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‘Risk can be really important in art. I felt filmmaking was getting less risky for me. Stepping back into painting pushed me into a more uncomfortable place. I felt a risk that I was going to make a fool of myself, but fear’s not a reason not to do it’.

—Rosalind Nashashibi

For issue #37 of Apartamento magazine, Rosalind Nashashibi (@rosishibi) opens up about her return to painting, a medium that first pushed the artist into a more uncomfortable place in her practice. In conversation with Selma Dabbagh (@selmadabbagh), she talks about the experience of directly translating her inner life to her canvas and the sense of freedom and trust in her instinct that’s come as she has grown in her practice. 

Read the full conversation, featuring photography by Jacob Lillis (@jacoblillis), in issue #37 of Apartamento magazine, available now in stores and in our online shop.

‘Risk can be really important in art. I felt filmmaking was getting less risky for me. Stepping back into painting pushed me into a more uncomfortable place. I felt a risk that I was going to make a fool of myself, but fear’s not a reason not to do it’.

—Rosalind Nashashibi

For issue #37 of Apartamento magazine, Rosalind Nashashibi (@rosishibi) opens up about her return to painting, a medium that first pushed the artist into a more uncomfortable place in her practice. In conversation with Selma Dabbagh (@selmadabbagh), she talks about the experience of directly translating her inner life to her canvas and the sense of freedom and trust in her instinct that’s come as she has grown in her practice. 

Read the full conversation, featuring photography by Jacob Lillis (@jacoblillis), in issue #37 of Apartamento magazine, available now in stores and in our online shop.

‘Risk can be really important in art. I felt filmmaking was getting less risky for me. Stepping back into painting pushed me into a more uncomfortable place. I felt a risk that I was going to make a fool of myself, but fear’s not a reason not to do it’.

—Rosalind Nashashibi

For issue #37 of Apartamento magazine, Rosalind Nashashibi (@rosishibi) opens up about her return to painting, a medium that first pushed the artist into a more uncomfortable place in her practice. In conversation with Selma Dabbagh (@selmadabbagh), she talks about the experience of directly translating her inner life to her canvas and the sense of freedom and trust in her instinct that’s come as she has grown in her practice. 

Read the full conversation, featuring photography by Jacob Lillis (@jacoblillis), in issue #37 of Apartamento magazine, available now in stores and in our online shop.

‘Risk can be really important in art. I felt filmmaking was getting less risky for me. Stepping back into painting pushed me into a more uncomfortable place. I felt a risk that I was going to make a fool of myself, but fear’s not a reason not to do it’.

—Rosalind Nashashibi

For issue #37 of Apartamento magazine, Rosalind Nashashibi (@rosishibi) opens up about her return to painting, a medium that first pushed the artist into a more uncomfortable place in her practice. In conversation with Selma Dabbagh (@selmadabbagh), she talks about the experience of directly translating her inner life to her canvas and the sense of freedom and trust in her instinct that’s come as she has grown in her practice. 

Read the full conversation, featuring photography by Jacob Lillis (@jacoblillis), in issue #37 of Apartamento magazine, available now in stores and in our online shop.

‘Risk can be really important in art. I felt filmmaking was getting less risky for me. Stepping back into painting pushed me into a more uncomfortable place. I felt a risk that I was going to make a fool of myself, but fear’s not a reason not to do it’.

—Rosalind Nashashibi

For issue #37 of Apartamento magazine, Rosalind Nashashibi (@rosishibi) opens up about her return to painting, a medium that first pushed the artist into a more uncomfortable place in her practice. In conversation with Selma Dabbagh (@selmadabbagh), she talks about the experience of directly translating her inner life to her canvas and the sense of freedom and trust in her instinct that’s come as she has grown in her practice. 

Read the full conversation, featuring photography by Jacob Lillis (@jacoblillis), in issue #37 of Apartamento magazine, available now in stores and in our online shop.

Rosalind Nashashibi (@rosishibi) defines her art by risk, pushing against boundaries in her work across filmmaking and painting. The artist, who is of Northern Irish and Palestinian descent, speaks with Selma Dabbagh (@selmadabbagh) at her home in North London, where the pair discuss their relationship to Palestine, a ‘magical’ and ‘imaginative’ place that they remember as a kind of secret garden.

