Instagram Story Viewer

The Ground Keeps What It Holds 🕳️

For my installation at @w139amsterdam a patch of lime-plastered floor sits between display and burial. In dialogue with the gallery’s own history, where artists once buried valued objects to “charge” the ground, the installation looks closely at Palestinian burial practices and the aftermath of their settler-colonial excavation.

In the past months, I have been studying lime as a mediator between life and death, rock and flesh, a material used since Neolithic times to plaster burial floors, skulls, and sacred objects. This work examines the violence of colonial salvage excavations unearthing these burials: once displaced into official state archives or destroyed for redevelopment, they face a "second burial" that forecloses continuity or return.

What might the ground unleash when it is denied keeping what it holds?

Commissioned as part of "flour, water, soil" initiated by @mariakhatchadourian
Lime plaster collaboration: @architectural.skin
Photos by @sandervanwettum

الأرض تصون ما تخبؤه

تظهر قطعة من الأرضية المكسوة بالجير (الشيد) معلقة بين العرض والدفن. يدخل العمل في حوار مع تاريخ مساحة العرض (حيث قام فنانون عام ١٩٩١ بدفن أعمالهم كجزء من طقس جماعي) ليستكشف عادات الدفن الفلسطينية وعنف التنقيب الاستعماري.

يبحث العمل في مادة الجير كعنصر وسيط يربط بين الحياة والموت، وبين الجسد والصخر في طقوس الدفن القديمة في فلسطين، حيث كان الأجداد يدفنون تحت أرضيات الجير المنزلية. كما يتناول العمل الحفريات الأثرية الاستعمارية التي تنبش هذه المدافن، متسائلاً عن تبعات الكشف عما تصونه الأرض وتواريه.

The Ground Keeps What It Holds 🕳️

For my installation at @w139amsterdam a patch of lime-plastered floor sits between display and burial. In dialogue with the gallery’s own history, where artists once buried valued objects to “charge” the ground, the installation looks closely at Palestinian burial practices and the aftermath of their settler-colonial excavation.

In the past months, I have been studying lime as a mediator between life and death, rock and flesh, a material used since Neolithic times to plaster burial floors, skulls, and sacred objects. This work examines the violence of colonial salvage excavations unearthing these burials: once displaced into official state archives or destroyed for redevelopment, they face a "second burial" that forecloses continuity or return.

What might the ground unleash when it is denied keeping what it holds?

Commissioned as part of "flour, water, soil" initiated by @mariakhatchadourian
Lime plaster collaboration: @architectural.skin
Photos by @sandervanwettum

الأرض تصون ما تخبؤه

تظهر قطعة من الأرضية المكسوة بالجير (الشيد) معلقة بين العرض والدفن. يدخل العمل في حوار مع تاريخ مساحة العرض (حيث قام فنانون عام ١٩٩١ بدفن أعمالهم كجزء من طقس جماعي) ليستكشف عادات الدفن الفلسطينية وعنف التنقيب الاستعماري.

يبحث العمل في مادة الجير كعنصر وسيط يربط بين الحياة والموت، وبين الجسد والصخر في طقوس الدفن القديمة في فلسطين، حيث كان الأجداد يدفنون تحت أرضيات الجير المنزلية. كما يتناول العمل الحفريات الأثرية الاستعمارية التي تنبش هذه المدافن، متسائلاً عن تبعات الكشف عما تصونه الأرض وتواريه.

The Ground Keeps What It Holds 🕳️

For my installation at @w139amsterdam a patch of lime-plastered floor sits between display and burial. In dialogue with the gallery’s own history, where artists once buried valued objects to “charge” the ground, the installation looks closely at Palestinian burial practices and the aftermath of their settler-colonial excavation.

In the past months, I have been studying lime as a mediator between life and death, rock and flesh, a material used since Neolithic times to plaster burial floors, skulls, and sacred objects. This work examines the violence of colonial salvage excavations unearthing these burials: once displaced into official state archives or destroyed for redevelopment, they face a "second burial" that forecloses continuity or return.

What might the ground unleash when it is denied keeping what it holds?

Commissioned as part of "flour, water, soil" initiated by @mariakhatchadourian
Lime plaster collaboration: @architectural.skin
Photos by @sandervanwettum

الأرض تصون ما تخبؤه

تظهر قطعة من الأرضية المكسوة بالجير (الشيد) معلقة بين العرض والدفن. يدخل العمل في حوار مع تاريخ مساحة العرض (حيث قام فنانون عام ١٩٩١ بدفن أعمالهم كجزء من طقس جماعي) ليستكشف عادات الدفن الفلسطينية وعنف التنقيب الاستعماري.

يبحث العمل في مادة الجير كعنصر وسيط يربط بين الحياة والموت، وبين الجسد والصخر في طقوس الدفن القديمة في فلسطين، حيث كان الأجداد يدفنون تحت أرضيات الجير المنزلية. كما يتناول العمل الحفريات الأثرية الاستعمارية التي تنبش هذه المدافن، متسائلاً عن تبعات الكشف عما تصونه الأرض وتواريه.

The Ground Keeps What It Holds 🕳️

For my installation at @w139amsterdam a patch of lime-plastered floor sits between display and burial. In dialogue with the gallery’s own history, where artists once buried valued objects to “charge” the ground, the installation looks closely at Palestinian burial practices and the aftermath of their settler-colonial excavation.

In the past months, I have been studying lime as a mediator between life and death, rock and flesh, a material used since Neolithic times to plaster burial floors, skulls, and sacred objects. This work examines the violence of colonial salvage excavations unearthing these burials: once displaced into official state archives or destroyed for redevelopment, they face a "second burial" that forecloses continuity or return.

What might the ground unleash when it is denied keeping what it holds?

Commissioned as part of "flour, water, soil" initiated by @mariakhatchadourian
Lime plaster collaboration: @architectural.skin
Photos by @sandervanwettum

الأرض تصون ما تخبؤه

تظهر قطعة من الأرضية المكسوة بالجير (الشيد) معلقة بين العرض والدفن. يدخل العمل في حوار مع تاريخ مساحة العرض (حيث قام فنانون عام ١٩٩١ بدفن أعمالهم كجزء من طقس جماعي) ليستكشف عادات الدفن الفلسطينية وعنف التنقيب الاستعماري.

يبحث العمل في مادة الجير كعنصر وسيط يربط بين الحياة والموت، وبين الجسد والصخر في طقوس الدفن القديمة في فلسطين، حيث كان الأجداد يدفنون تحت أرضيات الجير المنزلية. كما يتناول العمل الحفريات الأثرية الاستعمارية التي تنبش هذه المدافن، متسائلاً عن تبعات الكشف عما تصونه الأرض وتواريه.

⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ‎حيّة وحوت في البيردوت
ويش دواها شيخ اجاها
سحب الدبوس من الكربوس
وتوحاها وتوحاها
يوبي يوبي يوبيك يوبي
واحنا حضرنا كنا غيوبي

‎من افتتاح معرض “طحين، ماء، تراب” في أمستردام الشهر الماضي، عرض أدائي مستوحى من أهازيج عمال البناء الفلسطينيين أثناء عملية حرق الحجر الجيري لإنتاج “الشيد”، كما وثقها المؤرخ عمر حمدان. قمت بتلحين هذه الأغنية بالتعاون مع الفنانين إبراهيم ومحمد أبو لبن، وتقديمها برفقة عبدو زين الدين في سياق عملي “الأرض تصون ما تخبؤه”، احتفاءً بالجهد الجماعي والعمل اليدوي الحاضر في المعرض.

A performance from the opening of “flour, water, soil” at ‪‪‪‪‪‪‪‪@w139amsterdam‬‬‬‬‬‬‬‬ last month

This chant is inspired by the oral histories of Palestinian lime-burners, who would sing to maintain the rhythm of their grueling labor. In the context of this exhibition, this song marks the collective effort and shared labor of Maria, Saja, Anna, Dana, Andre, Raquel, and many other hands 🤍✨

Composed in collaboration with Ibrahim Abu Laban and Mohammad Abu Laban, and accompanied by Abdo Zin Eldin, the performance documents the material transformations of “shid” (lime) present in my installation “The Ground Keeps W‪hat it Hold”

Documentati‪@elodierenout‪@cglr_ksgl‬ksgl‬ksgl⁩⁩

⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ‎حيّة وحوت في البيردوت
ويش دواها شيخ اجاها
سحب الدبوس من الكربوس
وتوحاها وتوحاها
يوبي يوبي يوبيك يوبي
واحنا حضرنا كنا غيوبي

‎من افتتاح معرض “طحين، ماء، تراب” في أمستردام الشهر الماضي، عرض أدائي مستوحى من أهازيج عمال البناء الفلسطينيين أثناء عملية حرق الحجر الجيري لإنتاج “الشيد”، كما وثقها المؤرخ عمر حمدان. قمت بتلحين هذه الأغنية بالتعاون مع الفنانين إبراهيم ومحمد أبو لبن، وتقديمها برفقة عبدو زين الدين في سياق عملي “الأرض تصون ما تخبؤه”، احتفاءً بالجهد الجماعي والعمل اليدوي الحاضر في المعرض.

