Dineo Seshee Bopape’s recent constellation of sculptures reflects on a South African protest song that envisioned the country’s struggle against apartheid as part of a larger pursuit of liberation across the continent.

The work of Shadi Habib Allah navigates across networks of people, technologies, objects, images and the economy.

Tonico Lemos Auad’s work demonstrates here his interest in medicinal plants and herbs, and reflects the inspiration he draws from the natural environment, his surroundings and delicate architectural structures.

During a five-decade career beginning in the mid-1960s, Harun Farocki created more than 120 films and installations that analysed the power of the image.

SB13 pays homage to Ali Jabri in a presentation focusing on his lesser-known collage works.

Sarnath Banerjee is a storyteller who creates freehand sketches and drawings that incorporate text as well as film.

James Webb’s interdisciplinary practice examines the depths of audiovisual culture.

Anarcheology (2014) delves into Christoph Keller’s time spent in the Amazon and his thinking about archaeology.

An artist, writer and musician, Ross Simonini is well known for his interviews, dialogues and writings about artists, philosophers, thinkers and actors.

Arcadia (2011) is an installation comprising eleven large paintings, two of which are on exhibit at Al Hamriyah Studios.

Vikram Divecha’s work develops around ‘found processes’—those existing forces at work within state, social, economic and industrial spheres that go largely overlooked.

For SB13, Taloi Havini explores a form of shell-based currency known as beroana, which was used on Buka Island in the Autonomous Region of Bougainville.

In a practice spanning some 40 years, İnci Eviner has explored the perspective of women, processes of organisation and the formation of subjectivities.

Zhou Tao’s videos explore means to create a dialogue between moving images, addressing the inner workings of systems and topologies through careful study of specific events in manifold perspective.

Marwan Rechmaoui approaches the methodical study of cartography and urbanisation through works tempered by sensuality and wit.

For her SB13 commission, Boundary Work (2017), Mandy El-Sayegh assembles new and previous works, presenting a concatenation of materials.

Takashi Ishida is perhaps best known for his ‘drawing animation’, a technique in which he creates lines by hand and then shoots them one frame at a time.

Natascha Sadr Haghighian’s research-based work is concerned with the socio- and geopolitical implications of modes of world-making.

In many of Ghassan Salhab’s films, ‘travel’ serves as a foil for other kinds of ‘transport’ that circumnavigate intention, orientation and linear temporality.

Working across the fields of art, design and architecture, Rain Wu’s practice often involves interactive spatial experiences.

In both his work and practice, Oscar Murillo has sought to account for the position of body and being within increasingly impersonal circuits of production, consumption, confinement and cultural hegemony.

Deniz Gul’s work examines the dynamics of power, appearance and representations through objects, language and the symbolic.

Hind Mezaina’s work delves into themes of cultural memory, change and the notion of heritage.

Central to Em’kal Eyongakpa’s practice is the quest for negotiations between ‘life’ sciences, art, 'juju’ and technology, with interwoven installations, performances and soundscapes that not only blur the boundaries between employed media but could also alter notions of the real and the illusory.

Envelope (2017) is a decommissioned hot air balloon that is occasionally inflated with buoyant air.

Artist and television producer Nesrine Khodr works in moving image, print and performance.

Monika Sosnowska’s work is informed by the architectural landscape of Warsaw.

Drawing on the long, rich history of publishing in the Eastern Mediterranean and North Africa (EMNA) and the diaspora, Fehras Publishing Practices considers the stakes of contemporary publishing in and beyond print culture.

Mario García Torres examines processes of re-enactment and restaging in his interrogations of singular authorship, presence and responsibility.

As an artist, writer and video essayist, Ursula Biemann’s research and work examine the interrelated ecologies of oil, forest, ice and water through the lens of climate change.

Futurefarmers is an international collective of artists, activists, farmers and architects.

Hana Miletić explores conditions of scarcity and indifference through their residue and trace in the built environment.

Comprised of maps that were broadcast on French television news reports about Turkey, Heure de Paris: ‘The map and the territory’ (2015) is presented as a series of seventeen digital prints.

Mariana Castillo Deball explores the ideologically constructed conditions under which artefacts appear in today’s culture as well as the role that these objects play in the construction of identity, culture and history.

Founded a decade ago, Metahaven is a research-driven design studio, whose work spans the fields of art, design, filmmaking, teaching, publishing.

Artist and filmmaker Jon Rafman explores the paradoxes of modernity.

Kids, Cats and 1 Dog (2016) is a text work installed on the Gallery 1 rooftop, only legible to passing airplanes, helicopters and drones.

As an artist and composer, Joe Namy’s practice addresses the encoded expressions of identity, memory and power in forms of sonic organisation.

Daniele Genadry's work examines how the natural landscape presents ruptures in seeing and how light assumes a material form through surface, matter and subject.