Community, or the ways that people live together and negotiate different power structures, is a central focus of Rosalind’s work. Her renowned documentary Electrical Gaza, nominated for the Turner Prize, depicts families in Palestine gathering in moments of care ahead of an Israeli assault in the summer of 2014. The film is currently on view at KM21 (@km21denhaag) in the Hague, where Rosalind’s solo exhibition, Stones, is up through the end of this week. See more of Rosalind’s work and be one of the first to secure your copy of issue #37 of Apartamento magazine, available now in stores and in our online shop.

Rosalind Nashashibi (@rosishibi) defines her art by risk, pushing against boundaries in her work across filmmaking and painting. The artist, who is of Northern Irish and Palestinian descent, speaks with Selma Dabbagh (@selmadabbagh) at her home in North London, where the pair discuss their relationship to Palestine, a ‘magical’ and ‘imaginative’ place that they remember as a kind of secret garden.

Community, or the ways that people live together and negotiate different power structures, is a central focus of Rosalind’s work. Her renowned documentary Electrical Gaza, nominated for the Turner Prize, depicts families in Palestine gathering in moments of care ahead of an Israeli assault in the summer of 2014. The film is currently on view at KM21 (@km21denhaag) in the Hague, where Rosalind’s solo exhibition, Stones, is up through the end of this week. See more of Rosalind’s work and be one of the first to secure your copy of issue #37 of Apartamento magazine, available now in stores and in our online shop.

Rosalind Nashashibi (@rosishibi) defines her art by risk, pushing against boundaries in her work across filmmaking and painting. The artist, who is of Northern Irish and Palestinian descent, speaks with Selma Dabbagh (@selmadabbagh) at her home in North London, where the pair discuss their relationship to Palestine, a ‘magical’ and ‘imaginative’ place that they remember as a kind of secret garden.

Community, or the ways that people live together and negotiate different power structures, is a central focus of Rosalind’s work. Her renowned documentary Electrical Gaza, nominated for the Turner Prize, depicts families in Palestine gathering in moments of care ahead of an Israeli assault in the summer of 2014. The film is currently on view at KM21 (@km21denhaag) in the Hague, where Rosalind’s solo exhibition, Stones, is up through the end of this week. See more of Rosalind’s work and be one of the first to secure your copy of issue #37 of Apartamento magazine, available now in stores and in our online shop.

Rosalind Nashashibi (@rosishibi) defines her art by risk, pushing against boundaries in her work across filmmaking and painting. The artist, who is of Northern Irish and Palestinian descent, speaks with Selma Dabbagh (@selmadabbagh) at her home in North London, where the pair discuss their relationship to Palestine, a ‘magical’ and ‘imaginative’ place that they remember as a kind of secret garden.

Community, or the ways that people live together and negotiate different power structures, is a central focus of Rosalind’s work. Her renowned documentary Electrical Gaza, nominated for the Turner Prize, depicts families in Palestine gathering in moments of care ahead of an Israeli assault in the summer of 2014. The film is currently on view at KM21 (@km21denhaag) in the Hague, where Rosalind’s solo exhibition, Stones, is up through the end of this week. See more of Rosalind’s work and be one of the first to secure your copy of issue #37 of Apartamento magazine, available now in stores and in our online shop.

Rosalind Nashashibi (@rosishibi) defines her art by risk, pushing against boundaries in her work across filmmaking and painting. The artist, who is of Northern Irish and Palestinian descent, speaks with Selma Dabbagh (@selmadabbagh) at her home in North London, where the pair discuss their relationship to Palestine, a ‘magical’ and ‘imaginative’ place that they remember as a kind of secret garden.

Community, or the ways that people live together and negotiate different power structures, is a central focus of Rosalind’s work. Her renowned documentary Electrical Gaza, nominated for the Turner Prize, depicts families in Palestine gathering in moments of care ahead of an Israeli assault in the summer of 2014. The film is currently on view at KM21 (@km21denhaag) in the Hague, where Rosalind’s solo exhibition, Stones, is up through the end of this week. See more of Rosalind’s work and be one of the first to secure your copy of issue #37 of Apartamento magazine, available now in stores and in our online shop.

