Projects

In my country, Nigeria, many people rely on sachet water (popularly called “pure water”) because of the lack of good drinking water.

The Past, the Present and the Future.

Developing works in an on-site manner, Dijkman reacts to a specific context by making temporary spatial shifts or adjustments to a given space.

The documentaries of Taysir Batniji differ from sensationalised standard documentaries.

Confident steps of youth, armed with knowledge and will, filled with determination and life, on a road fraught with difficulties, confusion and fear.

The two photomontages Perfumes & Bazaar and Justice for the mother are trompe l'oeils of walls in a living-room covered with wallpaper showing on one side a teeming garden of earthly delights and on the other a jungle.

The two photomontages Perfumes & Bazaar and Justice for the mother are trompe l'oeils of walls in a living-room covered with wallpaper showing on one side a teeming garden of earthly delights and on the other a jungle.

Roba Vecchia, The Wheel of Fortune, is a life-sized kaleidoscope which the viewer can enter and become a part of.

Efface: Death Becomes Her is a body of work that examines eternal grief as a continuum between a desired state and the imminent and natural occurrence of death.

In the Russian language the word for “creative work” (“tvorchestvo”) shares a root with the word for “Creator” (“Tvorets”).

Around 1990, I began to photograph my local surroundings.

The media I explore have certain things in common. They are sourced from my immediate environment.

I want to question urban planning through the study of places that escape a fixed definition of a city or of architecture: empty lots, wastelands, buildings before, during and after their demolition; places which, due to forgetfulness or lack of interest, escape a defined design and are open to all kinds of possibilities.

Over the past five years, we have realised a series of site- specific projects informed by the working concept Land Mark

Lida Abdul’s “Brick Sellers of Kabul” approaches the complex process of reconstruction in Afghanistan, producing a subtle reflection that could be perceived and considered as a comment on social negotiation and transformation.