Projects

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.

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

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

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

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.

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

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.

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.

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.

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

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

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.

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

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.

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