Samira Badran’s project for the 9th Sharjah Biennial Have a Pleasant Stay! was a visual and physical metaphor of the concept of suffocation and imprisonment based on the experience of passing through the dense and claustrophobic Qalandia checkpoint between Ramallah and Jerusalem.
Jeebesh Bagchi is an artist and curator with the Raqs Media Collective.
Encompassing video, film, collage and photography, Şirin Bahar Demirel’s work examines mis/displacement, home, memory and their relationship with places and objects.
Ismaïl Bahri is interested in phenomenology, and his drawings, photographs and videos capture small experiments.
Focusing on ontological conflict in convergence with indigenous, feminist, ethnic, environmental and social justice studies, Aline Baiana’s work reveals the importance of uncovering other histories.
Self-proclaimed ‘Famous New Media Artist’, Jeremy Bailey is a podcaster, venture socialist and the Head of Experience at FreshBooks.
Fine Artist Xenobia Bailey’s textile interpretations explore contemporary mythology, African antiquity and the 21st century visual aesthetic of ‘Cosmic-Funk’.
Bait al Karama is a women's centre and social enterprise located in an Ottoman building at the heart of the Old City of Nablus.
Sharjah City for Humanitarian Services
Sharjah City for Humanitarian Services (SCHS) is a non-profit organisation based in the United Arabic Emirates.
Interdisciplinary artist Lara Baladi employs photography, video, sound and installations to create interwoven images of past and present, myth and reality, with a focus on the Middle East and particularly the Arab Spring. She explores ways in which interactions between images and technology affect visual narratives.
Zbyněk Baladrán is a visual artist and curator born in 1973 in Prague where he currently resides.
Bill Balaskas is a London-based interdisciplinary artist who studied economics before enrolling in the Royal College of Art, London, where he is currently a doctoral candidate.
Visual artist Natalie Ball explores notions of Indigeneity as it relates to the racial narratives fundamental to the history of the United States.
Sammy Baloji braids together the pre- and post-colonial histories of the Democratic Republic of the Congo by examining the industrial and cultural heritage of the Katanga region.
With the exhibition format as his medium, Alessandro Balteo-Yazbeck’s hybrid practice incorporates the typical activities of a researcher, archivist, historian and curator.