Rosalind Nashashibi (@rosishibi) defines her art by risk, pushing against boundaries in her work across filmmaking and painting. The artist, who is of Northern Irish and Palestinian descent, speaks with Selma Dabbagh (@selmadabbagh) at her home in North London, where the pair discuss their relationship to Palestine, a ‘magical’ and ‘imaginative’ place that they remember as a kind of secret garden.

Community, or the ways that people live together and negotiate different power structures, is a central focus of Rosalind’s work. Her renowned documentary Electrical Gaza, nominated for the Turner Prize, depicts families in Palestine gathering in moments of care ahead of an Israeli assault in the summer of 2014. The film is currently on view at KM21 (@km21denhaag) in the Hague, where Rosalind’s solo exhibition, Stones, is up through the end of this week. See more of Rosalind’s work and be one of the first to secure your copy of issue #37 of Apartamento magazine, available now in stores and in our online shop.

Rosalind Nashashibi (@rosishibi) defines her art by risk, pushing against boundaries in her work across filmmaking and painting. The artist, who is of Northern Irish and Palestinian descent, speaks with Selma Dabbagh (@selmadabbagh) at her home in North London, where the pair discuss their relationship to Palestine, a ‘magical’ and ‘imaginative’ place that they remember as a kind of secret garden.

Community, or the ways that people live together and negotiate different power structures, is a central focus of Rosalind’s work. Her renowned documentary Electrical Gaza, nominated for the Turner Prize, depicts families in Palestine gathering in moments of care ahead of an Israeli assault in the summer of 2014. The film is currently on view at KM21 (@km21denhaag) in the Hague, where Rosalind’s solo exhibition, Stones, is up through the end of this week. See more of Rosalind’s work and be one of the first to secure your copy of issue #37 of Apartamento magazine, available now in stores and in our online shop.

Rosalind Nashashibi (@rosishibi) defines her art by risk, pushing against boundaries in her work across filmmaking and painting. The artist, who is of Northern Irish and Palestinian descent, speaks with Selma Dabbagh (@selmadabbagh) at her home in North London, where the pair discuss their relationship to Palestine, a ‘magical’ and ‘imaginative’ place that they remember as a kind of secret garden.

Community, or the ways that people live together and negotiate different power structures, is a central focus of Rosalind’s work. Her renowned documentary Electrical Gaza, nominated for the Turner Prize, depicts families in Palestine gathering in moments of care ahead of an Israeli assault in the summer of 2014. The film is currently on view at KM21 (@km21denhaag) in the Hague, where Rosalind’s solo exhibition, Stones, is up through the end of this week. See more of Rosalind’s work and be one of the first to secure your copy of issue #37 of Apartamento magazine, available now in stores and in our online shop.

Rosalind Nashashibi (@rosishibi) defines her art by risk, pushing against boundaries in her work across filmmaking and painting. The artist, who is of Northern Irish and Palestinian descent, speaks with Selma Dabbagh (@selmadabbagh) at her home in North London, where the pair discuss their relationship to Palestine, a ‘magical’ and ‘imaginative’ place that they remember as a kind of secret garden.

Community, or the ways that people live together and negotiate different power structures, is a central focus of Rosalind’s work. Her renowned documentary Electrical Gaza, nominated for the Turner Prize, depicts families in Palestine gathering in moments of care ahead of an Israeli assault in the summer of 2014. The film is currently on view at KM21 (@km21denhaag) in the Hague, where Rosalind’s solo exhibition, Stones, is up through the end of this week. See more of Rosalind’s work and be one of the first to secure your copy of issue #37 of Apartamento magazine, available now in stores and in our online shop.

It is a special moment for me: my article on Rosalind Nashashibi’s exhibition “Stones”, curated by @yasmijnjarram , has been published in @metropolism_mag

I visited the exhibition on a very snowy day, and it immediately left a deep impression on me. Nashashibi’s video language is profoundly poetic and delicate, and the curatorial approach created a sense of suspended time, almost shaped by emptiness. This led me to research her previous works, in an attempt to move closer to her world.

Along the way, my path crossed with Ece Temelkuran’s book Nation of Strangers and her idea of being “un-homed”. Through this, my reading of the exhibition found its centre. 🌀

I would like to thank @metropolism_mag and @stella.kummer for the thoughtful editing, @grimmgallery, especially @fenna_albrecht for generously sharing research materials, and @ece.temelkuran for her inspiring book.