A performance from the opening of “flour, water, soil” at ‪‪‪‪‪‪‪‪@w139amsterdam‬‬‬‬‬‬‬‬ last month

This chant is inspired by the oral histories of Palestinian lime-burners, who would sing to maintain the rhythm of their grueling labor. In the context of this exhibition, this song marks the collective effort and shared labor of Maria, Saja, Anna, Dana, Andre, Raquel, and many other hands 🤍✨

Composed in collaboration with Ibrahim Abu Laban and Mohammad Abu Laban, and accompanied by Abdo Zin Eldin, the performance documents the material transformations of “shid” (lime) present in my installation “The Ground Keeps W‪hat it Hold”

Documentati‪@elodierenout‪@cglr_ksgl‬ksgl‬ksgl⁩⁩

⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ‎حيّة وحوت في البيردوت
ويش دواها شيخ اجاها
سحب الدبوس من الكربوس
وتوحاها وتوحاها
يوبي يوبي يوبيك يوبي
واحنا حضرنا كنا غيوبي

‎من افتتاح معرض “طحين، ماء، تراب” في أمستردام الشهر الماضي، عرض أدائي مستوحى من أهازيج عمال البناء الفلسطينيين أثناء عملية حرق الحجر الجيري لإنتاج “الشيد”، كما وثقها المؤرخ عمر حمدان. قمت بتلحين هذه الأغنية بالتعاون مع الفنانين إبراهيم ومحمد أبو لبن، وتقديمها برفقة عبدو زين الدين في سياق عملي “الأرض تصون ما تخبؤه”، احتفاءً بالجهد الجماعي والعمل اليدوي الحاضر في المعرض.

A performance from the opening of “flour, water, soil” at ‪‪‪‪‪‪‪‪@w139amsterdam‬‬‬‬‬‬‬‬ last month

This chant is inspired by the oral histories of Palestinian lime-burners, who would sing to maintain the rhythm of their grueling labor. In the context of this exhibition, this song marks the collective effort and shared labor of Maria, Saja, Anna, Dana, Andre, Raquel, and many other hands 🤍✨

Composed in collaboration with Ibrahim Abu Laban and Mohammad Abu Laban, and accompanied by Abdo Zin Eldin, the performance documents the material transformations of “shid” (lime) present in my installation “The Ground Keeps W‪hat it Hold”

Documentati‪@elodierenout‪@cglr_ksgl‬ksgl‬ksgl⁩⁩

⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ‎حيّة وحوت في البيردوت
ويش دواها شيخ اجاها
سحب الدبوس من الكربوس
وتوحاها وتوحاها
يوبي يوبي يوبيك يوبي
واحنا حضرنا كنا غيوبي

‎من افتتاح معرض “طحين، ماء، تراب” في أمستردام الشهر الماضي، عرض أدائي مستوحى من أهازيج عمال البناء الفلسطينيين أثناء عملية حرق الحجر الجيري لإنتاج “الشيد”، كما وثقها المؤرخ عمر حمدان. قمت بتلحين هذه الأغنية بالتعاون مع الفنانين إبراهيم ومحمد أبو لبن، وتقديمها برفقة عبدو زين الدين في سياق عملي “الأرض تصون ما تخبؤه”، احتفاءً بالجهد الجماعي والعمل اليدوي الحاضر في المعرض.

A performance from the opening of “flour, water, soil” at ‪‪‪‪‪‪‪‪@w139amsterdam‬‬‬‬‬‬‬‬ last month

This chant is inspired by the oral histories of Palestinian lime-burners, who would sing to maintain the rhythm of their grueling labor. In the context of this exhibition, this song marks the collective effort and shared labor of Maria, Saja, Anna, Dana, Andre, Raquel, and many other hands 🤍✨

Composed in collaboration with Ibrahim Abu Laban and Mohammad Abu Laban, and accompanied by Abdo Zin Eldin, the performance documents the material transformations of “shid” (lime) present in my installation “The Ground Keeps W‪hat it Hold”

Documentati‪@elodierenout‪@cglr_ksgl‬ksgl‬ksgl⁩⁩

⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ‎حيّة وحوت في البيردوت
ويش دواها شيخ اجاها
سحب الدبوس من الكربوس
وتوحاها وتوحاها
يوبي يوبي يوبيك يوبي
واحنا حضرنا كنا غيوبي

‎من افتتاح معرض “طحين، ماء، تراب” في أمستردام الشهر الماضي، عرض أدائي مستوحى من أهازيج عمال البناء الفلسطينيين أثناء عملية حرق الحجر الجيري لإنتاج “الشيد”، كما وثقها المؤرخ عمر حمدان. قمت بتلحين هذه الأغنية بالتعاون مع الفنانين إبراهيم ومحمد أبو لبن، وتقديمها برفقة عبدو زين الدين في سياق عملي “الأرض تصون ما تخبؤه”، احتفاءً بالجهد الجماعي والعمل اليدوي الحاضر في المعرض.

A performance from the opening of “flour, water, soil” at ‪‪‪‪‪‪‪‪@w139amsterdam‬‬‬‬‬‬‬‬ last month

This chant is inspired by the oral histories of Palestinian lime-burners, who would sing to maintain the rhythm of their grueling labor. In the context of this exhibition, this song marks the collective effort and shared labor of Maria, Saja, Anna, Dana, Andre, Raquel, and many other hands 🤍✨

Composed in collaboration with Ibrahim Abu Laban and Mohammad Abu Laban, and accompanied by Abdo Zin Eldin, the performance documents the material transformations of “shid” (lime) present in my installation “The Ground Keeps W‪hat it Hold”

Documentati‪@elodierenout‪@cglr_ksgl‬ksgl‬ksgl⁩⁩

⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ⁨ ‎حيّة وحوت في البيردوت
ويش دواها شيخ اجاها
سحب الدبوس من الكربوس
وتوحاها وتوحاها
يوبي يوبي يوبيك يوبي
واحنا حضرنا كنا غيوبي

‎من افتتاح معرض “طحين، ماء، تراب” في أمستردام الشهر الماضي، عرض أدائي مستوحى من أهازيج عمال البناء الفلسطينيين أثناء عملية حرق الحجر الجيري لإنتاج “الشيد”، كما وثقها المؤرخ عمر حمدان. قمت بتلحين هذه الأغنية بالتعاون مع الفنانين إبراهيم ومحمد أبو لبن، وتقديمها برفقة عبدو زين الدين في سياق عملي “الأرض تصون ما تخبؤه”، احتفاءً بالجهد الجماعي والعمل اليدوي الحاضر في المعرض.

A performance from the opening of “flour, water, soil” at ‪‪‪‪‪‪‪‪@w139amsterdam‬‬‬‬‬‬‬‬ last month

This chant is inspired by the oral histories of Palestinian lime-burners, who would sing to maintain the rhythm of their grueling labor. In the context of this exhibition, this song marks the collective effort and shared labor of Maria, Saja, Anna, Dana, Andre, Raquel, and many other hands 🤍✨

Composed in collaboration with Ibrahim Abu Laban and Mohammad Abu Laban, and accompanied by Abdo Zin Eldin, the performance documents the material transformations of “shid” (lime) present in my installation “The Ground Keeps W‪hat it Hold”

Documentati‪@elodierenout‪@cglr_ksgl‬ksgl‬ksgl⁩⁩

زكريا Zakariya, my mom’s village, depopulated in 1948
And her grandparents house, still standing today as one of the first houses built from concrete

زكريا Zakariya, my mom’s village, depopulated in 1948
And her grandparents house, still standing today as one of the first houses built from concrete

زكريا Zakariya, my mom’s village, depopulated in 1948
And her grandparents house, still standing today as one of the first houses built from concrete

زكريا Zakariya, my mom’s village, depopulated in 1948
And her grandparents house, still standing today as one of the first houses built from concrete

زكريا Zakariya, my mom’s village, depopulated in 1948
And her grandparents house, still standing today as one of the first houses built from concrete

Glimpses of joy, collaboration and creation that kept me going this year 🤍🌿🌾

1. Al-Fakhouri pottery factory / Al-Khalil
2. Final performance for A Hand of Fire and Stone / @wonder.cabinet Bethlehem
3. Screen prints for @alwahat.collective fabric installation / @jve.printingpublishing Maastricht
4. Taboun bread-making for msakhan / @janvaneyckacademie
5. Reading of Stinking Tree book 🌿/ @laraposapoblesec Barcelona
6. Yousef singing for zaatar & sage tea 🌞 / @sakiyaorg Ein Qiniya
7. One of many teas at @hussein.shikha studio this year/ @janvaneyckacademie
8. MST Palestine caps / São Paulo, Brazil
9. Improvised song after shade building workshop from cactus fibres with @alwahat.collective 🌵 / @omsleimanfarmBil’in
10. Installing “recognition is subjection” print with @cglr_ksgl / @janvaneyckacademie
11. Cochineal ink on cactus paper with @alwahat.collective / @jve.printingpublishing
12. @alwahat.collective with Suha Alqam next to embroidered, cochineal-dyed flag / Ein Qiniya