Maria Thereza Alves is best known for her projects that encompass ecology, indigenous knowledge and the enduring impact of imperial conquest.

In his practice as an experimental filmmaker, video artist and writer, Mochu engages with the life of fictional figures found in works of art and their encounters with esoteric philosophies and technological imaginaries.

For some years, Kader Attia has researched the concept of reappropriation. He found the term had been in use since 1840, when it was popularised by Pierre Joseph Proudhon, a French politician and influential theorist of anarchism.

Investigating the meaning of the archetypal image of the cave, Neither the sky nor the earth (2017) appears to consume the architecture of its own exhibition space.

No Shooting Stars film drifts from one dreamlike scene to another, with only a tangential association with its organic narrative structure.

Drawing on Easterling’s book Extrastatecraft (2014), A.S.T. collectively examines how ‘infrastructure sets the invisible rules that govern the space of everyday lives.’

Jonathas de Andrade’s work often explores how collective codes of conduct and organisation impinge and shape other modes of being.

Khalil Rabah’s practice has long been concerned with the relationship between art and institutions.

Through economical gestures, Stéphanie Saadé examines magnitudes of force and measures of distance and time often unaccounted for by conventional standpoints.

Jorinde Voigt’s practice is shaped by everyday acts and interaction with her environment as well as a steady stream of reading.

Ismaïl Bahri’s experiments with moving image explore notions of duration, scale, visibility and resolution.

On both formal and conceptual levels, artist and filmmaker Roy Dib challenges common notions of space and boundary, weaving together archival material, scripted text and hypothetical circumstances to chronicle the political narratives of our day.

As a filmmaker and artist, Roy Samaha explores the non-linear relationships between images, memory and history through embodied experience.

Expanding on Paola Yacoub’s interest in the relation between architecture and automate, Sabil-Kuttab Automate (2017) considers architecture’s functional value and capacity as a purveyor of cultural preservation and production.

In 1990, Samir Khaddaje moved from Beirut to Paris, where he was given a studio and accommodation in the basement of the Cognac-Jay Hospital.

In Lawrence Abu Hamdan’s practice, his pursuit of truth is rooted in a rigorous and obsessive exploration of sound.

There never was a script for And the living is easy (2014), Lamia Joreige’s feature film that was shot in Beirut intermittently over an eight-month period in 2011 and developed through improvisation with mostly non-professional actors.

Over the past few years, Mahmoud Khaled has reassessed the formal and technical concerns of his educational background in academic painting through the lens of a conceptual practice.

‘Long live the independence of water’ is a two-day workshop that considers the relationship between water and belief.

Tamara Al Samerraei’s paintings are based on photographs from both her personal archive and the public domain.

Through an expansive exploration of sound, The Great Silence (2014) examines the irreducible relationships between the living and nonliving, human and animal, and terrestrial and cosmic.

Abdullah Al Saadi presents an array of scrolls and drawings that were produced during two related trips he has collectively titled The Purl and Silk Journey (2015).

Founded by Anjali Sagar and Kodwo Eshun, The Otolith Group creates films, installations, audioworks and performances informed by methods drawn from the cognitive estrangement generated by science fiction.

THEM (2015–ongoing) is an artist book that materialised when Oscar Murillo received a collection of family photographs as a gift from his mother.

In Threnody (2016), Webb explores tonality, virtuosity and authorship through the transformation of a pop song.

Massinissa Selmani is a consummate chronicler of everyday absurdities.

In Bait Al Serkal, a marble block has been cut down to a slab, which bears the painstaking labour that has made it a kind of altar for handcrafted sculptures taking the form of jewellery.

Informed by his training in architecture and fine art, Fathallah Zamroud approaches the constructs of space and time through the medium of painting.

Presented in SAF’s Al Hamriyah Studios, located on Sharjah’s northern coast, Marwan Rechmaoui’s SB13 commission Untitled 12 (2017)

Known for his research-driven projects that combine video, photography, drawing and sound, Uriel Orlow’s practice examines the transgressions of knowledge systems and the new forms of knowing they produce.

Walid Siti’s work explores one’s relationship to heritage, home, borders, mobility and migration, inscribing a rich terrain that today is further marked by militarised checkpoints, national borders and waves of migration.

Donghee Koo’s practice involves a process-based dialogue with space and often combines objects, found materials and video as a means of externalising interior impressions.

Informed by cinema, colonial history, the politics of technology and narrative structures, Nida Sinnokrot began working in 1998 on what became Horizontal Cinema, a body of interactive film installations that lay bare the politics of the apparatus and its attendant notions of narrative and causality.

İz Öztat and Fatma Belkıs are collaborators who explore the convergence of water and freedom.

Yto Barrada’s work on her hometown, Tangier, explores the political imbalances, existential desires and peripheral stories that shape the everyday life of the inhabitants of Morocco’s northernmost city.