You can read the full article via the link in my profile.🔗
@rosishibi 🌻🙏🏻
@km21denhaag

It is a special moment for me: my article on Rosalind Nashashibi’s exhibition “Stones”, curated by @yasmijnjarram , has been published in @metropolism_mag

I visited the exhibition on a very snowy day, and it immediately left a deep impression on me. Nashashibi’s video language is profoundly poetic and delicate, and the curatorial approach created a sense of suspended time, almost shaped by emptiness. This led me to research her previous works, in an attempt to move closer to her world.

Along the way, my path crossed with Ece Temelkuran’s book Nation of Strangers and her idea of being “un-homed”. Through this, my reading of the exhibition found its centre. 🌀

I would like to thank @metropolism_mag and @stella.kummer for the thoughtful editing, @grimmgallery, especially @fenna_albrecht for generously sharing research materials, and @ece.temelkuran for her inspiring book.

You can read the full article via the link in my profile.🔗
@rosishibi 🌻🙏🏻
@km21denhaag

It is a special moment for me: my article on Rosalind Nashashibi’s exhibition “Stones”, curated by @yasmijnjarram , has been published in @metropolism_mag

I visited the exhibition on a very snowy day, and it immediately left a deep impression on me. Nashashibi’s video language is profoundly poetic and delicate, and the curatorial approach created a sense of suspended time, almost shaped by emptiness. This led me to research her previous works, in an attempt to move closer to her world.

Along the way, my path crossed with Ece Temelkuran’s book Nation of Strangers and her idea of being “un-homed”. Through this, my reading of the exhibition found its centre. 🌀

I would like to thank @metropolism_mag and @stella.kummer for the thoughtful editing, @grimmgallery, especially @fenna_albrecht for generously sharing research materials, and @ece.temelkuran for her inspiring book.

You can read the full article via the link in my profile.🔗
@rosishibi 🌻🙏🏻
@km21denhaag

It is a special moment for me: my article on Rosalind Nashashibi’s exhibition “Stones”, curated by @yasmijnjarram , has been published in @metropolism_mag

I visited the exhibition on a very snowy day, and it immediately left a deep impression on me. Nashashibi’s video language is profoundly poetic and delicate, and the curatorial approach created a sense of suspended time, almost shaped by emptiness. This led me to research her previous works, in an attempt to move closer to her world.

Along the way, my path crossed with Ece Temelkuran’s book Nation of Strangers and her idea of being “un-homed”. Through this, my reading of the exhibition found its centre. 🌀

I would like to thank @metropolism_mag and @stella.kummer for the thoughtful editing, @grimmgallery, especially @fenna_albrecht for generously sharing research materials, and @ece.temelkuran for her inspiring book.

You can read the full article via the link in my profile.🔗
@rosishibi 🌻🙏🏻
@km21denhaag

It is a special moment for me: my article on Rosalind Nashashibi’s exhibition “Stones”, curated by @yasmijnjarram , has been published in @metropolism_mag

I visited the exhibition on a very snowy day, and it immediately left a deep impression on me. Nashashibi’s video language is profoundly poetic and delicate, and the curatorial approach created a sense of suspended time, almost shaped by emptiness. This led me to research her previous works, in an attempt to move closer to her world.

Along the way, my path crossed with Ece Temelkuran’s book Nation of Strangers and her idea of being “un-homed”. Through this, my reading of the exhibition found its centre. 🌀

I would like to thank @metropolism_mag and @stella.kummer for the thoughtful editing, @grimmgallery, especially @fenna_albrecht for generously sharing research materials, and @ece.temelkuran for her inspiring book.

You can read the full article via the link in my profile.🔗
@rosishibi 🌻🙏🏻
@km21denhaag

It is a special moment for me: my article on Rosalind Nashashibi’s exhibition “Stones”, curated by @yasmijnjarram , has been published in @metropolism_mag

I visited the exhibition on a very snowy day, and it immediately left a deep impression on me. Nashashibi’s video language is profoundly poetic and delicate, and the curatorial approach created a sense of suspended time, almost shaped by emptiness. This led me to research her previous works, in an attempt to move closer to her world.

