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HTTP/1.1 301 Moved PermanentlyDate: Tue, 16 Jul 2024 22:37:45 GMTContent-Type: text/htmlContent-Length: 166Connection: keep-aliveLocation: https://mhmhmh.info/Server: Cargo html>head>title>301 Moved Permanently/title>/head>body>center>h1>301 Moved Permanently/h1>/center>hr>center>openresty/center>/body>/html>
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HTTP/1.1 200 OKDate: Tue, 16 Jul 2024 22:37:45 GMTContent-Type: text/html; charsetutf-8Content-Length: 168583Connection: keep-aliveX-Cache-Status: C3-HITServer: Cargo !DOCTYPE html>html classwf-initial-load> head> meta charsetutf-8> meta nameviewport contentwidthdevice-width, initial-scale1, shrink-to-fitno> title>Malak Helmy/title> script>window.__PRELOADED_STATE__{structure:{byParent:{root:L3653494802,C2244050512,T4210186319,J1685401582,O0398395882,V1536382422,P3894460573,J1685401582:,O0398395882:,V1536382422:},bySort:{L3653494802:0,C2244050512:1,T4210186319:2,J1685401582:3,O0398395882:16,V1536382422:21,P3894460573:23},indexById:{L3653494802:0,C2244050512:null,T4210186319:null,J1685401582:1,O0398395882:2,V1536382422:3,P3894460573:null},liveIndexes:{}},site:{id:2263562,direct_link:https://mhmhmh.info,display_url:mhmhmh.info,site_url:995770,domain:mhmhmh.info,domain_active:true,domain_purchased:false,domain_pending:false,css_url:https://mhmhmh.info/stylesheet,rss_url:https://mhmhmh.info/rss,favicon_url:https://static.cargo.site/favicon/c3-favicon.ico,website_title:Malak Helmy,access_level:public,is_private:false,is_deleted:false,is_upgraded:false,is_template:false,show_cargo_logo:false,has_annex_upgrade:true,has_domain_addon:true,has_commerce_addon:false,has_storage_addon:false,can_duplicate:false,can_copy:false,site_password_enabled:false,recent_date:2024-03-10 14:35:18,upgrade_expire_date:,version:Cargo3,total_file_size:346918915,meta_tags:,homepage_id:L3653494802,homepage_purl:home,mobile_homepage_id:L3653494802,mobile_homepage_purl:home,screenshot:{id:34397528,name:screenshot-1656936792.jpg,hash:S1728273875788662329535826172055,width:1792,height:1120,file_size:null,file_type:jpg,mime_type:image/jpeg,is_image:true,is_video:false},site_preview_type:screenshot,site_preview_image:,site_preview_url:https://freight.cargo.site/w/1000/i/S1728273875788662329535826172055/screenshot-1656936792.jpg,has_site_description:true,site_description:cargo.site,custom_html:,shop_id:null,fonts:{family:Diatype Variable,provider:cargo},{family:Diatype Mono Variable,provider:cargo},tags:{tag:Tag-1,url:tag-1},{tag:Tag-14,url:tag-14},{tag:Tag-2,url:tag-2},{tag:Tag-22,url:tag-22},{tag:Tag-3,url:tag-3},{tag:Tag-4,url:tag-4},{tag:Tag-5,url:tag-5},{tag:Tag-6,url:tag-6}},pages:{byId:{L3653494802:{id:L3653494802,title:Home,purl:home,page_type:page,content:\u003chr />\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit class\video\ slot\0\ span\2\>\u003cb>\u003ca href\#\ rel\home-page\>Software Upgrade\u003c/a> (Publication) \u003cspan class\caption\>\u003cbr />\n2024\u003c/span>\u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>\nSoftware Upgrade proposes that between 2014 to 2019 Egypt fell out of a shared global temporality as a foundation for a study of images. This book publishes early conversations with six artists about their practice, relation to time, modes of listening, community, and the body as a starting point for that query. \u003cbr />\n\u003cbr />\n\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\3\>\u003cb>Publication\u003cbr />\n\u003cbr />\n\u003c/b>Conversations with Zeina Aly, Castell Lanko, nasa4nasa, Omar El Sadek, Hend Samir, and Yazan El Zubi\u003cbr />\nEdited by Malak Helmy\u003cbr />\nPublished by Gypsum Books\u003cbr />\nDesigned by Engy Aly\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\1\>\u003c/column-unit>\u003ccolumn-unit slot\4\ span\2\>\u003cgallery-slideshow autoplay\false\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\Z1725525355138525151026837395607\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\J1725525355156971895100546947223\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\N1725525355175418639174256498839\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\V1725525355193865383247966050455\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\N1725525355212312127321675602071\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\F1725525355230758871395385153687\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\E1725525355249205615469094705303\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\D1725525355267652359542804256919\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\U1725525355286099103616513808535\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\S1725525355304545847690223360151\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\G1725498711639062520857089480855\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\A1725498711657509264930799032471\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\W1725498711675956009004508584087\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\E1725498711694402753078218135703\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003cbr />\n\u003chr />\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb>\u003ca href\#\ rel\home-page\>Software Upgrade\u003c/a> (Exhibition)\u003cspan class\caption\>\n\u003cbr />\n2023\u003c/span>\u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>\u003ci>Software Upgrade\u003c/i> brackets a period of time in Egypt