Ibraaz: New London Arts Centre Amplifies Global Voices Amid Challenges

A new arts institution, Ibraaz, is set to launch in October 2025 in Fitzrovia, London, aimed at promoting global majority voices and facilitating challenging conversations in the arts. Founded by Lina Lazaar, a prominent advocate for North African and Middle Eastern art, Ibraaz seeks to create a space where urgent societal questions can be addressed in a respectful manner, countering the growing concerns over freedom of expression in contemporary art.

According to Lazaar, the impetus for establishing Ibraaz arose from a climate of increasing constraints on free expression, a sentiment echoed by various cultural commentators. "Freedom of expression is shrinking, in the press, on campuses and some institutions as well. I think we’re living in a state of deep despair and inequalities," she stated. This initiative, funded by the Kamel Lazaar Foundation, is positioned to be a significant addition to London's cultural landscape, especially in light of recent controversies surrounding political discourse in the arts.

Historically, the site of Ibraaz, located at 93 Mortimer Street, has functioned in various capacities, from a synagogue to a hospital. Lazaar described her initial discomfort with the space's grand history, but she now views its location as an opportunity to reclaim the narrative for marginalized voices. The 10,000-square-foot Grade II-listed building will host exhibitions, discussions, and a library-in-residence, fostering an environment conducive to open dialogue.

The first exhibition at Ibraaz will feature Ibrahim Mahama's "Parliament of Ghosts," a work that incorporates discarded materials from Ghana, reflecting on themes of identity and memory. This aligns with Lazaar's vision of tackling complex issues through art. The arts centre plans to encourage diverse perspectives and invite community engagement through its programming, which includes a talks series and a café led by Tunisian chef Boutheina Ben Salem.

Critics of the current cultural climate, including organizations such as Arts Council England, have raised alarms about the implications of restricting political statements in arts funding. In recent comments, Arts Council England highlighted that discussions on sensitive topics could potentially jeopardize funding agreements, leading to public outcry and debate regarding censorship in the arts.

Furthermore, the establishment of Ibraaz comes at a time when many arts institutions are grappling with their roles in facilitating controversial discussions. Lazaar emphasized that the foundation's independence from public funding would allow Ibraaz to present challenging works without external pressures, fostering an atmosphere that embraces discomfort as necessary for meaningful engagement.

As Ibraaz prepares for its inaugural opening, the arts community is watching closely to see how it will navigate the complex interplay between art, politics, and societal discourse. The institution's commitment to amplifying global majority voices and fostering respectful dialogue may serve as a vital counterpoint to the prevailing narratives within the cultural sector. The implications of Ibraaz's work could resonate beyond London, influencing similar initiatives globally as the arts continue to confront pressing societal issues.