Along the way, my path crossed with Ece Temelkuran’s book Nation of Strangers and her idea of being “un-homed”. Through this, my reading of the exhibition found its centre. 🌀

I would like to thank @metropolism_mag and @stella.kummer for the thoughtful editing, @grimmgallery, especially @fenna_albrecht for generously sharing research materials, and @ece.temelkuran for her inspiring book.

You can read the full article via the link in my profile.🔗
@rosishibi 🌻🙏🏻
@km21denhaag

It is a special moment for me: my article on Rosalind Nashashibi’s exhibition “Stones”, curated by @yasmijnjarram , has been published in @metropolism_mag

I visited the exhibition on a very snowy day, and it immediately left a deep impression on me. Nashashibi’s video language is profoundly poetic and delicate, and the curatorial approach created a sense of suspended time, almost shaped by emptiness. This led me to research her previous works, in an attempt to move closer to her world.

Along the way, my path crossed with Ece Temelkuran’s book Nation of Strangers and her idea of being “un-homed”. Through this, my reading of the exhibition found its centre. 🌀

I would like to thank @metropolism_mag and @stella.kummer for the thoughtful editing, @grimmgallery, especially @fenna_albrecht for generously sharing research materials, and @ece.temelkuran for her inspiring book.

You can read the full article via the link in my profile.🔗
@rosishibi 🌻🙏🏻
@km21denhaag

It is a special moment for me: my article on Rosalind Nashashibi’s exhibition “Stones”, curated by @yasmijnjarram , has been published in @metropolism_mag

I visited the exhibition on a very snowy day, and it immediately left a deep impression on me. Nashashibi’s video language is profoundly poetic and delicate, and the curatorial approach created a sense of suspended time, almost shaped by emptiness. This led me to research her previous works, in an attempt to move closer to her world.

Along the way, my path crossed with Ece Temelkuran’s book Nation of Strangers and her idea of being “un-homed”. Through this, my reading of the exhibition found its centre. 🌀

I would like to thank @metropolism_mag and @stella.kummer for the thoughtful editing, @grimmgallery, especially @fenna_albrecht for generously sharing research materials, and @ece.temelkuran for her inspiring book.

You can read the full article via the link in my profile.🔗
@rosishibi 🌻🙏🏻
@km21denhaag

It is a special moment for me: my article on Rosalind Nashashibi’s exhibition “Stones”, curated by @yasmijnjarram , has been published in @metropolism_mag

I visited the exhibition on a very snowy day, and it immediately left a deep impression on me. Nashashibi’s video language is profoundly poetic and delicate, and the curatorial approach created a sense of suspended time, almost shaped by emptiness. This led me to research her previous works, in an attempt to move closer to her world.

Along the way, my path crossed with Ece Temelkuran’s book Nation of Strangers and her idea of being “un-homed”. Through this, my reading of the exhibition found its centre. 🌀

I would like to thank @metropolism_mag and @stella.kummer for the thoughtful editing, @grimmgallery, especially @fenna_albrecht for generously sharing research materials, and @ece.temelkuran for her inspiring book.

You can read the full article via the link in my profile.🔗
@rosishibi 🌻🙏🏻
@km21denhaag

Before Our Eyes at z33 in Hasselt, Belgium, running 28.03 to 23.08.26. Curated by @timroerig
“The act of looking is never neutral. What we choose to see, and what we avert our eyes from, says something about us….. …Their work responds to the political events of our time, with particular attention to the genocidal violence in Palestine, through images that take a stand or call for reflection. For how can artists address the violence? Not by simply showing it again, but by carefully choosing what to make visible—and what to withhold.”
With works by
Marianne Berenhaut, Ryan Cullen, Marlene Dumas, Hamishi Farah, Sirah Foighel Brutmann & Eitan Efrat, Rabih Mroué, Rosalind Nashashibi, Mohammed Sami, Luc Tuymans and Angharad Williams.