between the last transmission of protest in 2013 and a new transmission of order in 2021 with the Golden Mummy Parade. The gap of years between them it describes as a semiotic lapse; a non-visual realm more akin to noise, scrambling individual legibility and linear temporality, where sense is more aural and somatic. While this period is known for sonic turn to cultural production how did it reorder concepts of vision and images? Software Upgrade look at visual artworks across a variety of media made at the end of this period as transcriptions from another order, ecology or technology, that make us rethink how we read images and understand a shift in our present. \u003cbr />\u003c/column-unit>\u003ccolumn-unit slot\2\ span\3\>\u003cb>Curated Exhibition\u003cbr />\n\u003c/b>\u003cbr />Works by Zeina Aly, Castell Lanko, nasa4nasa, Omar El Sadek, Hend Samir, Yazan El Zubi\u003cbr />\nCurated by Malak Helmy\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\1\>\u003c/column-unit>\u003ccolumn-unit slot\4\ span\2\>\u003cgallery-slideshow autoplay\false\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\O1725513135277380962871464892567\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\Y1725512351899500384647936415895\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\N1725641387095656911846004955287\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\X1725641526663722573532472481943\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003cbr />\n\u003chr />\n\n\n\n\n\n\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb>\u003ca href\home\ rel\history\>Software\u003c/a> Upgrade (Essay - V1) \u003cspan class\caption\>\u003cbr />\n2021\u003c/span>\u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>\nCounter to Mark Fisher’s theory on “the slow cancellation of the future” this essay explores the possibility of lapses in ordered time from which emerge works offering a morality of technology from outside the enframing logic of neoliberalism. An earlier version of an ongoing study.\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\4\>\u003cb>Essay\u003cbr />\n\u003cbr />\n\u003c/b>In \u003ci>I Hear a Future: Producing Time and Meaning \u003cbr />\nthrough Music in Egypt and Beyond\u003c/i>\u003cbr />\nEdited by Maha El Nabawi\u003cbr />\nPublished by MadaMasr \n\n\n\n\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\2\>\u003cgallery-grid columns\4\ gutter\0.5rem\ mobile-columns\2\ mobile-gutter\1rem\>\u003cmedia-item class\zoomable\ grid-span\4\ hash\R1726828786966890071575901182103\>\u003c/media-item>\u003c/gallery-grid>\u003c/column-unit>\u003c/column-set>\n\n\u003chr />\n\n\n\n\n\n\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb> Your Blood Might Boil \u003cspan class\caption\>\u003cbr />\n2019\u003c/span>\u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>\n\nRosalind Nashashibi’s sci-fi short, \u003ci>Part Two: The moon nearly at the full. The team horse goes astray. and its use of the\u003c/i> i-ching, time travel, paintings and friends, becomes a prism from which to experience the opening of Boiler Room TV for the inauguration of New Alamein City, Egypt, July 2019 (Enter Surveillance Capitalism).\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\3\>\u003cb>Essay\u003cbr />\n\u003cbr />\n\u003c/b>In \u003ci>Disguised as a DanceFloor\u003c/i>\u003cbr />Edited by Joe Namy\u003cbr />Published by Renaisance Society\u003c/column-unit>\u003ccolumn-unit slot\3\ span\1\> \u003c/column-unit>\u003ccolumn-unit slot\4\ span\2\>\u003cgallery-slideshow autoplay\false\ mobile-vertical-align\center\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\E1726829217901278377504736483479\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\J1726829217919725121578446035095\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\Y1726829217956618609725865138327\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\J1726829217938171865652155586711\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ grid-span\4\ hash\P1725557367636637410656421353623\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\C1725545302635909721292734666903\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\B1725545965556551498192891091095\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003chr />\n\n\n\n\n\n\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb> The Opening of Gateways (2016-2020)\u003cspan class\caption\>\u003cbr />\n2020\u003c/span>\u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>\nA text on fractures in time, and practices that keep sympathy with the stars. \u003cbr />\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\3\>\u003cb>Essay\u003cbr />\n\u003c/b>\u003cbr />\nIn \u003ci>Arts of the Working Class: \u003c/i>\u003cbr />\nVolume 10 - Old Cracks for New Mirrors\u003cbr />Edited by Stephanie Bailey\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\1\>\u003c/column-unit>\u003ccolumn-unit slot\4\ span\2\>\u003cgallery-slideshow autoplay\false\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\C1726828493682106043667740039319\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\N1725531974992443674657658968215\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\K1725533385817877176037876111511\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\J1725531974973996930583949416599\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\G1725531974955550186510239864983\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003chr />\n\n\n\n\n\n\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb> The Erotic Ruse\u003cspan class\caption\>\u003cbr />\n2020\u003c/span>\u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>\n\nOn tuning into different frequencies of perception. And the pandemic’s effect on narrative, group choreography, and conception of proximity and distance.