Mohamed Abdelkarim engages with notions of authorship and representation, camouflage and concealment, exchange and play.

Shadow Sites I and its ‘sister’ Shadow Sites II are both films that adopt the vantage point of aerial reconnaissance missions while taking an altogether different viewpoint of the ground surveyed.

Shadow Sites II and its ‘sister’ Shadow Sites I are both films that adopt the vantage point of aerial reconnaissance missions while taking an altogether different viewpoint of the ground surveyed.

In contrast to the large scale of Shadow Sites I and II, Excavators is shown on a tiny monitor and focuses on a group of industrious ants working in the sand.

The artist writes the word ah in black ink on water.

This video is based on materials from the personal archive of Jacques Chevallier, who was mayor of Algiers from 1953 to 1958, a key period in the architectural, social and political history of Algiers.

Enclosed revisits the extraordinary history of a monument located in the heart of Algiers.

Ammar Al Attar surveys prayer rooms across the United Arab Emirates.

Each tapestry depicts a strange mechanical device with squares of twenty-five different images attached by lines to handles along the edges.

This and many more? explores the conflicts that occurred during the period of colonisation and first resistance in Africa, the Caribbean and Asia, and how these conflicts affected the approach to development.

I collect found objects and use them as the basis for my installations and drawings.
Fumito Urabe

The racial politics of colonialism has left the Wolof people of Senegal, Gambia and Mauritania with many terms to describe the variations between white and black, while the names of many other colours are French loan words.

Dilbar is a portrait of a city builder, one of a million Bangladeshi workers currently living in the United Arab Emirates.

In May 2011, I was commissioned by Bidoun magazine to produce a bilingual street sign in English and Arabic – the type that is commonly seen in Cairo.

When I first came across a picture of Leonardo da Vinci’s Last Supper, I noticed how much it resembles the Islamic breaking of the fast – known as Iftar in Arabic – during the Muslim holy month of Ramadan.