Glimpses of joy, collaboration and creation that kept me going this year 🤍🌿🌾

1. Al-Fakhouri pottery factory / Al-Khalil
2. Final performance for A Hand of Fire and Stone / @wonder.cabinet Bethlehem
3. Screen prints for @alwahat.collective fabric installation / @jve.printingpublishing Maastricht
4. Taboun bread-making for msakhan / @janvaneyckacademie
5. Reading of Stinking Tree book 🌿/ @laraposapoblesec Barcelona
6. Yousef singing for zaatar & sage tea 🌞 / @sakiyaorg Ein Qiniya
7. One of many teas at @hussein.shikha studio this year/ @janvaneyckacademie
8. MST Palestine caps / São Paulo, Brazil
9. Improvised song after shade building workshop from cactus fibres with @alwahat.collective 🌵 / @omsleimanfarmBil’in
10. Installing “recognition is subjection” print with @cglr_ksgl / @janvaneyckacademie
11. Cochineal ink on cactus paper with @alwahat.collective / @jve.printingpublishing
12. @alwahat.collective with Suha Alqam next to embroidered, cochineal-dyed flag / Ein Qiniya

Glimpses of joy, collaboration and creation that kept me going this year 🤍🌿🌾

1. Al-Fakhouri pottery factory / Al-Khalil
2. Final performance for A Hand of Fire and Stone / @wonder.cabinet Bethlehem
3. Screen prints for @alwahat.collective fabric installation / @jve.printingpublishing Maastricht
4. Taboun bread-making for msakhan / @janvaneyckacademie
5. Reading of Stinking Tree book 🌿/ @laraposapoblesec Barcelona
6. Yousef singing for zaatar & sage tea 🌞 / @sakiyaorg Ein Qiniya
7. One of many teas at @hussein.shikha studio this year/ @janvaneyckacademie
8. MST Palestine caps / São Paulo, Brazil
9. Improvised song after shade building workshop from cactus fibres with @alwahat.collective 🌵 / @omsleimanfarmBil’in
10. Installing “recognition is subjection” print with @cglr_ksgl / @janvaneyckacademie
11. Cochineal ink on cactus paper with @alwahat.collective / @jve.printingpublishing
12. @alwahat.collective with Suha Alqam next to embroidered, cochineal-dyed flag / Ein Qiniya

Glimpses of joy, collaboration and creation that kept me going this year 🤍🌿🌾

1. Al-Fakhouri pottery factory / Al-Khalil
2. Final performance for A Hand of Fire and Stone / @wonder.cabinet Bethlehem
3. Screen prints for @alwahat.collective fabric installation / @jve.printingpublishing Maastricht
4. Taboun bread-making for msakhan / @janvaneyckacademie
5. Reading of Stinking Tree book 🌿/ @laraposapoblesec Barcelona
6. Yousef singing for zaatar & sage tea 🌞 / @sakiyaorg Ein Qiniya
7. One of many teas at @hussein.shikha studio this year/ @janvaneyckacademie
8. MST Palestine caps / São Paulo, Brazil
9. Improvised song after shade building workshop from cactus fibres with @alwahat.collective 🌵 / @omsleimanfarmBil’in
10. Installing “recognition is subjection” print with @cglr_ksgl / @janvaneyckacademie
11. Cochineal ink on cactus paper with @alwahat.collective / @jve.printingpublishing
12. @alwahat.collective with Suha Alqam next to embroidered, cochineal-dyed flag / Ein Qiniya

Glimpses of joy, collaboration and creation that kept me going this year 🤍🌿🌾

1. Al-Fakhouri pottery factory / Al-Khalil
2. Final performance for A Hand of Fire and Stone / @wonder.cabinet Bethlehem
3. Screen prints for @alwahat.collective fabric installation / @jve.printingpublishing Maastricht
4. Taboun bread-making for msakhan / @janvaneyckacademie
5. Reading of Stinking Tree book 🌿/ @laraposapoblesec Barcelona
6. Yousef singing for zaatar & sage tea 🌞 / @sakiyaorg Ein Qiniya
7. One of many teas at @hussein.shikha studio this year/ @janvaneyckacademie
8. MST Palestine caps / São Paulo, Brazil
9. Improvised song after shade building workshop from cactus fibres with @alwahat.collective 🌵 / @omsleimanfarmBil’in
10. Installing “recognition is subjection” print with @cglr_ksgl / @janvaneyckacademie
11. Cochineal ink on cactus paper with @alwahat.collective / @jve.printingpublishing
12. @alwahat.collective with Suha Alqam next to embroidered, cochineal-dyed flag / Ein Qiniya

Glimpses of joy, collaboration and creation that kept me going this year 🤍🌿🌾

1. Al-Fakhouri pottery factory / Al-Khalil
2. Final performance for A Hand of Fire and Stone / @wonder.cabinet Bethlehem
3. Screen prints for @alwahat.collective fabric installation / @jve.printingpublishing Maastricht
4. Taboun bread-making for msakhan / @janvaneyckacademie
5. Reading of Stinking Tree book 🌿/ @laraposapoblesec Barcelona
6. Yousef singing for zaatar & sage tea 🌞 / @sakiyaorg Ein Qiniya
7. One of many teas at @hussein.shikha studio this year/ @janvaneyckacademie
8. MST Palestine caps / São Paulo, Brazil
9. Improvised song after shade building workshop from cactus fibres with @alwahat.collective 🌵 / @omsleimanfarmBil’in
10. Installing “recognition is subjection” print with @cglr_ksgl / @janvaneyckacademie
11. Cochineal ink on cactus paper with @alwahat.collective / @jve.printingpublishing
12. @alwahat.collective with Suha Alqam next to embroidered, cochineal-dyed flag / Ein Qiniya

Glimpses of joy, collaboration and creation that kept me going this year 🤍🌿🌾

1. Al-Fakhouri pottery factory / Al-Khalil
2. Final performance for A Hand of Fire and Stone / @wonder.cabinet Bethlehem
3. Screen prints for @alwahat.collective fabric installation / @jve.printingpublishing Maastricht
4. Taboun bread-making for msakhan / @janvaneyckacademie
5. Reading of Stinking Tree book 🌿/ @laraposapoblesec Barcelona
6. Yousef singing for zaatar & sage tea 🌞 / @sakiyaorg Ein Qiniya
7. One of many teas at @hussein.shikha studio this year/ @janvaneyckacademie
8. MST Palestine caps / São Paulo, Brazil
9. Improvised song after shade building workshop from cactus fibres with @alwahat.collective 🌵 / @omsleimanfarmBil’in
10. Installing “recognition is subjection” print with @cglr_ksgl / @janvaneyckacademie
11. Cochineal ink on cactus paper with @alwahat.collective / @jve.printingpublishing
12. @alwahat.collective with Suha Alqam next to embroidered, cochineal-dyed flag / Ein Qiniya

Glimpses of joy, collaboration and creation that kept me going this year 🤍🌿🌾

1. Al-Fakhouri pottery factory / Al-Khalil
2. Final performance for A Hand of Fire and Stone / @wonder.cabinet Bethlehem
3. Screen prints for @alwahat.collective fabric installation / @jve.printingpublishing Maastricht
4. Taboun bread-making for msakhan / @janvaneyckacademie
5. Reading of Stinking Tree book 🌿/ @laraposapoblesec Barcelona
6. Yousef singing for zaatar & sage tea 🌞 / @sakiyaorg Ein Qiniya
7. One of many teas at @hussein.shikha studio this year/ @janvaneyckacademie
8. MST Palestine caps / São Paulo, Brazil
9. Improvised song after shade building workshop from cactus fibres with @alwahat.collective 🌵 / @omsleimanfarmBil’in
10. Installing “recognition is subjection” print with @cglr_ksgl / @janvaneyckacademie
11. Cochineal ink on cactus paper with @alwahat.collective / @jve.printingpublishing
12. @alwahat.collective with Suha Alqam next to embroidered, cochineal-dyed flag / Ein Qiniya

Glimpses of joy, collaboration and creation that kept me going this year 🤍🌿🌾

1. Al-Fakhouri pottery factory / Al-Khalil
2. Final performance for A Hand of Fire and Stone / @wonder.cabinet Bethlehem
3. Screen prints for @alwahat.collective fabric installation / @jve.printingpublishing Maastricht
4. Taboun bread-making for msakhan / @janvaneyckacademie
5. Reading of Stinking Tree book 🌿/ @laraposapoblesec Barcelona
6. Yousef singing for zaatar & sage tea 🌞 / @sakiyaorg Ein Qiniya
7. One of many teas at @hussein.shikha studio this year/ @janvaneyckacademie
8. MST Palestine caps / São Paulo, Brazil
9. Improvised song after shade building workshop from cactus fibres with @alwahat.collective 🌵 / @omsleimanfarmBil’in
10. Installing “recognition is subjection” print with @cglr_ksgl / @janvaneyckacademie
11. Cochineal ink on cactus paper with @alwahat.collective / @jve.printingpublishing
12. @alwahat.collective with Suha Alqam next to embroidered, cochineal-dyed flag / Ein Qiniya

