Highlights from Ramzi Mallat’s ‘Aporia’ on show at Project Loop in London

‘Sorrowful and Bellicose.’ (Supplied)
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Updated 09 January 2026
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Highlights from Ramzi Mallat’s ‘Aporia’ on show at Project Loop in London

  • Here are three highlights from Ramzi Mallat’s ‘Aporia,’ on show at Project Loop in London until Jan. 17

‘Adrift’

The Lebanese artist’s solo show in London “explores themes of memory, displacement, and reconstruction through a multidisciplinary practice,” according to a press release. This 2023 work —a Mediterranean fishing boat fitted with Levantine-style windows — “captures the tension of migration, where opportunity for some becomes danger for others,” the curatorial statement says, adding that it “explores heritage, displacement, and the fragile line between safety and peril.”

‘Sorrowful and Bellicose’

Here, Mallat presents a hanging anchor “composed of illegible Arabic text which visually merges the familiar and the strange,” the curatorial statement for the show explains. “A jute rope is adorned by copper dendrites in the shape of coral growths, suggesting a repeated submersion in bodies of water. These nautical references symbolize both physical and metaphorical journeys into the sinking unknown, bringing to the forefront themes of erasure, refuge, wreckage, and the abyss.”

‘Constellations of Protection X’

This bronze sculpture from Mallat’s ongoing series features in a show in which Mallat explores the eponymous philosophical concept, used by Plato to “describe the moment of profound doubt that follows questioning,” and by Aristotle to portray “a necessary obstruction through which knowledge advances,” the press release states. “Mallat’s works resist both nostalgia and repair. They dwell instead in what the artist calls a ‘poetics of aftermath’: an aesthetics of instability that reflects ... the times we live in.”


Review: ‘A Knight of the Seven Kingdoms’ is an oddball comedy worthy of Westeros

Updated 19 January 2026
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Review: ‘A Knight of the Seven Kingdoms’ is an oddball comedy worthy of Westeros

DUBAI: At a time when the sprawling saga of “Game of Thrones” and its prequel “House of the Dragon” have come to define modern fantasy television, “A Knight of the Seven Kingdoms” emerges as an unexpected offering.

Based on George R.R. Martin’s “Tales of Dunk and Egg” novellas, the six-episode HBO series — created and spearheaded by showrunner Ira Parker alongside Martin — gives viewers a story that is not about dragons or imperial politics, but about two unlikely companions navigating a treacherous and unforgiving world from its humbler margins.

From the opening moments of the premiere, where the familiar “Game of Thrones” theme music is undercut in a moment of shocking levity, the show makes clear that we are far away from the grand halls of Casterly Rock, the Red Keep or even Winterfell. Grounded and whimsical, this is Westeros viewed from muddy inns, dusty roads and makeshift jousting camps.

Peter Claffey as Ser Duncan “Dunk” the Tall is the beating heart of the series. Claffey imbues Dunk with an endearing earnestness — a towering, awkward figure, constantly walking into doors, whose moral compass is as unwavering as his endless appetite.

His chemistry with Dexter Sol Ansell’s young squire, Egg, who has deep secrets of his own, is warm and organic, creating a duo that is as compelling as any knight and squire of fantasy lore. Their dynamic gives the story a cozy, almost heartfelt buddy-adventure quality.

What makes “A Knight of the Seven Kingdoms” so captivating isn’t its lack of spectacle. It has plenty of Westerosi trappings and there’s a sizeable helping of Targaryens and Baratheons and who have you. But its choice to focus on everyday courage, loyalty and the messy, funny, sometimes mundane reality of being a hedge knight truly makes this a worthy addition to the “Game of Thrones” screen universe. We hope there’s more where that came from.