Jananne Al-Ani works in photography, film and video. Her early work focuses on Orientalist representations of the Middle East in Western visual culture. The Gulf War of 1991 had a profound impact on her practice, leading to a series of multi-screen video installations such as A Loving Man (1996–99) and 1001 Nights (1998), which address the fallibility of memory, the power of testimony, and the documentary tradition by bringing together intimate recollections of loss and trauma with official accounts of historic events. Recently, her work has moved out of the studio and into the landscape, and she has filmed several projects in the Middle East. Al-Ani has had solo shows at the Beirut Art Center, Lebanon (2013); Freer Gallery of Art and Arthur M. Sackler Gallery, Washington, DC, USA (2012); Darat al Funun, Amman, Jordan (2010); and Tate Britain, London, UK (2005). Group exhibitions include the Biennale of Sydney, Australia (2012); Arab Express, Mori Art Museum, Tokyo, Japan (2012); Topographies de la Guerre, Le Bal, Paris, France (2011); and Without Boundary: Seventeen Ways of Looking, the Museum of Modern Art, New York, USA (2006). She received the Abraaj Capital Art Prize in 2011.