Glimpses of joy, collaboration and creation that kept me going this year 🤍🌿🌾

1. Al-Fakhouri pottery factory / Al-Khalil
2. Final performance for A Hand of Fire and Stone / @wonder.cabinet Bethlehem
3. Screen prints for @alwahat.collective fabric installation / @jve.printingpublishing Maastricht
4. Taboun bread-making for msakhan / @janvaneyckacademie
5. Reading of Stinking Tree book 🌿/ @laraposapoblesec Barcelona
6. Yousef singing for zaatar & sage tea 🌞 / @sakiyaorg Ein Qiniya
7. One of many teas at @hussein.shikha studio this year/ @janvaneyckacademie
8. MST Palestine caps / São Paulo, Brazil
9. Improvised song after shade building workshop from cactus fibres with @alwahat.collective 🌵 / @omsleimanfarmBil’in
10. Installing “recognition is subjection” print with @cglr_ksgl / @janvaneyckacademie
11. Cochineal ink on cactus paper with @alwahat.collective / @jve.printingpublishing
12. @alwahat.collective with Suha Alqam next to embroidered, cochineal-dyed flag / Ein Qiniya

Glimpses of joy, collaboration and creation that kept me going this year 🤍🌿🌾

1. Al-Fakhouri pottery factory / Al-Khalil
2. Final performance for A Hand of Fire and Stone / @wonder.cabinet Bethlehem
3. Screen prints for @alwahat.collective fabric installation / @jve.printingpublishing Maastricht
4. Taboun bread-making for msakhan / @janvaneyckacademie
5. Reading of Stinking Tree book 🌿/ @laraposapoblesec Barcelona
6. Yousef singing for zaatar & sage tea 🌞 / @sakiyaorg Ein Qiniya
7. One of many teas at @hussein.shikha studio this year/ @janvaneyckacademie
8. MST Palestine caps / São Paulo, Brazil
9. Improvised song after shade building workshop from cactus fibres with @alwahat.collective 🌵 / @omsleimanfarmBil’in
10. Installing “recognition is subjection” print with @cglr_ksgl / @janvaneyckacademie
11. Cochineal ink on cactus paper with @alwahat.collective / @jve.printingpublishing
12. @alwahat.collective with Suha Alqam next to embroidered, cochineal-dyed flag / Ein Qiniya

Glimpses of joy, collaboration and creation that kept me going this year 🤍🌿🌾

1. Al-Fakhouri pottery factory / Al-Khalil
2. Final performance for A Hand of Fire and Stone / @wonder.cabinet Bethlehem
3. Screen prints for @alwahat.collective fabric installation / @jve.printingpublishing Maastricht
4. Taboun bread-making for msakhan / @janvaneyckacademie
5. Reading of Stinking Tree book 🌿/ @laraposapoblesec Barcelona
6. Yousef singing for zaatar & sage tea 🌞 / @sakiyaorg Ein Qiniya
7. One of many teas at @hussein.shikha studio this year/ @janvaneyckacademie
8. MST Palestine caps / São Paulo, Brazil
9. Improvised song after shade building workshop from cactus fibres with @alwahat.collective 🌵 / @omsleimanfarmBil’in
10. Installing “recognition is subjection” print with @cglr_ksgl / @janvaneyckacademie
11. Cochineal ink on cactus paper with @alwahat.collective / @jve.printingpublishing
12. @alwahat.collective with Suha Alqam next to embroidered, cochineal-dyed flag / Ein Qiniya

Our essay “Earthen Inheritances” is out on e-flux architecture as part of Palestinian Repairs series, a collaborative project developed by Emilio Distretti and e-flux architecture, with the support of RIWAQ - Centre for Architectural Conservation @riwaq_palestine , the Birzeit University Museum @bzu.museum , and the School of Architecture at the Royal College of Art in London @rca_soa .

This essay examines al-khabiyeh; an earthern grain storage unit central to agrarian life in Palestine, as a site of continuous destruction and repair. By following the processes of its making and remaking, the essay reflects on the tension between the object’s ephemeral materiality and its historical role as a tool for sustenance and future preparedness. Through an exploration of clay’s restorative qualities, we consider how the rebuilding of khawabi today operates as a forward-looking gesture: one that sustains intergenerational knowledge beyond the object itself, while resisting ongoing settler-colonial erasure in Palestine.

We’re very grateful for @sakiyaorg for hosting our khabiyeh-building workshop last year, and continuing its life with a group of participants who rebuilt it after its destruction by Israeli settlers, as part of “Of Mud and Iron” exhibition at Khalil Sakakini Center in Ramallah, curated by @ljudeh 🌾

Many thanks to Nick Axel @alucidwake and Emilio Distretti for their thoughtful edits 🙏🏽

Our essay “Earthen Inheritances” is out on e-flux architecture as part of Palestinian Repairs series, a collaborative project developed by Emilio Distretti and e-flux architecture, with the support of RIWAQ - Centre for Architectural Conservation @riwaq_palestine , the Birzeit University Museum @bzu.museum , and the School of Architecture at the Royal College of Art in London @rca_soa .

This essay examines al-khabiyeh; an earthern grain storage unit central to agrarian life in Palestine, as a site of continuous destruction and repair. By following the processes of its making and remaking, the essay reflects on the tension between the object’s ephemeral materiality and its historical role as a tool for sustenance and future preparedness. Through an exploration of clay’s restorative qualities, we consider how the rebuilding of khawabi today operates as a forward-looking gesture: one that sustains intergenerational knowledge beyond the object itself, while resisting ongoing settler-colonial erasure in Palestine.

We’re very grateful for @sakiyaorg for hosting our khabiyeh-building workshop last year, and continuing its life with a group of participants who rebuilt it after its destruction by Israeli settlers, as part of “Of Mud and Iron” exhibition at Khalil Sakakini Center in Ramallah, curated by @ljudeh 🌾

Many thanks to Nick Axel @alucidwake and Emilio Distretti for their thoughtful edits 🙏🏽

Our essay “Earthen Inheritances” is out on e-flux architecture as part of Palestinian Repairs series, a collaborative project developed by Emilio Distretti and e-flux architecture, with the support of RIWAQ - Centre for Architectural Conservation @riwaq_palestine , the Birzeit University Museum @bzu.museum , and the School of Architecture at the Royal College of Art in London @rca_soa .

This essay examines al-khabiyeh; an earthern grain storage unit central to agrarian life in Palestine, as a site of continuous destruction and repair. By following the processes of its making and remaking, the essay reflects on the tension between the object’s ephemeral materiality and its historical role as a tool for sustenance and future preparedness. Through an exploration of clay’s restorative qualities, we consider how the rebuilding of khawabi today operates as a forward-looking gesture: one that sustains intergenerational knowledge beyond the object itself, while resisting ongoing settler-colonial erasure in Palestine.

We’re very grateful for @sakiyaorg for hosting our khabiyeh-building workshop last year, and continuing its life with a group of participants who rebuilt it after its destruction by Israeli settlers, as part of “Of Mud and Iron” exhibition at Khalil Sakakini Center in Ramallah, curated by @ljudeh 🌾

Many thanks to Nick Axel @alucidwake and Emilio Distretti for their thoughtful edits 🙏🏽

Our essay “Earthen Inheritances” is out on e-flux architecture as part of Palestinian Repairs series, a collaborative project developed by Emilio Distretti and e-flux architecture, with the support of RIWAQ - Centre for Architectural Conservation @riwaq_palestine , the Birzeit University Museum @bzu.museum , and the School of Architecture at the Royal College of Art in London @rca_soa .

This essay examines al-khabiyeh; an earthern grain storage unit central to agrarian life in Palestine, as a site of continuous destruction and repair. By following the processes of its making and remaking, the essay reflects on the tension between the object’s ephemeral materiality and its historical role as a tool for sustenance and future preparedness. Through an exploration of clay’s restorative qualities, we consider how the rebuilding of khawabi today operates as a forward-looking gesture: one that sustains intergenerational knowledge beyond the object itself, while resisting ongoing settler-colonial erasure in Palestine.

We’re very grateful for @sakiyaorg for hosting our khabiyeh-building workshop last year, and continuing its life with a group of participants who rebuilt it after its destruction by Israeli settlers, as part of “Of Mud and Iron” exhibition at Khalil Sakakini Center in Ramallah, curated by @ljudeh 🌾

Many thanks to Nick Axel @alucidwake and Emilio Distretti for their thoughtful edits 🙏🏽

Our essay “Earthen Inheritances” is out on e-flux architecture as part of Palestinian Repairs series, a collaborative project developed by Emilio Distretti and e-flux architecture, with the support of RIWAQ - Centre for Architectural Conservation @riwaq_palestine , the Birzeit University Museum @bzu.museum , and the School of Architecture at the Royal College of Art in London @rca_soa .

This essay examines al-khabiyeh; an earthern grain storage unit central to agrarian life in Palestine, as a site of continuous destruction and repair. By following the processes of its making and remaking, the essay reflects on the tension between the object’s ephemeral materiality and its historical role as a tool for sustenance and future preparedness. Through an exploration of clay’s restorative qualities, we consider how the rebuilding of khawabi today operates as a forward-looking gesture: one that sustains intergenerational knowledge beyond the object itself, while resisting ongoing settler-colonial erasure in Palestine.