\u003cbr />\u003cbr />\n\n\u003cbr />\n\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\3\>\u003cb>Essay\u003cbr />\n\u003c/b>\u003cbr />\nIn \u003ci>Chatrooms: On Curating Spaces\u003c/i>\u003cbr />Edited by Engy Mohsen, Sarah Maher and Nour El Safoury\u003cbr />\nPublished by \n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\1\>\u003c/column-unit>\u003ccolumn-unit slot\4\ span\2\>\u003cgallery-slideshow autoplay\false\ vertical-align\top\>\u003cmedia-item class\zoomable\ grid-span\4\ hash\M1726843085776091366797740808343\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\Z1726843085757644622724031256727\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ grid-span\4\ hash\A1726843085241135788660163811479\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003cbr />\n\u003chr />\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb>\u003ca href\home\ rel\history\>Ain Sokhna Love Song\u003c/a> \u003cspan class\caption\>\u003cbr />\n2018-2019\u003c/span>\u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>\nA series of sculptures compose a scenography. From it hangs a flatscreen with two avatars singing a love song. In the background a second screen projection and overhead a lighting device gradually shift perception of depth, flattening the environment in the room. The scenography is inspired by a natural phenomena in Red Sea coastal town Ain Sokhna, close to where the new capital is being built, where microclimates affect perception of vision and sound to create weird physics as if harboring the coming of altered realities and digital nature.\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\3\>\u003cb>Sculpture / Installation / Animation\u003cbr />\n\u003cbr />\n\u003c/b>\n\u003cbr />\nTree trunk, salt, glazed clay, unfired clay, floor drawings - arch paper, cinema screen, light boxes, automated lighting, flatscreen with internal speaker. \u003c/column-unit>\u003ccolumn-unit slot\3\ span\1\>\u003c/column-unit>\u003ccolumn-unit slot\4\ span\2\>\u003cgallery-slideshow autoplay\false\ mobile-vertical-align\center\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\E1725555091843374293035328936087\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\R1725562666648340024462218565783\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\G1725562666666786768535928117399\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\D1725562666685233512609637669015\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\E1725562666703680256683347220631\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003chr />\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb> Artiste: I want you to\u003cspan class\caption\>\u003cbr />\n2019\u003c/span>\u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>A lovesong on death and resurrection, eros and apathy and long-duree practices to survive shifts in nature.\u003cbr />\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\4\>\u003cb>Sound/Audio + Live Performance\u003cbr />\n\u003c/b>\u003cbr />\n40 min\u003cbr />\nlyrics + vocals Malak Helmy \u003cbr />\nInstrumentation from Julius Eastman’s Fugue #7 by Janine Armin\u003cbr />\u003cbr /> \u003c/column-unit>\u003ccolumn-unit slot\3\ span\2\>\u003cgallery-slideshow autoplay\false\ mobile-vertical-align\center\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\O1726894994637213624370344958103\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item browser-default\true\ disable-zoom\true\ grid-span\4\ hash\U1726552493866210082830652479639\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003chr />\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb>\u003ca href\home\ rel\history\>Ghostwriter\u003c/a> \u003cspan class\caption\>\u003cbr />\n2019\u003c/span>\u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>\n\nA doom track is made as a seance for Ancient Egyptian shabti stored at the British Museum to rise through the underworld to start an insurrection amongst the living. Made as a guerrilla audio guide on the occasion of the expansion of the British Museum’s collection of Ancient Egyptian artefacts into the modern. \u003cbr />\n\n\u003cbr />\u003cbr />\u003cbr />\n\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\4\>\n\u003cb>Sound/Audio\u003cbr />\n\u003c/b>\u003cbr />\n40 min\u003cbr />Voice, arrangement, direction: Malak Helmy\u003cbr />Instrumentals, additional vocals by death metal artist Nader Sadek\u003cbr />Lyrics from a pasage in China Mieville’s Kraken\u003cbr />Commissioned by \u003ca href\https://coldprotein.today/\ target\_blank\>Cold Protein\u003c/a>\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\2\>\u003cgallery-slideshow autoplay\false\ mobile-vertical-align\center\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\I1725645761058484461338917279895\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\O1725626775798611007984360954007\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\V1726892651015272547719231248535\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003chr />\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb> The Ten Year Object\u003cspan class\caption\>\u003cbr />\n2015\u003c/span>\u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>On sustaining distances and the need for long-duree choreographies with friends.