DUBAI: With 24 outposts around the world, the minds behind Lebanese restaurant Em Sherif are keenly aware of their responsibility when it comes to sharing the country’s culinary culture with international audiences.

Now, they are taking things one step further with the launch of the Em Sherif Art Foundation that aims to provide increased visibility for artists through restaurants — in Doha, Monaco, London, Paris and Dubai, among other cities — which are being reimagined as cultural hubs.

Earlier this year, the Em Sherif Cafe in Paris showcased the work of Lebanese photographer Ziad Antar, and part of the initiative sees diners at all Em Sherif locations presented with three menus — a food menu, a drinks menu and an art menu — inviting guests to engage with the evolving story of contemporary Lebanese art.

Em Sherif CEO and co-founder of the art foundation, Dani Chakour, spoke to Arab News about the cultural initiative.

“The art menu is not intended for commercial or financial purposes. Rather, it serves as a curated catalogue that showcases the artworks currently on display,” he said.

The decision to focus exclusively on Lebanese artists was intentional, Chakour added.

“In Lebanon, it is often the private sector that drives meaningful cultural and artistic initiatives, as government support for the arts remains limited. Through this foundation, we aim to be an added value for our artists, helping them gain the visibility and recognition they deserve on a global scale.

“We need active public-sector involvement: We need more art fairs, modern infrastructure, supportive tariffs and dedicated museums. Without this foundational support, our artists will continue to be overlooked, despite their remarkable talent,” he said.

Chakour, who has a personal collection of more than 600 artworks, spotlighted celebrated names in the international art industry who he says benefited from working abroad.

“Huguette Caland, Gibran Khalil Gibran, Etel Adnan, Mona Hatoum, Walid Raad, Yvette Ashkar, Amin Maalouf, they are some of Lebanon’s most celebrated names. But what do they all have in common? They each spent the majority of their careers abroad, in environments that offered the right ecosystems … this is not a reflection of a lack of talent in Lebanon. On the contrary, it’s a reflection of what’s missing structurally; the institutional support, the infrastructure, the public funding, the museums, the cultural policies and the global exposure.

“At Em Sherif Art Foundation, we’re driven by a mission to help bridge that gap — to create opportunities within and beyond Lebanon so that our artists don’t need to leave home in order to rise,” Chakour said, noting that showcases by artists Christine Safa, Willy Aractengi, Ayman Baalbaki, Hussein Madi and Bibi Zogbe will be hosted in the coming months.

DUBAI: We should’ve had more faith. Fears (including from this reviewer) that “The Bear” was floundering after the glacial pace of its third season can now be put to bed. Season four is pretty much everything fans of the show could’ve wanted: tense, dramatic, joyous, thought-provoking, funny and deeply moving. And with plenty of further proof that this might be the most talented ensemble cast currently on our screens.

Season three ended with the fate of the titular restaurant in the balance as the team — led by star chef Carmen “Carmy” Berzatto (Jeremy Allen White), his mentee Syd Adamu (Ayo Edebiri), maître d’hôtel Richie Jerimovich (Ebon Moss-Bachrach), and business manager Natalie “Sugar” Berzatto (Abby Elliott) — awaited a make-or-break review in the Chicago Tribune. That’s quickly resolved: Despite some highly positive comments, the review is ultimately a dud — thanks largely to Carmy’s stubborn insistence on changing the menu daily; a choice that isn’t just leading to inconsistent performance from his team, but in heavy hits to the budget as they can’t bulk buy from suppliers.

So, that old enemy time takes center stage, as financial backer Uncle Jimmy (Oliver Platt) and his ruthless cost-cutting friend The Computer install a countdown clock in the kitchen, giving the team 1,440 hours to save itself. That clock hits zero in the excellent final episode.

In between times, the development of several characters’ back stories that contributed to the feeling of aimlessness last year starts to pay off here, as much of the action is taken out of the kitchen and into a deeper exploration of what the show is really about: family — the ones we’re born into, the ones we choose, and the ones that choose us. Once again, there’s a Berzatto (extended) family get-together at the season’s heart in a one-hour episode set at Richie’s ex-wife’s wedding. The stage is set for another dysfunctional social disaster. Instead, we get something altogether warmer but equally dramatic. It’s exceptional television.

At the heart of it all is the characters’ continued quest for self-improvement — from Tina’s attempts to improve her cooking speed, through Syd’s efforts to silence her self-doubt, to Carmy’s endeavors to allow emotional connections into his life and stop self-sabotaging.

This season may still be a little too slow for those pining for the claustrophobic hyperactivity of season one, but the creators have found a sweet spot here between that and the stagnation of season three. “The Bear” is back.