We’re very grateful for @sakiyaorg for hosting our khabiyeh-building workshop last year, and continuing its life with a group of participants who rebuilt it after its destruction by Israeli settlers, as part of “Of Mud and Iron” exhibition at Khalil Sakakini Center in Ramallah, curated by @ljudeh 🌾

Many thanks to Nick Axel @alucidwake and Emilio Distretti for their thoughtful edits 🙏🏽

⁨ ⁨ ⁨ السنة الماضية رحت مع خليل غرة نشوف أفران الشيد المتبقية في قرية مجدل يابا المهجرة. على الطريق، بكل مكان كانت طالعة هاي الزهرة البيضا الطويلة، المعروفة شعبياً باسم “مبشر الشتا”، أو “عود الري”. خليل شرح لي عن أهميّتها في المواسم الشعبية، وبالأخص عند انتظار الفلاحين للمطر 🌾

في الفترة الأخيرة غصت أكثر في تقاليد الاستسقاء في فلسطين، وجسّدتها في تصميم علم بستوحي رموزه من هاي النباتات والإشارات الموسمية اللي بتبشّر بقدوم المطر أو حلوله.

العلم مطبوع باستخدام الشاشات الحريرية: من جهة بحبر أبيض، ومن جهة بحبر مصنوع من التراب. القماشة مصبوغة بالتراب اللي بيحلّ مع المطر: بتختفي رسالة من وجه، وبتبيّن رسالة تانية من الجهة الخلفية

Last year, I went with researcher Khalil Ghara to see the remaining lime kilns in Majdal Yaba, destroyed in 1948 Nakba. Along the road, this tall white flower (squill) grew everywhere, known locally as “the predictor of rain.” Khalil explained its significance in seasonal folk practices, especially for farmers waiting for the first rain 🌾

Lately, I’ve been diving into rain-making rituals and traditions, drawing from them for a flag design that carries symbols from these plants and seasonal signs that call the rain and signal it’s arrival.

The flag is screen-printed with white ink on one side, and soil-based pigment on the other. The fabric is dyed with earth, interacting with the elements, and withering with rain: a message fades on one side, while another one emerges on the back.

Commissioned by @statia.de.cercetare & @tranzit.ro.bucuresti , and printed with the help‪‪ of @futurematerialsbank ‬& @jve.printingpublishing

⁨ ⁨ ⁨ السنة الماضية رحت مع خليل غرة نشوف أفران الشيد المتبقية في قرية مجدل يابا المهجرة. على الطريق، بكل مكان كانت طالعة هاي الزهرة البيضا الطويلة، المعروفة شعبياً باسم “مبشر الشتا”، أو “عود الري”. خليل شرح لي عن أهميّتها في المواسم الشعبية، وبالأخص عند انتظار الفلاحين للمطر 🌾

في الفترة الأخيرة غصت أكثر في تقاليد الاستسقاء في فلسطين، وجسّدتها في تصميم علم بستوحي رموزه من هاي النباتات والإشارات الموسمية اللي بتبشّر بقدوم المطر أو حلوله.

العلم مطبوع باستخدام الشاشات الحريرية: من جهة بحبر أبيض، ومن جهة بحبر مصنوع من التراب. القماشة مصبوغة بالتراب اللي بيحلّ مع المطر: بتختفي رسالة من وجه، وبتبيّن رسالة تانية من الجهة الخلفية

Last year, I went with researcher Khalil Ghara to see the remaining lime kilns in Majdal Yaba, destroyed in 1948 Nakba. Along the road, this tall white flower (squill) grew everywhere, known locally as “the predictor of rain.” Khalil explained its significance in seasonal folk practices, especially for farmers waiting for the first rain 🌾

Lately, I’ve been diving into rain-making rituals and traditions, drawing from them for a flag design that carries symbols from these plants and seasonal signs that call the rain and signal it’s arrival.

The flag is screen-printed with white ink on one side, and soil-based pigment on the other. The fabric is dyed with earth, interacting with the elements, and withering with rain: a message fades on one side, while another one emerges on the back.

Commissioned by @statia.de.cercetare & @tranzit.ro.bucuresti , and printed with the help‪‪ of @futurematerialsbank ‬& @jve.printingpublishing

⁨ ⁨ ⁨ السنة الماضية رحت مع خليل غرة نشوف أفران الشيد المتبقية في قرية مجدل يابا المهجرة. على الطريق، بكل مكان كانت طالعة هاي الزهرة البيضا الطويلة، المعروفة شعبياً باسم “مبشر الشتا”، أو “عود الري”. خليل شرح لي عن أهميّتها في المواسم الشعبية، وبالأخص عند انتظار الفلاحين للمطر 🌾

في الفترة الأخيرة غصت أكثر في تقاليد الاستسقاء في فلسطين، وجسّدتها في تصميم علم بستوحي رموزه من هاي النباتات والإشارات الموسمية اللي بتبشّر بقدوم المطر أو حلوله.

العلم مطبوع باستخدام الشاشات الحريرية: من جهة بحبر أبيض، ومن جهة بحبر مصنوع من التراب. القماشة مصبوغة بالتراب اللي بيحلّ مع المطر: بتختفي رسالة من وجه، وبتبيّن رسالة تانية من الجهة الخلفية

Last year, I went with researcher Khalil Ghara to see the remaining lime kilns in Majdal Yaba, destroyed in 1948 Nakba. Along the road, this tall white flower (squill) grew everywhere, known locally as “the predictor of rain.” Khalil explained its significance in seasonal folk practices, especially for farmers waiting for the first rain 🌾

Lately, I’ve been diving into rain-making rituals and traditions, drawing from them for a flag design that carries symbols from these plants and seasonal signs that call the rain and signal it’s arrival.

The flag is screen-printed with white ink on one side, and soil-based pigment on the other. The fabric is dyed with earth, interacting with the elements, and withering with rain: a message fades on one side, while another one emerges on the back.

Commissioned by @statia.de.cercetare & @tranzit.ro.bucuresti , and printed with the help‪‪ of @futurematerialsbank ‬& @jve.printingpublishing

⁨ ⁨ ⁨ السنة الماضية رحت مع خليل غرة نشوف أفران الشيد المتبقية في قرية مجدل يابا المهجرة. على الطريق، بكل مكان كانت طالعة هاي الزهرة البيضا الطويلة، المعروفة شعبياً باسم “مبشر الشتا”، أو “عود الري”. خليل شرح لي عن أهميّتها في المواسم الشعبية، وبالأخص عند انتظار الفلاحين للمطر 🌾

في الفترة الأخيرة غصت أكثر في تقاليد الاستسقاء في فلسطين، وجسّدتها في تصميم علم بستوحي رموزه من هاي النباتات والإشارات الموسمية اللي بتبشّر بقدوم المطر أو حلوله.

العلم مطبوع باستخدام الشاشات الحريرية: من جهة بحبر أبيض، ومن جهة بحبر مصنوع من التراب. القماشة مصبوغة بالتراب اللي بيحلّ مع المطر: بتختفي رسالة من وجه، وبتبيّن رسالة تانية من الجهة الخلفية

Last year, I went with researcher Khalil Ghara to see the remaining lime kilns in Majdal Yaba, destroyed in 1948 Nakba. Along the road, this tall white flower (squill) grew everywhere, known locally as “the predictor of rain.” Khalil explained its significance in seasonal folk practices, especially for farmers waiting for the first rain 🌾

Lately, I’ve been diving into rain-making rituals and traditions, drawing from them for a flag design that carries symbols from these plants and seasonal signs that call the rain and signal it’s arrival.

The flag is screen-printed with white ink on one side, and soil-based pigment on the other. The fabric is dyed with earth, interacting with the elements, and withering with rain: a message fades on one side, while another one emerges on the back.

Commissioned by @statia.de.cercetare & @tranzit.ro.bucuresti , and printed with the help‪‪ of @futurematerialsbank ‬& @jve.printingpublishing

⁨ ⁨ ⁨ السنة الماضية رحت مع خليل غرة نشوف أفران الشيد المتبقية في قرية مجدل يابا المهجرة. على الطريق، بكل مكان كانت طالعة هاي الزهرة البيضا الطويلة، المعروفة شعبياً باسم “مبشر الشتا”، أو “عود الري”. خليل شرح لي عن أهميّتها في المواسم الشعبية، وبالأخص عند انتظار الفلاحين للمطر 🌾

في الفترة الأخيرة غصت أكثر في تقاليد الاستسقاء في فلسطين، وجسّدتها في تصميم علم بستوحي رموزه من هاي النباتات والإشارات الموسمية اللي بتبشّر بقدوم المطر أو حلوله.

العلم مطبوع باستخدام الشاشات الحريرية: من جهة بحبر أبيض، ومن جهة بحبر مصنوع من التراب. القماشة مصبوغة بالتراب اللي بيحلّ مع المطر: بتختفي رسالة من وجه، وبتبيّن رسالة تانية من الجهة الخلفية

Last year, I went with researcher Khalil Ghara to see the remaining lime kilns in Majdal Yaba, destroyed in 1948 Nakba. Along the road, this tall white flower (squill) grew everywhere, known locally as “the predictor of rain.” Khalil explained its significance in seasonal folk practices, especially for farmers waiting for the first rain 🌾

Lately, I’ve been diving into rain-making rituals and traditions, drawing from them for a flag design that carries symbols from these plants and seasonal signs that call the rain and signal it’s arrival.