\u003cbr />\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\4\>\u003cb>Essay\u003cbr />\n\u003c/b>\u003cbr />\nin \u003ci>New Vocabulary\u003c/i>\u003cbr />\nedited by Mai Abu El Dahab\u003cbr />funded by Mophradat\u003c/column-unit>\u003ccolumn-unit slot\3\ span\2\>\u003cgallery-slideshow autoplay\false\ mobile-vertical-align\center\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\Y1726781560276795347035397757079\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\A1726777465726800282021063760023\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\P1726777465745247026094773311639\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\D1726777465763693770168482863255\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003chr />\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb> Both Sides of the Curtain: Meeting Points 8\u003cspan class\caption\>\u003cbr />\n2015-2017\u003c/span>\u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>\nAn exhibition is conceptualized as the making of a group music album. \u003cbr />\n\nInspired by growing improvisation, listening and writing practices and the pedagogical models of Oskar Schlemmer, performance programs and scenographies build on each other over two years.\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\3\>\u003cb>Curated Exhibition\u003cbr />\n\u003c/b>\n\u003cbr />\nWith Alaa Abdullatif, Lawrence Abu Hamdan, Sophia Al Maria, Mirene Arsanios, Uriel Barthélémi, An Breugelmans, The Dwarfs of East Agouza (Alan Bishop, Maurice Louca and Sam Shalabi), Alix Eynaudi, Entissar Al Hamdany, Laura Huertas Millán, Candice Lin, Joe Namy, Elena Narbutaitė, Marnie Slater, and Nile Sunset Annex with Doa Aly, Shehab Awad, Chris Beauregard, Olivier Castel, Ericka Florez, and Marnie Slater.\u003cbr />curated by Malak Helmy and Raimundas Malasauskas\u003cbr />\nfunded by Mophradat\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\1\>\u003cgallery-slideshow autoplay\false\ mobile-vertical-align\center\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\V1725636326784822611841805654167\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\U1725636326803269355915515205783\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\T1725636325954719128524875831447\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\H1725636326766375867768096102551\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\Y1725636326821716099989224757399\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\O1725637614939408023053504551063\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\H1725637615474363601191081547927\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\J1725641003864548780530070132887\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003ccolumn-unit slot\4\ span\2\>\u003cgallery-slideshow autoplay\false\ mobile-vertical-align\center\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\V1725636326784822611841805654167\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\U1725636326803269355915515205783\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\T1725636325954719128524875831447\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\H1725636326766375867768096102551\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\Y1725636326821716099989224757399\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\O1725637614939408023053504551063\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\H1725637615474363601191081547927\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\J1725641003864548780530070132887\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\n\n\u003cbr />\n\u003chr />\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb>Scene 4: For the Sunset\u003cbr />\n\u003cspan class\caption\>\u003cbr />\n2013\u003c/span>\u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\nA fourth scene for the three in Records from the\nExcited State. \u003cbr />\nA space cube becomes salt, a salt rock becomes a blue blob.\u003cbr />\n\u003cbr />\n\n\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\4\>\u003ca href\tag-4\ rel\history\ tag-text\Tag-4\>\u003cb>Public Sculpture\u003c/b>\u003cbr />\u003cbr />\u003c/a>Salt cube (100x100x100cm), metal water tanks, fiberglass\u003cbr />\nA permanent installation on Nile Sunset Annex rooftop, Cairo\u003cbr />\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\2\>\u003cgallery-slideshow autoplay\false\ mobile-vertical-align\center\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\M1725861231462370894582029949079\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\T1725888766216273446028764190871\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\I1726899862732974676321016420503\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\K1726899863470844439269398485143\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\O1726899863489291183343108036759\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\D1725888766234720190102473742487\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\B1725888766253166934176183294103\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\O1725888766271613678249892845719\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\C1725888766290060422323602397335\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\V1725888766308507166397311948951\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\H1725889549852408441284226390167\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003cbr />\n\u003chr />\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb>Records from the Excited State - Chapter 3: Lost Referents of Some Attraction\u003cbr />\n\u003c/b>\u003cspan style\color: rgba(0, 0, 0, 0.4);\>\u003cbr />\n2012\u003c/span>\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>Three scenes in landscape: a salt flat, a beach, and a future nuclear power plant.