Before Our Eyes at z33 in Hasselt, Belgium, running 28.03 to 23.08.26. Curated by @timroerig
“The act of looking is never neutral. What we choose to see, and what we avert our eyes from, says something about us….. …Their work responds to the political events of our time, with particular attention to the genocidal violence in Palestine, through images that take a stand or call for reflection. For how can artists address the violence? Not by simply showing it again, but by carefully choosing what to make visible—and what to withhold.”
With works by
Marianne Berenhaut, Ryan Cullen, Marlene Dumas, Hamishi Farah, Sirah Foighel Brutmann & Eitan Efrat, Rabih Mroué, Rosalind Nashashibi, Mohammed Sami, Luc Tuymans and Angharad Williams.

Before Our Eyes at z33 in Hasselt, Belgium, running 28.03 to 23.08.26. Curated by @timroerig
“The act of looking is never neutral. What we choose to see, and what we avert our eyes from, says something about us….. …Their work responds to the political events of our time, with particular attention to the genocidal violence in Palestine, through images that take a stand or call for reflection. For how can artists address the violence? Not by simply showing it again, but by carefully choosing what to make visible—and what to withhold.”
With works by
Marianne Berenhaut, Ryan Cullen, Marlene Dumas, Hamishi Farah, Sirah Foighel Brutmann & Eitan Efrat, Rabih Mroué, Rosalind Nashashibi, Mohammed Sami, Luc Tuymans and Angharad Williams.

Before Our Eyes at z33 in Hasselt, Belgium, running 28.03 to 23.08.26. Curated by @timroerig
“The act of looking is never neutral. What we choose to see, and what we avert our eyes from, says something about us….. …Their work responds to the political events of our time, with particular attention to the genocidal violence in Palestine, through images that take a stand or call for reflection. For how can artists address the violence? Not by simply showing it again, but by carefully choosing what to make visible—and what to withhold.”
With works by
Marianne Berenhaut, Ryan Cullen, Marlene Dumas, Hamishi Farah, Sirah Foighel Brutmann & Eitan Efrat, Rabih Mroué, Rosalind Nashashibi, Mohammed Sami, Luc Tuymans and Angharad Williams.

Before Our Eyes at z33 in Hasselt, Belgium, running 28.03 to 23.08.26. Curated by @timroerig
“The act of looking is never neutral. What we choose to see, and what we avert our eyes from, says something about us….. …Their work responds to the political events of our time, with particular attention to the genocidal violence in Palestine, through images that take a stand or call for reflection. For how can artists address the violence? Not by simply showing it again, but by carefully choosing what to make visible—and what to withhold.”
With works by
Marianne Berenhaut, Ryan Cullen, Marlene Dumas, Hamishi Farah, Sirah Foighel Brutmann & Eitan Efrat, Rabih Mroué, Rosalind Nashashibi, Mohammed Sami, Luc Tuymans and Angharad Williams.

Before Our Eyes at z33 in Hasselt, Belgium, running 28.03 to 23.08.26. Curated by @timroerig
“The act of looking is never neutral. What we choose to see, and what we avert our eyes from, says something about us….. …Their work responds to the political events of our time, with particular attention to the genocidal violence in Palestine, through images that take a stand or call for reflection. For how can artists address the violence? Not by simply showing it again, but by carefully choosing what to make visible—and what to withhold.”
With works by
Marianne Berenhaut, Ryan Cullen, Marlene Dumas, Hamishi Farah, Sirah Foighel Brutmann & Eitan Efrat, Rabih Mroué, Rosalind Nashashibi, Mohammed Sami, Luc Tuymans and Angharad Williams.

I stand in solidarity with the signatories of ANGA’s demands and support their call to exclude Israel from the Venice Biennale.
The widening war we are witnessing did not appear overnight. It grows from years of normalizing Israel’s genocide in Gaza and its 78 year occupation of Palestine, allowing institutions to treat it as an exception.
Culture must not provide cover for genocide and the brutal imperial aggression being unleashed on Iran and Lebanon.

No genocide pavilion.
No artwashing in our name.

