Event Types: Installation

Yasmeen is an artist and experience designer based in Amman. She was awarded a BA in Fine Arts from Central Saint Martins in 2014, and a Masters in Information Experience Design from The Royal College of London in 2016. Sabri has since moved back to Amman to focus on her own practice and manage regional art fairs, design weeks, and exhibitions.

Sabri’s passionate about creating thought provoking, research driven works and experiences, with a focus on social, political, economic disparities, and creative solutions. Sabri has exhibited in major shows and spaces including Somerset House, Sonar Festival, Amman Design Week, and had her first solo exhibition in 2019 at Wadi Finan Gallery. Sabri has also been featured in major publications such as Dezeen, Forbes, Monocle, and London Feminist Film Festival.

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Statement:

Tapping on the themes of play, appropriation, and do-it-yourself used in her practice – Sabri uses cheap and found material to recreate a “Playhouse”.

With a wooden skeleton and metal mesh walls (built from everyday material found in DIY shops), and found material/recycled plastic bags to create walls to the structure.

The aim of the work is to create a simple playhouse, simply build, with found material. Thus activating the conversation around play, recycling or reusing material, and DIY entertainment objects.

The concept is to recreate the much beloved playhouse we all know and love, something that is built by the general public, but can also be engaged with the public.

The aim of this installation is to argue for the importance of play and being proactive in creating entertainment in communities where government led interventions lack.

Reema is a visual arts student.

Tito lives in Portugal and has a master’s degree in Arts and Design in the Public Space – MADEP, at the University of Porto. The root of his work comes from his urban experience with graffiti and his reflection on urban space. His work stands out for moving in various areas of visual communication, such as design, urban art and contemporary art. His work proposal breaks the boundaries of the wall and explores public space in an intriguing and thoughtful way. Tito uses art as means to open new spaces.

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Statement:

The “Empty land” work leads us to reflect on the issue of value in the public space. What makes an existing space called empty space? What makes a place busy? How much history is there in an unoccupied place? The squares and public spaces are usually built to assess the historical events related to the place occupied. When a space is considered ’empty’, it does not meet some value requirements. The intervention of Tito Senna seeks to draw our attention to the unbuilt space, without value, but it exists! – And deserves to be contemplated and gain meaning. The work of “Empty Land” seeks to fill the void, create a neutral milestone that claims the existence of the place. Give the viewer the opportunity to create an identification with the environment in which he walks. The flag is the symbol of a territory, symbolically summarizes a place and generates identity. The artist appropriates this resource, producing a colorless flag and shape that propose the construction of a local history. With this, the work is filled with meaning by the spectators in the construction of affection with the place. The flag is not full of colors, but of meanings generated by the viewer’s reflection on space.

Sondos Mahdy is a London-based sculptor, she was born in 1996 in Britain. Sondos had First Class Honors in a Bachelor of Fine Arts, Sculpture, at the Camberwell College of Arts (University of the Arts London) she participated in several group exhibitions in London.

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Statement:

Her work explores the aesthetics of pixelated images of violence that are circulated on the internet and TV. In order to explore a rarely explored phenomena, its center being marginalized with violent surroundings. The phenomena of fragmented pixels forever buried in the past and the everyday. This is explored through Sculpture, installation and digital painting.

“We are surrounded with pixelated low-quality images of violence that circulate on our newspapers, TV channels, and online platforms. What interests us is what is hidden in these images they suppress all other dimensions including space, sound, depth and even time. Thus, these images blur the line between fiction and reality. These images reveal an underworld that we are constantly avoiding yet they are an ever-present part of our daily lives. For all the imprisoned and disappeared, these images act as visual testimonies that legitimize their witness-hood as they verify the existence of these brutal realities of the marginalized”.

“It feels as though these moments are happening on a different time-line simultaneous to our lives. We have become desensitized to these images yet when we are forced to confront them, their reality edges closer to ours. It becomes clear that beneath this avoidance, we are troubled by the familiarity and proximity of these images. But in some sense this aesthetic and the conditions of these images are truthful to the distortion of our harsh reality. We see an affinity with these images, as their visual conditions eco our daily life. We begin to recognize object, places, materials or even body language as something that we are familiar with”.

Lina Salah born in (1995). She has B.A. in Visual Arts from the University of Jordan where she concentrated on experimentation with printmaking, photography and painting which lead to the way of shaping her thoughts through aspects of hearing and observation. Currently she works as an interpreter and researcher for the interviews related to the primary rules of visual art and its reflection on human life, which got her interested in art installations and the interaction with it.

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Statement:

An interactive installation consists of several electromechanical devices that simulate the results of the individual’s actions and his ill-considered personal experiences which have open endings and their effects in addition to how they are influenced by the reality surrounding everything in the past, present and future.

The individual and the crowd in a space

The void and the mass

Internal chaos and repetition

Action and reaction

Coexisting with the past, present and future

The self and the other and what’s between them

Born in Jordan, Juman received her bachelor’s degree in Fine Arts from Yarmouk University in Jordan.

She held six personal exhibitions and attended many artistic residences in different countries, she has participated in many group exhibitions inside and outside Jordan, and several symposiums and workshops.