\u003cbr />\nFive characters walk on the edge of a narrative, anticipating employment into function and meaning. Like the landscape, they are extras on the periphery of an event\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\4\>\u003ca href\tag-4\ rel\history\ tag-text\Tag-4\>\u003cb>Film/Video \u003cbr />\n\u003c/b>\n\u003c/a>\u003cbr />\n7 min\u003cbr />\nHD video, sound, colour\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\2\>\u003cgallery-slideshow autoplay\false\ vertical-align\top\>\u003cmedia-item class\zoomable\ grid-span\4\ hash\U1675619102565762095271561074839\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\W1726900870128115285673339721879\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\D1726900870146562029747049273495\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\M1675618959621942268096245602455\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\n\n\n\u003cbr />\n\n\u003chr />\n\n\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb>Statements from the Compound\u003c/b>\u003cbr />\n\u003cspan class\caption\>\u003cbr />\n2010/2014\u003c/span>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n\nA poem tells of a city where as a cure to worker’s nostalgia, they build its walls with photopaper sans fixer. In it no image can hold, nor record of past, future or law. In it they live in the permanence of the present, a permanent happy now. \u003cbr />\u003cbr />\n\nCast on unfixed photo paper the statement gives into the environment.\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\4\>\u003cb>Installation\u003c/b>\u003cbr />\u003cbr />\nFoam-shaved sculptures (sizes variable), 20-part framed poem \u003cbr />\ncast on unfixed photo paper. \u003cbr />\n\n\u003cbr />\n\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\2\>\u003cgallery-slideshow autoplay\false\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\Q1725894467274763146334238873751\ limit-by\width\ rotation\0\ scale\100\>\u003cfigcaption class\caption\ slot\caption\>\u003cb>\u003cspan style\--font-scale: 0.4; line-height: 0.5;\>Marble Marble Gurgle Fountain Marble Marble\u003c/span>\u003c/b>\u003c/figcaption>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\A1726905187975947362941796030615\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\K1726905187994394107015505582231\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\B1726905066079862523869078952087\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003cbr />\n\u003chr />\n\n\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb>Music for Drifting\n\u003c/b>\u003cspan class\caption\>\u003cbr />\n2013\u003c/span>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>Homing pigeons read magnetic fields to orient themselves during travel. This device in their consciousness is trained to return to a place in time it references as home. But where do bearings go when things no longer bear significance? Field recordings were made during a \npilgrimage with a homing pigeon in August of 2013 in anticipation of a regime change to sites of ancient and modern events that have been\nerased from historical narratives.\u003cbr />\n\u003cbr />\nThis sound\ninstallation is composed of an arrangment of these tracks.\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\4\>\u003cb>Sound Installation\u003c/b> \u003cbr />\u003cbr />\n40 min\u003cbr />\n4 to 6 channel audio (depending on location).\n\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\2\>\u003cgallery-slideshow autoplay\false\ mobile-vertical-align\center\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\O1725970015896670279729172650135\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ grid-span\4\ hash\C1725891225093471495217156397207\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\L1725891225111918239290865948823\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\Y1725892431012471825831674189975\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\V1725892431030918569905383741591\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\D1725892431049365313979093293207\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003cbr />\n\u003chr />\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb>Liar Bird (Ecology without Nature Writing)\u003cbr />\n\u003cspan style\color: rgba(0, 0, 0, 0.4);\>\u003cbr />\n2015\u003c/span>\u003cbr />\n\u003cbr />\n \u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>This script was made for a voice actor who spends all his time online. It riffs off of a lyrebird who can mimic any other bird’s call, with a vocal range so wide as to include the accurate mimicry of cars and saws that describe its own nature’s destruction. \u003cbr />\n\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n\u003cbr />\nOriginally commissioned as a studio visit for the Art Dubai’s The Island radio\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\4\>\u003cb>\u003ca href\tag-4\ rel\history\ tag-text\Tag-4\>Sound/Voice\u003cbr />\n\u003cbr />\u003c/a>\u003c/b>8 min\u003cbr />\nMP3 on audio player, headphones, carpet, spotlight\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\2\>\u003cgallery-slideshow autoplay\false\ vertical-align\top\>\u003cmedia-item class\zoomable\ hash\U1725915081621945981200427063447\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003cbr />\n\u003chr />\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb>Notes from the Carbon Coast\u003cbr />\n\u003c/b>\u003cspan style\color: rgba(0, 0, 0, 0.4);\>\u003cbr />\n2010\u003c/span>\n\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>Carbon and its allotropes, graphite and diamond, tell a story about value, real estate and the body between the Arab Gulf and Egypt.