Samine Tabatabaei looks at the photo-series Tehran's Self-Portrait (2008–10) by Mehraneh Atashi, and examines both the city through its monuments and urban environments, and positions Atashi as a modern day flâneur.

'It should be noted that performance art in the Gulf does not often happen with an audience gathering at a set place, date and time,' writes Cristiana de Marchi, who examines the diverse practices of performance art emanating from the Gulf.

Shuruq Harb examines Amal Kenawy's Silence of the Sheep (2009), framing the public performance within the context of WIlliam Pope. L's The Great White Way, 22 Miles, 9 Years, 1 Street (1990).

Follow Sohrab Kashani's alter-ego Super Sohrab as he spends five hours arm wrestling with more than 50 Geneva residents passing by a busy street in Geneva.

'The stage is a raft on water / On stage there are remains of a shipwreck: deflated floats, piles of clothes / On stage the artist rests on the sand.' Read an online performance by  Zoukak.

Maybe If You Choreograph Me, You Will Feel Better is an interactive performance set between a street and a window. The show takes the form of a relationship between a male audience member and a female performer.

'Hamletmachine 2 (2010) emerged from a need to continue the research that Zoukak started in 2008 on Heiner Muller's 1977 piece, Hamletmachine. The piece explores the features of contemporary tragedy that murmur beneath the ruins of inherited ideologies.

Revisiting Genesis (2016) takes the form of a web-series in twelve episodes, written and directed by Oreet Ashery. This installment is the first episode, after which, the online narrative unfolds.

"An important aspect of Turbulent," writes Shirin Neshat. "Is that women in Iran are prohibited from singing in public, and there are no recordings by female musicians."

'Born in Kuwait to Palestinian parents, Tarek Al-Ghoussein's work has long dealt with issues concerning identity and belonging,' writes Cleopatra Goularas, in this review of Al-Ghoussein's most recent exhibition, Windows on Work.

Mai Elwakil reviews the centrepiece exhibition of the fifth iteration of D-CAF, the Downtown Contemporary Arts Festival in Cairo, curated by Aleya Hamza and featuring the work of six international artists.

Ajay Hothi reviews Earshot, Lawrence Abu Hamdan's first solo show in Germany, which presents a new work drawing on original research conducted by the artist with London-based research group Forensic Architecture.

Artist Samah Hijawi reviews Badke, a performance of a contemporary dance interpretation of the Dabkeh, traditionally performed in weddings throughout the Levant.

Rahel Aima reviews a recent exhibition by Stephanie Saade at Grey Noise Gallery, Dubai. In this exhibition, the artist evoked memories of experiences of the Lebanese Civil war.

Ibraaz Editorial Coordinator Aimee Dawson reports on the 'Art for Tomorrow' conference, a joint project between New York Times Conferences and Qatar Museums.

Reema Salha Fadda reports from Art Dubai's Global Art Forum 10, 'The Future Was', described as a speculative arena for thinking about the future from different vantage points.

Stephanie Bailey reports from the 2016 March Meeting, organized by the Sharjah Art Foundation, and themed around education, engagement, and participation.