Collection

In the video, Sarah Abu Abdallah is seen painting the shell of a wrecked car with light pink paint. This work also includes the wrecked car, painted pink.

Session is a video triptych shot in Sharjah’s urban areas and desert.

Shahrazad is an experimental video work that explores the sensations of waiting and feeling trapped in a stagnant, cyclical routine, both of which are considered characteristic elements of the Palestinian situation.

Studio Pietà (King Kong Komplex) tells the story of Simon Fujiwara’s attempt to restage and photograph a lost picture of his mother held in the arms of a Lebanese boyfriend.

Ahmad Ghossein’s work The Fourth Stage (2015) weaves a complex and unlikely union of illusion and myth between three worlds of which he is concurrently a part: cinema, magic and the changing landscape of southern Lebanon.

The Goodness Regime is a creative documentary exploring the image of Norway as a country of peace and benevolence.

Commissioned for SB12, this work comprises a four-channel video installation driven by an experimental audio track.

The Three Disappearances of Soad Hosni is an attempt to tell the story of Soad Hosni, one of Egypt’s most famous film stars who starred in eighty-two feature films between 1959 and 1991.

For The Trespassers, Mariam Ghani hired Afghan-Americans who had previously worked as translators for the US military in Afghanistan, translating documents related to US military prisons in Afghanistan.

This work is inspired from childrens’ stories of their dreams about what they could be and what they hope to receive from the world.

Videos documenting an individual’s intention to carry out a suicide operation have become a powerful visual presence in the global media.

The 81 slides in Unsettled Objects (1968–1969), images of artefacts from the Pitt Rivers Museum in Oxford that are shown by a carousel projector, make visible how European and Western museums present and store their so-called ethnological and anthropological ‘treasures’

In the two-channel video installation, Raedah Saadeh carefully vacuums the barren desert hills of Palestine, working her way from the distance, towards the still camera.

The video consists of long still frames, text, language, and sound woven together to unfold the narrative of an anonymous group who fill their time by measuring distance.

This commissioned video echoes the structure of Egyptian comedy.