Share this post to voice your support

Thank you dear friend @basim.magdy for this gift of four beautiful Palestine stamps first issued in 1927. Delivered by my postman in London this morning from you in Switzerland. Seeing these stamps connected me to a time before apartheid, occupation and genocide. The time of my grandparents’ infancy, a time of co- existence albeit under the British Mandate, and it lifted my heart. 🇵🇸❤️

Thank you dear friend @basim.magdy for this gift of four beautiful Palestine stamps first issued in 1927. Delivered by my postman in London this morning from you in Switzerland. Seeing these stamps connected me to a time before apartheid, occupation and genocide. The time of my grandparents’ infancy, a time of co- existence albeit under the British Mandate, and it lifted my heart. 🇵🇸❤️

Thank you dear friend @basim.magdy for this gift of four beautiful Palestine stamps first issued in 1927. Delivered by my postman in London this morning from you in Switzerland. Seeing these stamps connected me to a time before apartheid, occupation and genocide. The time of my grandparents’ infancy, a time of co- existence albeit under the British Mandate, and it lifted my heart. 🇵🇸❤️

Thank you dear friend @basim.magdy for this gift of four beautiful Palestine stamps first issued in 1927. Delivered by my postman in London this morning from you in Switzerland. Seeing these stamps connected me to a time before apartheid, occupation and genocide. The time of my grandparents’ infancy, a time of co- existence albeit under the British Mandate, and it lifted my heart. 🇵🇸❤️

I posted this a few days ago and removed it as I saw the denials from BM and wanted to wait and see. But now I’ve seen. Thanks to @palforumuk and others, the writing on the wall is clear. Palestine is being erased as a place and a living culture.

Just one more week to see Nashashibi/Skaer show at Peter Freeman inc. A few of the films, film posters and photographsI’ve made over the past twenty years in collaboration with Lucy Skaer - one of the best artists, thinkers, friends I’ve ever known.
@peterfreemaninc #lucyskaer #nashashibi/skaer

Just one more week to see Nashashibi/Skaer show at Peter Freeman inc. A few of the films, film posters and photographsI’ve made over the past twenty years in collaboration with Lucy Skaer - one of the best artists, thinkers, friends I’ve ever known.
@peterfreemaninc #lucyskaer #nashashibi/skaer

Just one more week to see Nashashibi/Skaer show at Peter Freeman inc. A few of the films, film posters and photographsI’ve made over the past twenty years in collaboration with Lucy Skaer - one of the best artists, thinkers, friends I’ve ever known.
@peterfreemaninc #lucyskaer #nashashibi/skaer

A rare opportunity for aspiring and early career filmmakers: join artist Rosalind Nashashibi (@rosishibi) and producer Denna Cartamkhoob as they unpack the making of Denim Sky, a feature film in three parts. This process-focused event opens up and demystifies the process of filmmaking, through candid conversation, the speakers will unpack how the film was made, from early ideas and creative decision-making to practical challenges, and breakthroughs along the way.

The evening begins with a screening of Denim Sky (67 minutes), followed by an informal conversation with the filmmakers. Audiences will gain insider insight into the artistic choices, collaborative dynamics, and logistical realities that shape a film, offering an invaluable perspective for anyone interested in filmmaking.

Read more about the film and book now via link in bio!

A rare opportunity for aspiring and early career filmmakers: join artist Rosalind Nashashibi (@rosishibi) and producer Denna Cartamkhoob as they unpack the making of Denim Sky, a feature film in three parts. This process-focused event opens up and demystifies the process of filmmaking, through candid conversation, the speakers will unpack how the film was made, from early ideas and creative decision-making to practical challenges, and breakthroughs along the way.

The evening begins with a screening of Denim Sky (67 minutes), followed by an informal conversation with the filmmakers. Audiences will gain insider insight into the artistic choices, collaborative dynamics, and logistical realities that shape a film, offering an invaluable perspective for anyone interested in filmmaking.

Read more about the film and book now via link in bio!

Join artists Rosalind Nashashibi and Imran Perretta across two nights of Grounding Practice: Methods in Filmmaking, an inside look at how films are made, from creative risk-taking and practical problem-solving to the breakthroughs that shape the final work. Each session begins with a screening, followed by an informal conversation with the director and their key collaborator on that film.

17 Feb: The making of Denim Sky
@rosishibi's feature-film in three parts, is a playful exploration of non-nuclear family and community structures, the theoretical effects of non-linear time travel on human relationships, and how this could aid or problematise communication. Following the screening (67 mins), Nashashibi is joined by producer Denna Cartamkhoob.

24 Feb: The making of the destructors
Shot on location in Tower Hamlets, @imranperretta's film follows young Muslim men navigating surveillance, belonging and coming of age in post-9/11 Britain. After the screening (23 mins), Perretta is joined by producer @ali___roche to discuss process, place and telling urgent stories from lived experience.

