In her first solo exhibition in the Netherlands, Mounira Al Solh (Beirut, 1978) proves that hope, culture and stories know no bounds.

Ammodo Docs:
Mounira Al Solh, Dancing on the Ruins (2025).

Director Bibi Fadlalla

Artist Portrait Mounira Al Solh, March 2025. Photo: Gert Jan van Rooij

Mounira Al Solh grew up in war-ravaged Lebanon. This painful history shines through in her work, which is about staying strong and never giving up. It radiates melancholy and hope, is humorous, cheerful and colourful.

Al Solh received her art degree in Lebanon and the Netherlands and lives and works in both countries.

A Dance with her Myth was first presented in the Lebanese Pavilion at the Venice Biennale in 2024. The work takes the visitor into her world of thoughts. Mounira connects myths and legends from the Middle East with the world of today and the future.

Exhibition Overview Mounira Al Solh: A land as big as her skin. Bonnefanten, Opening, June 2025. Photo Manor Lux

Artist Portrait Mounira Al Solh with installation overview Elissa's Room in studio, Marh 2025. Photo Gert Jan van Rooij.

Mounira Al Solh created the large installation Elissa's Room especially for this exhibition. The artist pays a feminist tribute to this Phoenician queen.

Mounira Al Solh's art combines art traditions from the Middle East and the Netherlands. The large three-dimensional triptych Flying, clapping, grooving, tasting love shows the musical impact on the soul. The form of the painting is reminiscent of the work of Dutch painter René Daniëls, several of whose works are included in the Bonnefanten Collection.

Mounira Al Solh, zaaloverzicht with Flying, clapping, grooving, tasting love, opening Mounira Al Solh: A land as big as her skin. Bonnefanten, June 2025. Photo: Manor Lux.

New and acclaimed work

The Bonnefanten is showing recent and new work by this versatile Lebanese-Dutch artist, who is attracting international attention. Highlights of the exhibition are the internationally acclaimed installations created by Al Solh for the Lebanese pavilion at the Venice Biennale (2024) and for the Artes Mundi prize in Cardiff (2023). Paintings, textile works and sculptures flow, churn and whirl from one room to another, in between these installations. Al Solh has created several new large-scale works especially for this mid-career exhibition.

Background

Mounira Al Solh grew up in a country torn apart by civil war. From 1975, Lebanon, home to some of the oldest civilisations in the world, has been ravaged by violence from all sides. Among other things, the war exposed the problems of (de)colonisation, fundamentalism and discrimination. Traces of this past are nearly always to be seen in Al Solh’s work.

Themes

Al Solh’s work is often a reflection of a world that bears the deep marks of oppression and abuse of power. She explores themes like individuality, migration, trauma and inequality, arising from factors like gender, origin and social class, or a combination of them. Yet her art is not weighty or depressing. Quite the contrary. It radiates zest for life, joy and humour. The exuberant colours and amusing puns make the works a feast for the eyes. The artist sees this light-heartedness as a right and as a form of resistance. She appears to be saying ‘let’s not get swept along by the waves of hate and violence’.

Musical work

The work of Al Solh refuses to be pigeonholed. The artist sees herself as a collector of stories and thus flows easily between the small and personal and the collective and political. She also retains great freedom in her choice of materials and techniques. From sculpture to big installations constructed of fabric and wood, and from video to classical painting, everything is presented in an equally natural way. Yet Al Solh has a very recognisable and cohesive style: colourful and amusing, with a love of craftsmanship and material. Al Solh’s work feels like music. It is rhythmical, whirling and melodious. It makes you want to dance and to cry, just like the most beautiful love songs.

The exhibition has received support from Ammodo Art.