\u003cbr />\n\u003cbr />\n\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\4\>\u003ca href\tag-4\ rel\history\ tag-text\Tag-4\>\u003cb>Film/Video\u003cbr />\n\u003c/b>\u003c/a>\u003cbr />\n3 min\u003cbr />\nSD Video, colour, sound\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\2\>\u003cgallery-slideshow autoplay\false\ vertical-align\top\>\u003cmedia-item browser-default\true\ disable-zoom\true\ hash\U1677502429100073480710205937815\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\C1726739876907081748509993146519\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\L1726742960317247157208964864151\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\X1726900434526700729095987861655\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\V1726900434545147473169697413271\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\I1726742960335693901282674415767\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003c/gallery-slideshow>\u003c/column-unit>\u003c/column-set>\u003cbr />\u003chr />\u003ccolumn-set gutter\2rem\ mobile-hide-empty\false\ mobile-stack\true\>\u003ccolumn-unit slot\0\ span\2\>\u003cb>Keyword Searches for Dust\u003cbr />\n\u003cspan style\color: rgba(0, 0, 0, 0.4);\>\u003cbr />\n2009\u003c/span>\n \u003c/b>\u003c/column-unit>\u003ccolumn-unit slot\1\ span\4\>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\nIn arabic, Habaa2 is the term used to describe the moment when individual particles of dust become visible to the naked eye. Habaa2’s translation into English renders these four words: \u003cbr />\n1. Dust; 2. Aerosol; 3. Chaos; 4. Vanity.\u003cbr />\u003cbr />\n\u003ci>A narrative of dust in its mutable forms investigates, and it, itself, gets caught in a symptom. A form sheds its properties and becomes contagious: an avalanche razes a populated residential plateau; spontaneous combustions erupt in both The People’s Assembly Archive and a national theatre; in the countryside a home-bound train catches fire, all at once. Objects, normally bound within their own being-- whether a human body, concrete structure, digital image, exhibition, memory or word--are observing, and may perform the behavior of the other, possess its actions or qualities at will. Seemingly orchestrated yet attributable to none, it is as though the mere anarchy of witnessing, can cause an accidental collective event. \u003c/i>\u003cbr />\n\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\2\ span\4\>\u003ca href\tag-4\ rel\history\ tag-text\Tag-4\>\u003cb>Film/Video\u003c/b>\u003cbr />\u003c/a>\u003cbr />\n6 min\u003cbr />\nSD Video, colour, sound\u003cbr />\n\u003c/column-unit>\u003ccolumn-unit slot\3\ span\2\>\u003cgallery-slideshow autoplay\false\ vertical-align\top\>\u003cmedia-item browser-default\true\ disable-zoom\true\ hash\S1726749117821972217383584733335\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\U1726746715963660100031416572055\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\N1726746715982106844105126123671\ limit-by\width\ rotation\0\ scale\100\>\u003c/media-item>\u003cmedia-item class\zoomable\ hash\S1726746716000553588178835675287\ 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cursor: pointer;}audio-player::part(play-icon) { padding-left: 0.6em;}audio-player::part(pause-icon) { padding-left: 0.4em;}audio-player::part(progress-indicator) { border-right: 1px solid rgba(0, 0, 0, 0); height: 100%; cursor: ew-resize;}audio-player::part(separator) { border-right: var(--border-lines);}body.mobile audio-player { max-width: 100%;}/style>style idmobile-offset-styles>/style>style idtext-style-font-sizes>/style>style idlink-styles>/style>style idfont-feature-settings-styles>/style>div classcontent>div idC2244050512 page-urlheader---desktop classpage pinned pinned-top fixed >a idheader---desktop>/a>div classpage-layout>div classpage-content>bodycopy style--fit-height: 10px; --resize-parent-width: 100%;>column-set gutter2rem>column-unit slot0 span6>h1>a hrefhome relhistory>mhmhmh.info/a>br />br />br />/h1>/column-unit>column-unit slot1 span3>span classcaption>SHOW: a href# relhome-page>All/a> a hrefhttps://video>FILM/VID/a> a hreftexts relhistory>TEXTS/a> a hrefcuratorial relhistory>CUR/a>/span>br />/column-unit>column-unit slot2 span1>/column-unit>column-unit slot3 span2>div styletext-align: right>div styletext-align: left>a class hrefhttps://www.instagram.com/cargoworld/ target_blank> e: malak.helmy@gmail.com /a> a hrefhttps://www.instagram.com/cargoworld/ target_blank>/a>/div>/div>/column-unit>/column-set>/bodycopy>/div>/div>style>id"C2244050512".page { background-color: #ffffff;}/style>style idmobile-offset-styles-C2244050512>/style>/div>div stylemargin-top: 0px; margin-bottom: 0px; classpages>div idL3653494802 page-urlhome classpage >a