If you're interested in film making, or in the process of making your own film - pay what you can, link in bio for booking!

Join artists Rosalind Nashashibi and Imran Perretta across two nights of Grounding Practice: Methods in Filmmaking, an inside look at how films are made, from creative risk-taking and practical problem-solving to the breakthroughs that shape the final work. Each session begins with a screening, followed by an informal conversation with the director and their key collaborator on that film.

17 Feb: The making of Denim Sky
@rosishibi's feature-film in three parts, is a playful exploration of non-nuclear family and community structures, the theoretical effects of non-linear time travel on human relationships, and how this could aid or problematise communication. Following the screening (67 mins), Nashashibi is joined by producer Denna Cartamkhoob.

24 Feb: The making of the destructors
Shot on location in Tower Hamlets, @imranperretta's film follows young Muslim men navigating surveillance, belonging and coming of age in post-9/11 Britain. After the screening (23 mins), Perretta is joined by producer @ali___roche to discuss process, place and telling urgent stories from lived experience.

If you're interested in film making, or in the process of making your own film - pay what you can, link in bio for booking!

KM21 is happy to announce the acquisition of two works by Rosalind Nashashibi from her current exhibition Stones. The film Electrical Gaza (2015), centerpiece of the exhibition, and the new painting Steadfastness (2025) have both been added to the collection of Kunstmuseum Den Haag.

Director Margriet Schavemaker says: “With the acquisition of these powerful pieces, we are cherishing the voices from around the world that offer new perspectives on our times. Nashashibi’s strength lies in her work’s complex layering, in which she weaves the everyday with urgent political realities, reminding us of the necessity of human connection.”

Nashashibi’s recent paintings contain visual references to art history but also allude to the lived reality of the Palestinian people. Electrical Gaza, shot in 2014, shows Gaza as if under enchantment, caught between reality and a magical version of itself. Today, this in-between state has been bitterly overtaken by reality. Much of what we see in the film – from buildings to human lives – has been destroyed, displaced or killed. This gives the work new potential meanings: as a testimony, an archive or a monument of mourning.

Images: 1. Installation view Stones at KM21 featuring Steadfastness, 2025 2. Electrical Gaza, 2015, film still, Commissioned by the Trustees of the Imperial War Museum, Director of Photography: Emma Dalesman, Producer: Kate Parker
Copyright Rosalind Nashashibi, Courtesy of the artist and GRIMM Amsterdam | London | New York

#km21 #rosalindnashashibi #stones
@margriet_schavemaker @rosishibi @yasmijnjarram @grimmgallery @galerieursmeileofficial

KM21 is happy to announce the acquisition of two works by Rosalind Nashashibi from her current exhibition Stones. The film Electrical Gaza (2015), centerpiece of the exhibition, and the new painting Steadfastness (2025) have both been added to the collection of Kunstmuseum Den Haag.

Director Margriet Schavemaker says: “With the acquisition of these powerful pieces, we are cherishing the voices from around the world that offer new perspectives on our times. Nashashibi’s strength lies in her work’s complex layering, in which she weaves the everyday with urgent political realities, reminding us of the necessity of human connection.”

Nashashibi’s recent paintings contain visual references to art history but also allude to the lived reality of the Palestinian people. Electrical Gaza, shot in 2014, shows Gaza as if under enchantment, caught between reality and a magical version of itself. Today, this in-between state has been bitterly overtaken by reality. Much of what we see in the film – from buildings to human lives – has been destroyed, displaced or killed. This gives the work new potential meanings: as a testimony, an archive or a monument of mourning.

Images: 1. Installation view Stones at KM21 featuring Steadfastness, 2025 2. Electrical Gaza, 2015, film still, Commissioned by the Trustees of the Imperial War Museum, Director of Photography: Emma Dalesman, Producer: Kate Parker
Copyright Rosalind Nashashibi, Courtesy of the artist and GRIMM Amsterdam | London | New York

#km21 #rosalindnashashibi #stones
@margriet_schavemaker @rosishibi @yasmijnjarram @grimmgallery @galerieursmeileofficial

Dad on his wedding day