Projects

Between The Lines!

1961 early August, more than 1000 East Germans were using the S-Bahn each day as an escape route into West Berlin.

In 2015 over 1 million Syrians took the railroad as a compass to follow by foot from East to West Europe.

“Between the Lines!” Focuses on displacement as a narrative in both 1961 and 2015 by using collected stones from Berlin’s railways to shed a light on the understanding of our body as a “home”, emphasizing our mind as an “exile”.

Installation & Single-channel video with sound . Dur: 00:01:45 . Y2021
Opening ceremony with durational performance. Dur: 03:00:00.Y2021

The work was exhibited and performed at CoCulture as part of ‘ACROSS BORDERS: BODY & SELF’ exhibition, Berlin 2021.

Organized and Supported by Counterpoints Arts London,UK

To what extent is obedience to the norm is healthy? And do we need to obey in order to feel included?

I Will No Longer Live in My Mother’s Shoe

“I Will No Longer Live in My Mother’s Shoe”  is an Artistic protest against capitalism, sugar coating and passed traditions in interactive actions as a form of empowerment and resistance through walking in the connection streets between “Opernloft” and “No Pasaran” to examine them as a radical forms of solidarity between working classes and lefties movements.

Long duration and Site-specific performance. Dur: 02:30:00 . Y2021

The work was performed at STAMP Symposium 2021 Hamburg, Germany.

Supported by the Fonds Darstellende Künste, the Altona District Office and the Creative Europe Programme of the European Union.

COULD YOU RESIST?

Emphasizing the act of resistance within oneself against cultural traditions and standards.

The artwork is made from a black box with a mirror on the inside and an analog photograph of the artist covering its open side. In the photograph, the hand is cut out and folded backward, leaving a hole through which one can look inside the box and see what’s reflected in the mirror. The piece forces the audience to engage with the object and play with their perspective.

Sculpture . S 15 X 10,5 X 15 cm . Y 2020

Does our search for a safe space end at some point? Does such a place exist? Do we need to decolonize our mind to find the way?

INNER-CHILD PANDEMIC 

During the pandemic, the lockdown installed new regulations regarding meetings within one’s own home that prioritized family members. But then I started to think, what about those without biological families? What does family mean? What is the blood/name bond? Can we consider those who guard our inner memories, feelings, history and traumas as family? Carving on wood like carving memories.

Wood Carving Relief . Y 2020

SOB-HIY-EH

[Sob-hiy-eh] is a word used to describe an eventful morning gathering to drink Middle Eastern coffee “and more.” Traditionally, visitors bring the coffee pot with them.

[Sob-hiy-eh] is a colloquial phrase used only in spoken form, mostly known among women and queers (no- children policy) as a form of socializing. It is a highlight of the day due to the amount of news and gossip which is exchanged during the morning meeting.

[Sob-hiy-eh] was a therapeutic convention to release the tension that one had accumulated from constantly facing reality. Our routines before the pandemic included these rhythmic morning meetings. We all needed a getaway, and [Sob-hiy-eh] was one.

Using augmented reality, [Sob-hiy-eh] is possible in the lockdown despite the strict rules, as it transforms the 2D poster into a moving poster in a real-time environment using the ARTIVIVE AR-platform (augmented reality).

Augmented reality opens a new understanding of the 21st century; what kind of impact will it have on societies across the globe? Are we slowly moving into living in the “cloud?” Is our behavior turning artificial?

Digital Collage . Print . S 59.4 X 42.0 cm . Y 2020

Animated Augmented Reality on ARTIVIVE.app Platform

The work was exhibited at THROUGH SOLIDARITY WE SURVIVE artistic campaign Berlin, Germany and Oslo World Festival, Norway.

PLAY IT QUEER!

Play it queer is a simulation of a quixotic Arabic Muslim queer world, imagining new ways of being, thinking, and articulating desires and longing, love and struggle. The piece looks at the violence that is imposed on ways of being queer in the Middle Eastern world parallel to the Western present we live in.

It is a condemnation of those who forbid queerness and see it as a crime and a sin in the Arab Muslim world. It revolves around the figure of the Makkah imam ‘Abdul Rahman Al-Sudais, highlighting his effect on the construction of racial, religious, gender and sexual differences in the West.

Digital illustration . Print . S 59.4 X 42.0 cm . Y 2019

The work was exhibited at Rundgang der UDK Berlin as part of HE(A)R(E) THE ATTACHMENT exhibition, Berlin 2019.