idhome>/a>div classpage-layout>div classpage-content>bodycopy style--fit-height: 10px; --resize-parent-width: 100%;>hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit classvideo slot0 span2>b>a href# relhome-page>Software Upgrade/a> (Publication) span classcaption>br />2024/span>/b>/column-unit>column-unit slot1 span4>Software Upgrade proposes that between 2014 to 2019 Egypt fell out of a shared global temporality as a foundation for a study of images. This book publishes early conversations with six artists about their practice, relation to time, modes of listening, community, and the body as a starting point for that query. br />br />/column-unit>column-unit slot2 span3>b>Publicationbr />br />/b>Conversations with Zeina Aly, Castell Lanko, nasa4nasa, Omar El Sadek, Hend Samir, and Yazan El Zubibr />Edited by Malak Helmybr />Published by Gypsum Booksbr />Designed by Engy Aly/column-unit>column-unit slot3 span1>/column-unit>column-unit slot4 span2>gallery-slideshow autoplayfalse vertical-aligntop>media-item classzoomable hashZ1725525355138525151026837395607 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashJ1725525355156971895100546947223 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashN1725525355175418639174256498839 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashV1725525355193865383247966050455 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashN1725525355212312127321675602071 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashF1725525355230758871395385153687 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashE1725525355249205615469094705303 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashD1725525355267652359542804256919 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashU1725525355286099103616513808535 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashS1725525355304545847690223360151 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashG1725498711639062520857089480855 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashA1725498711657509264930799032471 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashW1725498711675956009004508584087 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashE1725498711694402753078218135703 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>br />hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b>a href# relhome-page>Software Upgrade/a> (Exhibition)span classcaption>br />2023/span>/b>/column-unit>column-unit slot1 span4>i>Software Upgrade/i> brackets a period of time in Egypt between the last transmission of protest in 2013 and a new transmission of order in 2021 with the Golden Mummy Parade. The gap of years between them it describes as a semiotic lapse; a non-visual realm more akin to noise, scrambling individual legibility and linear temporality, where sense is more aural and somatic. While this period is known for sonic turn to cultural production how did it reorder concepts of vision and images? Software Upgrade look at visual artworks across a variety of media made at the end of this period as transcriptions from another order, ecology or technology, that make us rethink how we read images and understand a shift in our present. br />/column-unit>column-unit slot2 span3>b>Curated Exhibitionbr />/b>br />Works by Zeina Aly, Castell Lanko, nasa4nasa, Omar El Sadek, Hend Samir, Yazan El Zubibr />Curated by Malak Helmy/column-unit>column-unit slot3 span1>/column-unit>column-unit slot4 span2>gallery-slideshow autoplayfalse vertical-aligntop>media-item classzoomable hashO1725513135277380962871464892567 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashY1725512351899500384647936415895 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashN1725641387095656911846004955287 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashX1725641526663722573532472481943 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>br />hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b>a hrefhome relhistory>Software/a> Upgrade (Essay - V1) span classcaption>br />2021/span>/b>/column-unit>column-unit slot1 span4>Counter to Mark Fisher’s theory on “the slow cancellation of the future” this essay explores the possibility of lapses in ordered time from which emerge works offering a morality of technology from outside the enframing logic of neoliberalism. An earlier version of an ongoing study.br />br />br />br />br />br />br />br />/column-unit>column-unit slot2 span4>b>Essaybr />br />/b>In i>I Hear a Future: Producing Time and Meaning br />through Music in Egypt and Beyond/i>br />Edited by Maha El Nabawibr />Published by MadaMasr /column-unit>column-unit slot3 span2>gallery-grid columns4 gutter0.5rem mobile-columns2 mobile-gutter1rem>media-item classzoomable grid-span4 hashR1726828786966890071575901182103>/media-item>/gallery-grid>/column-unit>/column-set>hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b> Your Blood Might Boil span classcaption>br />2019/span>/b>/column-unit>column-unit slot1 span4>Rosalind Nashashibi’s sci-fi short, i>Part Two: The moon nearly at the full. The team horse goes astray. and its use of the/i> i-ching, time travel, paintings and friends, becomes a prism from which to experience the opening of Boiler Room TV for the inauguration of New Alamein City, Egypt, July 2019 (Enter Surveillance Capitalism).br />br />br />br />br />br />br />br />/column-unit>column-unit slot2 span3>b>Essaybr />br />/b>In i>Disguised as a DanceFloor/i>br />Edited by Joe