The flag is screen-printed with white ink on one side, and soil-based pigment on the other. The fabric is dyed with earth, interacting with the elements, and withering with rain: a message fades on one side, while another one emerges on the back.

Commissioned by @statia.de.cercetare & @tranzit.ro.bucuresti , and printed with the help‪‪ of @futurematerialsbank ‬& @jve.printingpublishing

⁨ ⁨ ⁨ السنة الماضية رحت مع خليل غرة نشوف أفران الشيد المتبقية في قرية مجدل يابا المهجرة. على الطريق، بكل مكان كانت طالعة هاي الزهرة البيضا الطويلة، المعروفة شعبياً باسم “مبشر الشتا”، أو “عود الري”. خليل شرح لي عن أهميّتها في المواسم الشعبية، وبالأخص عند انتظار الفلاحين للمطر 🌾

في الفترة الأخيرة غصت أكثر في تقاليد الاستسقاء في فلسطين، وجسّدتها في تصميم علم بستوحي رموزه من هاي النباتات والإشارات الموسمية اللي بتبشّر بقدوم المطر أو حلوله.

العلم مطبوع باستخدام الشاشات الحريرية: من جهة بحبر أبيض، ومن جهة بحبر مصنوع من التراب. القماشة مصبوغة بالتراب اللي بيحلّ مع المطر: بتختفي رسالة من وجه، وبتبيّن رسالة تانية من الجهة الخلفية

Last year, I went with researcher Khalil Ghara to see the remaining lime kilns in Majdal Yaba, destroyed in 1948 Nakba. Along the road, this tall white flower (squill) grew everywhere, known locally as “the predictor of rain.” Khalil explained its significance in seasonal folk practices, especially for farmers waiting for the first rain 🌾

Lately, I’ve been diving into rain-making rituals and traditions, drawing from them for a flag design that carries symbols from these plants and seasonal signs that call the rain and signal it’s arrival.

The flag is screen-printed with white ink on one side, and soil-based pigment on the other. The fabric is dyed with earth, interacting with the elements, and withering with rain: a message fades on one side, while another one emerges on the back.

Commissioned by @statia.de.cercetare & @tranzit.ro.bucuresti , and printed with the help‪‪ of @futurematerialsbank ‬& @jve.printingpublishing

راحت أم الغيث تجيب الأمطار، ما إجت إلا الزرع طول الأشجار

In the past weeks I’ve been working on a flag design for The Experimental Station for Research on Art & Life @statia.de.cercetare near Bucharest, Romania, to be raised today, on the International Day for Solidarity with the Palestinian People.

A simple gesture from Palestine to a desertifying land in Romania, The Rain-making Flag (راية الاستسقاء) draws from traditional rituals, where Palestinians turned to seasonal plants, songs, and small acts to invite rain. It didn’t take long for the call to be answered 🌧️

Many thanks to @tranzit.ro.bucuresti collective for the beautiful invitation 🤍

Printed in collaboration with @jve.printingpublishing

راحت أم الغيث تجيب الأمطار، ما إجت إلا الزرع طول الأشجار

In the past weeks I’ve been working on a flag design for The Experimental Station for Research on Art & Life @statia.de.cercetare near Bucharest, Romania, to be raised today, on the International Day for Solidarity with the Palestinian People.

A simple gesture from Palestine to a desertifying land in Romania, The Rain-making Flag (راية الاستسقاء) draws from traditional rituals, where Palestinians turned to seasonal plants, songs, and small acts to invite rain. It didn’t take long for the call to be answered 🌧️

Many thanks to @tranzit.ro.bucuresti collective for the beautiful invitation 🤍

Printed in collaboration with @jve.printingpublishing

راحت أم الغيث تجيب الأمطار، ما إجت إلا الزرع طول الأشجار

In the past weeks I’ve been working on a flag design for The Experimental Station for Research on Art & Life @statia.de.cercetare near Bucharest, Romania, to be raised today, on the International Day for Solidarity with the Palestinian People.

A simple gesture from Palestine to a desertifying land in Romania, The Rain-making Flag (راية الاستسقاء) draws from traditional rituals, where Palestinians turned to seasonal plants, songs, and small acts to invite rain. It didn’t take long for the call to be answered 🌧️

Many thanks to @tranzit.ro.bucuresti collective for the beautiful invitation 🤍

Printed in collaboration with @jve.printingpublishing

راحت أم الغيث تجيب الأمطار، ما إجت إلا الزرع طول الأشجار

In the past weeks I’ve been working on a flag design for The Experimental Station for Research on Art & Life @statia.de.cercetare near Bucharest, Romania, to be raised today, on the International Day for Solidarity with the Palestinian People.

A simple gesture from Palestine to a desertifying land in Romania, The Rain-making Flag (راية الاستسقاء) draws from traditional rituals, where Palestinians turned to seasonal plants, songs, and small acts to invite rain. It didn’t take long for the call to be answered 🌧️

Many thanks to @tranzit.ro.bucuresti collective for the beautiful invitation 🤍

Printed in collaboration with @jve.printingpublishing

راحت أم الغيث تجيب الأمطار، ما إجت إلا الزرع طول الأشجار

In the past weeks I’ve been working on a flag design for The Experimental Station for Research on Art & Life @statia.de.cercetare near Bucharest, Romania, to be raised today, on the International Day for Solidarity with the Palestinian People.

A simple gesture from Palestine to a desertifying land in Romania, The Rain-making Flag (راية الاستسقاء) draws from traditional rituals, where Palestinians turned to seasonal plants, songs, and small acts to invite rain. It didn’t take long for the call to be answered 🌧️

Many thanks to @tranzit.ro.bucuresti collective for the beautiful invitation 🤍

Printed in collaboration with @jve.printingpublishing

This year, with @alwahat.collective , we explored a new chapter of our project Wild Hedges during our residencies at @janvaneyckacademie and @sakiyaorg 🌵

Over the past months, we followed the intertwined ecologies and mythologies of the prickly pear cactus and the sacred qatlab tree in Ein Qiniya, Palestine—two sites connected through the colour red: the cochineal insect living on the cactus, and the deep red bark of the qatlab tree. Linking Palestinian and Mesoamerican myths, the project reflects on colonial entanglements, invasive ecologies, and practices of repair. Through cochineal ink, dyed textiles, embroidered processional flags and film, it explores gestures of collective care rooted in the land—where human, plant, and insect labour converge, weaving stories of displacement, myth, and belonging amid escalating Israeli settler violence and dispossession.

1.Suha Alqam from Ein Qiniya hanging a processional flag representing a cactus hedge, printed collectively with 20 participants at Sakiya using cochineal harvested from dyeing cacti
2. Suha embroidering cochineal-dyed threads on a processional flag made for the qatlab tree
3. The cactus flag hung at the hedge
4. A procession from the hedge to the qatlab tree at Sakiya last May
5. Our fabric installation at Open Studios @janvaneyckacademie, bringing together the two flags with images of the two sites—the cactus and the tree. Fabrics were dyed and images taken by @gdemczuk and printed in collaboration with @jve.printingpublishing
6. A shot from our two-channel installation “Red Threads” at Open Studios
7. Close-up of the fabric installation
8. A group photo with participants and villagers from Ein Qiniya around the two flags 🤍

The photos were taken by @gdemczuk , @ahmadtalath and Romy Finke

This year, with @alwahat.collective , we explored a new chapter of our project Wild Hedges during our residencies at @janvaneyckacademie and @sakiyaorg 🌵

Over the past months, we followed the intertwined ecologies and mythologies of the prickly pear cactus and the sacred qatlab tree in Ein Qiniya, Palestine—two sites connected through the colour red: the cochineal insect living on the cactus, and the deep red bark of the qatlab tree. Linking Palestinian and Mesoamerican myths, the project reflects on colonial entanglements, invasive ecologies, and practices of repair. Through cochineal ink, dyed textiles, embroidered processional flags and film, it explores gestures of collective care rooted in the land—where human, plant, and insect labour converge, weaving stories of displacement, myth, and belonging amid escalating Israeli settler violence and dispossession.

1.Suha Alqam from Ein Qiniya hanging a processional flag representing a cactus hedge, printed collectively with 20 participants at Sakiya using cochineal harvested from dyeing cacti
2. Suha embroidering cochineal-dyed threads on a processional flag made for the qatlab tree
3. The cactus flag hung at the hedge
4. A procession from the hedge to the qatlab tree at Sakiya last May
5. Our fabric installation at Open Studios @janvaneyckacademie, bringing together the two flags with images of the two sites—the cactus and the tree. Fabrics were dyed and images taken by @gdemczuk and printed in collaboration with @jve.printingpublishing
6. A shot from our two-channel installation “Red Threads” at Open Studios
7. Close-up of the fabric installation
8. A group photo with participants and villagers from Ein Qiniya around the two flags 🤍

The photos were taken by @gdemczuk , @ahmadtalath and Romy Finke

This year, with @alwahat.collective , we explored a new chapter of our project Wild Hedges during our residencies at @janvaneyckacademie and @sakiyaorg 🌵

Over the past months, we followed the intertwined ecologies and mythologies of the prickly pear cactus and the sacred qatlab tree in Ein Qiniya, Palestine—two sites connected through the colour red: the cochineal insect living on the cactus, and the deep red bark of the qatlab tree. Linking Palestinian and Mesoamerican myths, the project reflects on colonial entanglements, invasive ecologies, and practices of repair. Through cochineal ink, dyed textiles, embroidered processional flags and film, it explores gestures of collective care rooted in the land—where human, plant, and insect labour converge, weaving stories of displacement, myth, and belonging amid escalating Israeli settler violence and dispossession.

