أشغال works 

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 غُول خراب الشّمس
The Ghoul of Kharab al-Shams 

Novel




الصّورة كالسّيف إن لم تقطعها قطعتك

Image is like a sword if you don’t cut it, it cuts you




Where Does a Director Hide in a 360° Frame?
  يختبئ المخرِج في كادر °٣٦٠ ؟  أين




عينيك التانية وحشتني
I miss your other eyes
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صوّړتْ لعْﭜون أمﭜر الظـلْـآﻤ
 




Let Dead Lenin Move!
How a Photograph Assassinated Dead Lenin
Essay




Sonic Kinships
علاقات صوتيّة








Mark




عينيك التانية وحشتني

I miss your other eyes 
2020





This work is the result of a research into the amateur archival practice of an internet forum under the name “Amir Adhalam Genuine Forums منتديات أمير الظّلام الماجدة الأصليّة” which had been dedicated since 2006 for collecting and circulating Arabic amateur pornographic material. The archive is a collection of files that date back to 1990s, and  were  mostly produced under domestic, extremely precarious conditions.

On the one hand, one can say that these images are the material witness (Susan Schuppli) of the conditions under which the camera had operated. On the other hand, the circulation of such material maintains the slow violence of the image (Urok Shirhan).

To go about this photographic paradox—that the circulation of evidence of violence is part of the performative violence of the image; I introduce cutting as a main archival method. The question of “What does it mean to cut well?” (Sarah Kember and Joanna Zylinska) Becomes the ethical imperative of my archival practice. The ethical cut as a decision and incision is negotiated through the performativity of multiple visual and sonic agencies; for example such process of cutting well is already at work as the poor image materially collapses, creases and glitches in resistance to the rewinding (VHS material) and the subsequent digital circulation of the videos in online environments.

This affinity towards a stripping of Photography from photographs is an attempt to kill the document (Jill Godmilow) as evidence of the real in order to give images a voice that can articulate a social historical narrative which allows grief to take place. 

The work is performed as a lecture-performance “I miss your other eyes/عينيك التانية وحشتني” (The name of the work comes from a testimony of one of the unknown women who says: ”I miss your other eyes; he looks at me from behind the camera, the hidden camera./عينيك التانية وحشتني؛ ببص علي من ورا الكاميرا، الكاميرا الخفية) in which I testify against the camera as I repair with my voice/memory what hides behind the  image; my testimony goes side by side with an archive of glitches extracted from the video material.



Film stills from the glitch archive 


The work was shown in Nieuwe Vide, Haarlem, NL in 2020 as part of group exhibition Queer Diasporas


Interrogating a CRT TV in the auditorim of the Royal Acadmey of Art, The Hague , 2020


Preserved glitched frames extracted from one of the found videos. Every frame lasts 0,07 seconds in the original file making them almost invisible.