Bilna’es is an interdisciplinary platform that generates new models for artists to redistribute resources and support each another in the production and circulation of work. Functioning as a publishing space with releases ranging from music to video games, web projects, publications, performances, installations and other yet-to-be-developed forms, Bilna’es (meaning ‘in the negative’) came about through the need to support artistic communities in Palestine and beyond. Operating literally in the negative, in the cracks and fissures, Bilna’es uses the resources made available through access to art economies as a means to support artists, musicians and writers who are practicing with nearly no support systems.
Adam HajYahia examines the relationships between aesthetics and politics; capitalism and desire; negative speculation and contemporary art. His research delves into how practices of imagemaking, performance, writing and sound—both within and outside of the art market—reflect on, simulate and initiate sociability and political consciousness. Within such contexts, he considers the at-once affinitive and conflictual dialectic between psychic desire and capital, and how the examination of this relationship can shed light on social organisation, aesthetic production, labour politics and speculation, and subject formation.
His work and writings have been presented and featured at various museums, universities and cultural institutions, such as Bard College, New York; The Mosaic Rooms, London; The James Gallery, CUNY Graduate Center, New York; MoMA PS1, New York; The 12th Berlin Biennale; The Vera List Center at The New School, New York; the Museum of the Moving Image, New York; and Mophradat, Brussels.