1.Suha Alqam from Ein Qiniya hanging a processional flag representing a cactus hedge, printed collectively with 20 participants at Sakiya using cochineal harvested from dyeing cacti
2. Suha embroidering cochineal-dyed threads on a processional flag made for the qatlab tree
3. The cactus flag hung at the hedge
4. A procession from the hedge to the qatlab tree at Sakiya last May
5. Our fabric installation at Open Studios @janvaneyckacademie, bringing together the two flags with images of the two sites—the cactus and the tree. Fabrics were dyed and images taken by @gdemczuk and printed in collaboration with @jve.printingpublishing
6. A shot from our two-channel installation “Red Threads” at Open Studios
7. Close-up of the fabric installation
8. A group photo with participants and villagers from Ein Qiniya around the two flags 🤍

The photos were taken by @gdemczuk , @ahmadtalath and Romy Finke

This year, with @alwahat.collective , we explored a new chapter of our project Wild Hedges during our residencies at @janvaneyckacademie and @sakiyaorg 🌵

Over the past months, we followed the intertwined ecologies and mythologies of the prickly pear cactus and the sacred qatlab tree in Ein Qiniya, Palestine—two sites connected through the colour red: the cochineal insect living on the cactus, and the deep red bark of the qatlab tree. Linking Palestinian and Mesoamerican myths, the project reflects on colonial entanglements, invasive ecologies, and practices of repair. Through cochineal ink, dyed textiles, embroidered processional flags and film, it explores gestures of collective care rooted in the land—where human, plant, and insect labour converge, weaving stories of displacement, myth, and belonging amid escalating Israeli settler violence and dispossession.

1.Suha Alqam from Ein Qiniya hanging a processional flag representing a cactus hedge, printed collectively with 20 participants at Sakiya using cochineal harvested from dyeing cacti
2. Suha embroidering cochineal-dyed threads on a processional flag made for the qatlab tree
3. The cactus flag hung at the hedge
4. A procession from the hedge to the qatlab tree at Sakiya last May
5. Our fabric installation at Open Studios @janvaneyckacademie, bringing together the two flags with images of the two sites—the cactus and the tree. Fabrics were dyed and images taken by @gdemczuk and printed in collaboration with @jve.printingpublishing
6. A shot from our two-channel installation “Red Threads” at Open Studios
7. Close-up of the fabric installation
8. A group photo with participants and villagers from Ein Qiniya around the two flags 🤍

The photos were taken by @gdemczuk , @ahmadtalath and Romy Finke

This year, with @alwahat.collective , we explored a new chapter of our project Wild Hedges during our residencies at @janvaneyckacademie and @sakiyaorg 🌵

Over the past months, we followed the intertwined ecologies and mythologies of the prickly pear cactus and the sacred qatlab tree in Ein Qiniya, Palestine—two sites connected through the colour red: the cochineal insect living on the cactus, and the deep red bark of the qatlab tree. Linking Palestinian and Mesoamerican myths, the project reflects on colonial entanglements, invasive ecologies, and practices of repair. Through cochineal ink, dyed textiles, embroidered processional flags and film, it explores gestures of collective care rooted in the land—where human, plant, and insect labour converge, weaving stories of displacement, myth, and belonging amid escalating Israeli settler violence and dispossession.

1.Suha Alqam from Ein Qiniya hanging a processional flag representing a cactus hedge, printed collectively with 20 participants at Sakiya using cochineal harvested from dyeing cacti
2. Suha embroidering cochineal-dyed threads on a processional flag made for the qatlab tree
3. The cactus flag hung at the hedge
4. A procession from the hedge to the qatlab tree at Sakiya last May
5. Our fabric installation at Open Studios @janvaneyckacademie, bringing together the two flags with images of the two sites—the cactus and the tree. Fabrics were dyed and images taken by @gdemczuk and printed in collaboration with @jve.printingpublishing
6. A shot from our two-channel installation “Red Threads” at Open Studios
7. Close-up of the fabric installation
8. A group photo with participants and villagers from Ein Qiniya around the two flags 🤍

The photos were taken by @gdemczuk , @ahmadtalath and Romy Finke

This year, with @alwahat.collective , we explored a new chapter of our project Wild Hedges during our residencies at @janvaneyckacademie and @sakiyaorg 🌵

Over the past months, we followed the intertwined ecologies and mythologies of the prickly pear cactus and the sacred qatlab tree in Ein Qiniya, Palestine—two sites connected through the colour red: the cochineal insect living on the cactus, and the deep red bark of the qatlab tree. Linking Palestinian and Mesoamerican myths, the project reflects on colonial entanglements, invasive ecologies, and practices of repair. Through cochineal ink, dyed textiles, embroidered processional flags and film, it explores gestures of collective care rooted in the land—where human, plant, and insect labour converge, weaving stories of displacement, myth, and belonging amid escalating Israeli settler violence and dispossession.

1.Suha Alqam from Ein Qiniya hanging a processional flag representing a cactus hedge, printed collectively with 20 participants at Sakiya using cochineal harvested from dyeing cacti
2. Suha embroidering cochineal-dyed threads on a processional flag made for the qatlab tree
3. The cactus flag hung at the hedge
4. A procession from the hedge to the qatlab tree at Sakiya last May
5. Our fabric installation at Open Studios @janvaneyckacademie, bringing together the two flags with images of the two sites—the cactus and the tree. Fabrics were dyed and images taken by @gdemczuk and printed in collaboration with @jve.printingpublishing
6. A shot from our two-channel installation “Red Threads” at Open Studios
7. Close-up of the fabric installation
8. A group photo with participants and villagers from Ein Qiniya around the two flags 🤍

The photos were taken by @gdemczuk , @ahmadtalath and Romy Finke

This year, with @alwahat.collective , we explored a new chapter of our project Wild Hedges during our residencies at @janvaneyckacademie and @sakiyaorg 🌵

Over the past months, we followed the intertwined ecologies and mythologies of the prickly pear cactus and the sacred qatlab tree in Ein Qiniya, Palestine—two sites connected through the colour red: the cochineal insect living on the cactus, and the deep red bark of the qatlab tree. Linking Palestinian and Mesoamerican myths, the project reflects on colonial entanglements, invasive ecologies, and practices of repair. Through cochineal ink, dyed textiles, embroidered processional flags and film, it explores gestures of collective care rooted in the land—where human, plant, and insect labour converge, weaving stories of displacement, myth, and belonging amid escalating Israeli settler violence and dispossession.

1.Suha Alqam from Ein Qiniya hanging a processional flag representing a cactus hedge, printed collectively with 20 participants at Sakiya using cochineal harvested from dyeing cacti
2. Suha embroidering cochineal-dyed threads on a processional flag made for the qatlab tree
3. The cactus flag hung at the hedge
4. A procession from the hedge to the qatlab tree at Sakiya last May
5. Our fabric installation at Open Studios @janvaneyckacademie, bringing together the two flags with images of the two sites—the cactus and the tree. Fabrics were dyed and images taken by @gdemczuk and printed in collaboration with @jve.printingpublishing
6. A shot from our two-channel installation “Red Threads” at Open Studios
7. Close-up of the fabric installation
8. A group photo with participants and villagers from Ein Qiniya around the two flags 🤍

The photos were taken by @gdemczuk , @ahmadtalath and Romy Finke

This year, with @alwahat.collective , we explored a new chapter of our project Wild Hedges during our residencies at @janvaneyckacademie and @sakiyaorg 🌵

Over the past months, we followed the intertwined ecologies and mythologies of the prickly pear cactus and the sacred qatlab tree in Ein Qiniya, Palestine—two sites connected through the colour red: the cochineal insect living on the cactus, and the deep red bark of the qatlab tree. Linking Palestinian and Mesoamerican myths, the project reflects on colonial entanglements, invasive ecologies, and practices of repair. Through cochineal ink, dyed textiles, embroidered processional flags and film, it explores gestures of collective care rooted in the land—where human, plant, and insect labour converge, weaving stories of displacement, myth, and belonging amid escalating Israeli settler violence and dispossession.

