Dubai’s Jameel Arts Centre is currently hosting Syrian-French artist Bady Dalloul’s first institutional solo exhibition in the UAE, titled “Self-portrait with a cat I don’t have.” This immersive installation, running through February 22, 2026, represents a significant milestone for the artist whose work navigates the complex intersections of migration, identity, and the blending of factual and fictional narratives.
The exhibition transforms the gallery space into a recreation of Dalloul’s Dubai apartment, creating an intimate environment where viewers encounter meticulously crafted miniature dioramas, intricate drawings, repurposed everyday objects, and vintage game cases. Each piece serves as a meditation on displacement, cultural inheritance, and belonging, reflecting Dalloul’s personal experiences as someone born in Paris to Syrian parents, educated in Tokyo, and now based in Dubai.
Central to the exhibition is Dalloul’s exploration of how personal memory intersects with collective history. “I grew up listening to the people around me,” Dalloul explains. “Their stories were shaped by subjectivity—by emotion, memory, silence. That subjectivity is where their power lies.”
Notable works include the “Age of Empires” series—50 drawings inspired by 19th-century Japanese cosmology that examine how physical traits were historically linked to destiny and imperial rise and fall. Through these works, Dalloul challenges Western historiography’s linearity, instead creating a kaleidoscopic journey across continents and timelines.
The exhibition’s title, derived from a surrealist painting by Egyptian artist Abdel Hadi Al Gazzar, reflects Dalloul’s experience of creating his first self-portrait while alone in Tokyo. “The cat didn’t exist, but the feeling did,” he recalls. “That imagined presence gave me comfort.”
Despite some criticism that his approach romanticizes trauma, Dalloul maintains that fiction allows for humor, tenderness, and dialogue where documentation might only emphasize harshness. The artist’s modestly scaled works—necessitated by his apartment-studio lifestyle—become poetic strategies for storytelling, with matchboxes transforming into miniature galleries and bento boxes becoming narrative vessels.
Visitor responses have been profoundly personal, with many reporting emotional connections to the unspoken experiences depicted. Dalloul views Dubai’s cultural landscape as particularly receptive to his work, noting that “everyone, no matter where they’re from, can flourish here.” The exhibition will travel to Lisbon following its Dubai presentation, continuing its evolution as part of Dalloul’s ongoing “Land of Dreams” series.