poetic project by Chinese artist Han Mengyun, curated by Arnaud Morand and inspired by her residency in AlUla’s desert landscape. Saudi artist Mohammed Alfaraj transformed La Monnaie de Paris’s columns with prints of native Al Hasa palm trees, symbolically grafting desert genealogies into urban architecture.

Asia NOW 2025 – Pascal Hachem, Threaded Whole, 2025, piece of used furniture and wooden structure. Courtesy Pascal Hachem – photo by lionel belluteau

Lebanese artist, Pascal Hachem’s Threaded Whole, presented by Alserkal Advisory (UAE), unfolded as a performance on “growing memory,” examining rupture and continuity through everyday objects. Sarah Brahim’s I like never, I also like ever suspends video installations of two bodies in slow, repetitive motion, creating a meditative space where weightlessness and ritual emerge through cyclical movement.

Sarah Brahim, I like never, I also like ever, 2024, Dyptique video projection, 240×140 cm – curated by Arnaud Morand. Photo by Lionel Belluteau

Through these projects, Asia NOW 2025 redefined Asia as a mutable, relational paradigm. The fair emphasised patient cultivation of memory, affective bonds, and emergent practices demonstrating that growth is not only measured in scale, but in the ethical, aesthetic, and social networks that sustain creativity across the continent and beyond.

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