1.Suha Alqam from Ein Qiniya hanging a processional flag representing a cactus hedge, printed collectively with 20 participants at Sakiya using cochineal harvested from dyeing cacti
2. Suha embroidering cochineal-dyed threads on a processional flag made for the qatlab tree
3. The cactus flag hung at the hedge
4. A procession from the hedge to the qatlab tree at Sakiya last May
5. Our fabric installation at Open Studios @janvaneyckacademie, bringing together the two flags with images of the two sites—the cactus and the tree. Fabrics were dyed and images taken by @gdemczuk and printed in collaboration with @jve.printingpublishing
6. A shot from our two-channel installation “Red Threads” at Open Studios
7. Close-up of the fabric installation
8. A group photo with participants and villagers from Ein Qiniya around the two flags 🤍

The photos were taken by @gdemczuk , @ahmadtalath and Romy Finke

Working closely with sabr fibers these past months as part of @alwahat.collective 🌵 bringing dead cacti to life, stitching them into canopies, and beating them into paper

#3 & #4 photos from a shade roof workshop at @omsleimanfarm in collaboration with @sakiyaorg last May
#5 Mixtec myth printed with Oaxacan cochineal ink on paper made with cactus fibers from Palestine, as part of Al-Wah’at’s open studio at @janvaneyckacademie

Working closely with sabr fibers these past months as part of @alwahat.collective 🌵 bringing dead cacti to life, stitching them into canopies, and beating them into paper

#3 & #4 photos from a shade roof workshop at @omsleimanfarm in collaboration with @sakiyaorg last May
#5 Mixtec myth printed with Oaxacan cochineal ink on paper made with cactus fibers from Palestine, as part of Al-Wah’at’s open studio at @janvaneyckacademie

Working closely with sabr fibers these past months as part of @alwahat.collective 🌵 bringing dead cacti to life, stitching them into canopies, and beating them into paper

#3 & #4 photos from a shade roof workshop at @omsleimanfarm in collaboration with @sakiyaorg last May
#5 Mixtec myth printed with Oaxacan cochineal ink on paper made with cactus fibers from Palestine, as part of Al-Wah’at’s open studio at @janvaneyckacademie

Working closely with sabr fibers these past months as part of @alwahat.collective 🌵 bringing dead cacti to life, stitching them into canopies, and beating them into paper

#3 & #4 photos from a shade roof workshop at @omsleimanfarm in collaboration with @sakiyaorg last May
#5 Mixtec myth printed with Oaxacan cochineal ink on paper made with cactus fibers from Palestine, as part of Al-Wah’at’s open studio at @janvaneyckacademie

Working closely with sabr fibers these past months as part of @alwahat.collective 🌵 bringing dead cacti to life, stitching them into canopies, and beating them into paper

#3 & #4 photos from a shade roof workshop at @omsleimanfarm in collaboration with @sakiyaorg last May
#5 Mixtec myth printed with Oaxacan cochineal ink on paper made with cactus fibers from Palestine, as part of Al-Wah’at’s open studio at @janvaneyckacademie

صلّوا ع النبي الهادي
أداء غنائي قدمته بالتعاون مع أولاد خالتي الفنانين إبراهيم أبو لبن ومحمد أبو لبن في بداية السنة، ضمن معرضي البحثي عن مادة الشيد في مجلس العجب، بيت لحم.

عثرتُ على الكلمات في كتاب العمارة الشعبية في فلسطين للمؤرخ عمر حمدان، إصدار مؤسسة إنعاش الأسرة، وأسرني وقعها.

اجتمعنا سويًا—أنا وإبراهيم ومحمد—وألبسنا الكلمات لحنًا جديدًا من وحي خيالنا.

تحمل هذه الكلمات تبجيلًا لدور معلّم البناء في تشييد فرن الشيد. يوثق الفيديو تجربتي في بناء واشعال فرن شيد في مجلس العجب بالتعاون مع البناء أبو فراس.

تصوير دانا در ونسرين طحان 🤍

Pray for the Guiding Prophet

A vocal performance I presented in collaboration with my cousins, artists Ibrahim Abu Laban @ibrahim.abulaban and Mohammad Abu Laban @mohammedsabulaban , earlier this year, as part of my research exhibition on the material of lime at @wonder.cabinet in Bethlehem.

I came across the lyrics in the book Traditional Architecture in Palestine by historian Omar Hamdan, published by the In’ash Al-Usra Foundation, and was captivated by their rhythm.

The three of us—myself, Ibrahim, and Mohammad—came together and wrapped the words in a new melody drawn from our imagination.

These lyrics express deep reverence for the role of the master builder in constructing the lime kiln.
The video documents my experience building and firing a lime kiln at the Wonder Cabinet, in collaboration with the builder Abu Firas.

Footage taken by @danadurr and @nisreentahhan

Wednesday May 21 at Khalil Sakakini, Ramallah
A Book Launch and Conversation with Yara Dowani @omsleimanfarm and Amanny Ahmad @lalph_rauren (Event in English)

Areej Ashhab and Ailo Ribas will introduce their collaborative book The fast-growing stinking escaped waste-loving wall-breaching self-cloning other-than-natural no-man’s tree. This collaboration stemmed from their time spent together in Palestine in August 2022 and their encounters with Ailanthus altissima (tree of heaven, tree of hell). An “invasive” species introduced to Palestine during the 1960s and 1980s as part of the Jewish National Fund (JNF) greenwashing, the tree was a starting point for their reflections on land and persistence amidst settler colonialism.

Yara Dowani, a farmer from Om Sleiman Farm, will join us to reflect on how “invasive” species can be thought of as catalysts for regeneration especially through her interest and research in syntropic farming. Amanny Ahmad, an artist, cook, land worker, and folk herbalist, will share her thoughts on how relationships between humans & non-humans, botany & plant use can teach us about survival.

[Arabic in first comment]

Wednesday May 21 at Khalil Sakakini, Ramallah
A Book Launch and Conversation with Yara Dowani @omsleimanfarm and Amanny Ahmad @lalph_rauren (Event in English)

Areej Ashhab and Ailo Ribas will introduce their collaborative book The fast-growing stinking escaped waste-loving wall-breaching self-cloning other-than-natural no-man’s tree. This collaboration stemmed from their time spent together in Palestine in August 2022 and their encounters with Ailanthus altissima (tree of heaven, tree of hell). An “invasive” species introduced to Palestine during the 1960s and 1980s as part of the Jewish National Fund (JNF) greenwashing, the tree was a starting point for their reflections on land and persistence amidst settler colonialism.

Yara Dowani, a farmer from Om Sleiman Farm, will join us to reflect on how “invasive” species can be thought of as catalysts for regeneration especially through her interest and research in syntropic farming. Amanny Ahmad, an artist, cook, land worker, and folk herbalist, will share her thoughts on how relationships between humans & non-humans, botany & plant use can teach us about survival.

[Arabic in first comment]

Wednesday May 21 at Khalil Sakakini, Ramallah
A Book Launch and Conversation with Yara Dowani @omsleimanfarm and Amanny Ahmad @lalph_rauren (Event in English)

Areej Ashhab and Ailo Ribas will introduce their collaborative book The fast-growing stinking escaped waste-loving wall-breaching self-cloning other-than-natural no-man’s tree. This collaboration stemmed from their time spent together in Palestine in August 2022 and their encounters with Ailanthus altissima (tree of heaven, tree of hell). An “invasive” species introduced to Palestine during the 1960s and 1980s as part of the Jewish National Fund (JNF) greenwashing, the tree was a starting point for their reflections on land and persistence amidst settler colonialism.

Yara Dowani, a farmer from Om Sleiman Farm, will join us to reflect on how “invasive” species can be thought of as catalysts for regeneration especially through her interest and research in syntropic farming. Amanny Ahmad, an artist, cook, land worker, and folk herbalist, will share her thoughts on how relationships between humans & non-humans, botany & plant use can teach us about survival.

[Arabic in first comment]

Wednesday May 21 at Khalil Sakakini, Ramallah
A Book Launch and Conversation with Yara Dowani @omsleimanfarm and Amanny Ahmad @lalph_rauren (Event in English)

Areej Ashhab and Ailo Ribas will introduce their collaborative book The fast-growing stinking escaped waste-loving wall-breaching self-cloning other-than-natural no-man’s tree. This collaboration stemmed from their time spent together in Palestine in August 2022 and their encounters with Ailanthus altissima (tree of heaven, tree of hell). An “invasive” species introduced to Palestine during the 1960s and 1980s as part of the Jewish National Fund (JNF) greenwashing, the tree was a starting point for their reflections on land and persistence amidst settler colonialism.

Yara Dowani, a farmer from Om Sleiman Farm, will join us to reflect on how “invasive” species can be thought of as catalysts for regeneration especially through her interest and research in syntropic farming. Amanny Ahmad, an artist, cook, land worker, and folk herbalist, will share her thoughts on how relationships between humans & non-humans, botany & plant use can teach us about survival.

[Arabic in first comment]

Back to the sabr, zaatar and qayqab with @alwahat.collective at @sakiyaorg 🌿

1st by @ahmadtalath ✨

Back to the sabr, zaatar and qayqab with @alwahat.collective at @sakiyaorg 🌿

1st by @ahmadtalath ✨

Back to the sabr, zaatar and qayqab with @alwahat.collective at @sakiyaorg 🌿

1st by @ahmadtalath ✨

Back to the sabr, zaatar and qayqab with @alwahat.collective at @sakiyaorg 🌿

1st by @ahmadtalath ✨

Back to the sabr, zaatar and qayqab with @alwahat.collective at @sakiyaorg 🌿

1st by @ahmadtalath ✨

Back to the sabr, zaatar and qayqab with @alwahat.collective at @sakiyaorg 🌿

1st by @ahmadtalath ✨