Juman’s works are exhibited in different International institutions, galleries and museums, like the Museum of National Literature – Bucharest, Romania, the Jordanian National Museum of Fine Arts, ,and the Gilad Museum of Culture and Arts, Jordan, the National Museum of Art Kuala Lumpur, Malaysia. Recently “The Museum of Contemporary Art” in Yinchuan – China acquired and exhibited a collection of her works.

She won the International Creativity Award from “La Rectoria Center” in Barcelona, Spain in 2009, and has won the third prize in the second photography contest of the “Jordan National Gallery of Fine Arts” in 2002.

Nimri lives and works in Amman where she established “Beit Al Weibdeh Studio” and gives art courses for kids in addition to organizing annual group exhibitions for the students since 2008 until now.

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Statement:

This tent comprises of fabric pieces connected together with simple stitches conveying the unity of pain and worry, each piece was part of the clothing worn by men, women and children that once lived in freedom and peace. Each piece symbolizes a displaced human forced out of his/her land and home; it mirrors the past and the future, the scent of childhood, angelic dreams, and memories of a house where safety and stability prevailed. This was all robbed, an entire life was robbed.

This tent narrates the story of expulsion and scattering suffered by Arab people, whom in turn still build refugee camps and suffer injustices, homelessness and insult. The story started with the forced expulsion of the Palestinian people out of their homes and ancestral land, telling of a lived oppression and sorrow. Till this day the cycle continues from one displacement to another and from one camp to the other. These camps turned into cities and the humans living there are merely numbers in a counter.

In this work, I do not intend to represent the political climate we live under since politics and conflict are both a mysterious and harsh game that I cannot explain or comprehend. What I intend to express is the bare human life: the sufferer and the afflicted. I want to draw attention to the old/new phenomenon of banishment that families suffer from, turning them into groups of people with no choice but to be doomed to these horrible circumstances. I want to dream with them of a land and a home filled with joy, peace and tranquility.

Jafar is an Architect, and an installation designer currently based in Amman, Jordan. With interests in ephemeral structures, unconventional architecture, topics around Individuality in social settings, connections with materials and objects, the meaning of temporality and understanding the public and private space.

Jafar currently works at ARINI, a research based design studio in Amman and is currently curating the craft district for Amman Design Week 2019.

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Statement:

This installation focuses on the element of time and memory, by exploring the idea of temporality in the form of a short life span.

The piece which is based on a childhood memory uses nostalgic experiences to start a conversation and visualize our private individual relationships with the public spaces of the city.

The lentil Trails:

A common science class experiment used to teach children about sprouting. The process includes using seeds, a cotton pad, a plastic cup, water and sun, to simulate the life of a plant, using these tools teachers are able to limit the lifespan of the plant into approximately 10 to 20 days, which allows the child to create a temporary caring relationship with it.

Does this make the seed less valuable than others who grew in more common conditions?

Does temporality reduce an entities’ importance?

The installation:

Constructed out of wire-mesh, lentil seeds, cotton, and fabric, the temporary piece works as an added layer or a free standing structure placed in a public space to be observed.

Wire steel frames act as a structured grid representing the strict social rules placed on public spaces in Amman, and the seeds are stuffed in the cotton places behind the steel mesh. The ephemeral entity.

The installation process will begin by hanging the wireframe and handing seeds so people can plant them by hand. Which creates a special relationship and a sense of ownership between the public space users and the art Installation.

This piece works as a visual representation of an organisms ‘importance in the cities’ life, and the means we use to create comfort.

Ahmad is an artist and researcher who cooks in between. He received his BA in visual arts from Jordan University studied drawing and painting at the Institute of Fine Arts, along with clothes-making in Amman, Jordan. His artistic practice is centered on deconstructing the quotidian or the politics of the everyday through an emphasis on its overlooked paradoxes, as an attempt to arrive at a consideration of the mundane. His artistic practice is also influenced by his passion for cooking, which manifests in cross-disciplinary projects that interrogate the production and consumption of food in relation to the constitution of space and social relations, as well as notions of absence and transience.

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Work Statement:

Zeer

If you decide to drop by, then do, if you don’t drop by, then don’t

It doesn’t matter to me, it doesn’t matter

If you want to love another then do, if you don’t love another then don’t

it doesn’t matter to me, it doesn’t matter

You are very well known with a high standing

I have much appreciation for you

But you leave and your love affairs are not allowed

And your excuses will not work with me

Twelve pairs of shoes:

If you pity me, then do. if you don’t, then don’t

It’s not easy for me, I don’t care

If you want to fight, lets!

If you don’t, that’s even better

That is not the issue, it’s not even an issue

Your love is selfish, certainly

And you think you are the only one and you’re stubborn

You say lonely and stubborn

What are you looking for?

Did you find it?

You are pushing it to the edge. the situation is tough

If you’re honest or not

What difference does it make!

That is not the issue, it’s not even an issue

If it matters to me then it matters, it doesn’t matter then it doesn’t

That is not the issue, it’s not even an issue

Waddima:

This song began

Since we have been at odds for six thousand years

And if time allows it would be kept a secret international scandal

If my night was ruined let it be ruined, if not…it’s a blessing.

You are not my night and this is not a story