Namybr />Published by Renaisance Society/column-unit>column-unit slot3 span1> /column-unit>column-unit slot4 span2>gallery-slideshow autoplayfalse mobile-vertical-aligncenter vertical-aligntop>media-item classzoomable hashE1726829217901278377504736483479 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashJ1726829217919725121578446035095 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashY1726829217956618609725865138327 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashJ1726829217938171865652155586711 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable grid-span4 hashP1725557367636637410656421353623 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashC1725545302635909721292734666903 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashB1725545965556551498192891091095 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b> The Opening of Gateways (2016-2020)span classcaption>br />2020/span>/b>/column-unit>column-unit slot1 span4>A text on fractures in time, and practices that keep sympathy with the stars. br />br />br />br />br />br />br />br />br />br />br />br />/column-unit>column-unit slot2 span3>b>Essaybr />/b>br />In i>Arts of the Working Class: /i>br />Volume 10 - Old Cracks for New Mirrorsbr />Edited by Stephanie Baileybr />br />/column-unit>column-unit slot3 span1>/column-unit>column-unit slot4 span2>gallery-slideshow autoplayfalse vertical-aligntop>media-item classzoomable hashC1726828493682106043667740039319 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashN1725531974992443674657658968215 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashK1725533385817877176037876111511 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashJ1725531974973996930583949416599 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashG1725531974955550186510239864983 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b> The Erotic Rusespan classcaption>br />2020/span>/b>/column-unit>column-unit slot1 span4>On tuning into different frequencies of perception. And the pandemic’s effect on narrative, group choreography, and conception of proximity and distance.br />br />br />br />br />br />/column-unit>column-unit slot2 span3>b>Essaybr />/b>br />In i>Chatrooms: On Curating Spaces/i>br />Edited by Engy Mohsen, Sarah Maher and Nour El Safourybr />Published by /column-unit>column-unit slot3 span1>/column-unit>column-unit slot4 span2>gallery-slideshow autoplayfalse vertical-aligntop>media-item classzoomable grid-span4 hashM1726843085776091366797740808343 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashZ1726843085757644622724031256727 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable grid-span4 hashA1726843085241135788660163811479 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>br />hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b>a hrefhome relhistory>Ain Sokhna Love Song/a> span classcaption>br />2018-2019/span>/b>/column-unit>column-unit slot1 span4>A series of sculptures compose a scenography. From it hangs a flatscreen with two avatars singing a love song. In the background a second screen projection and overhead a lighting device gradually shift perception of depth, flattening the environment in the room. The scenography is inspired by a natural phenomena in Red Sea coastal town Ain Sokhna, close to where the new capital is being built, where microclimates affect perception of vision and sound to create weird physics as if harboring the coming of altered realities and digital nature.br />br />br />br />br />/column-unit>column-unit slot2 span3>b>Sculpture / Installation / Animationbr />br />/b>br />Tree trunk, salt, glazed clay, unfired clay, floor drawings - arch paper, cinema screen, light boxes, automated lighting, flatscreen with internal speaker. /column-unit>column-unit slot3 span1>/column-unit>column-unit slot4 span2>gallery-slideshow autoplayfalse mobile-vertical-aligncenter vertical-aligntop>media-item classzoomable hashE1725555091843374293035328936087 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashR1725562666648340024462218565783 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashG1725562666666786768535928117399 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashD1725562666685233512609637669015 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashE1725562666703680256683347220631 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b> Artiste: I want you tospan classcaption>br />2019/span>/b>/column-unit>column-unit slot1 span4>A lovesong on death and resurrection, eros and apathy and long-duree practices to survive shifts in nature.br />br />br />br />/column-unit>column-unit slot2 span4>b>Sound/Audio + Live Performancebr />/b>br />40 minbr />lyrics + vocals Malak Helmy br />Instrumentation from Julius Eastman’s Fugue #7 by Janine Arminbr />br /> /column-unit>column-unit slot3 span2>gallery-slideshow autoplayfalse mobile-vertical-aligncenter vertical-aligntop>media-item classzoomable hashO1726894994637213624370344958103 limit-bywidth rotation0 scale100>/media-item>media-item browser-defaulttrue disable-zoomtrue grid-span4 hashU1726552493866210082830652479639 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b>a hrefhome relhistory>Ghostwriter/a> span classcaption>br />2019/span>/b>/column-unit>column-unit slot1 span4>A doom track is made as a seance for Ancient Egyptian shabti stored at the British Museum to rise through the underworld to start an insurrection amongst the living. Made as a guerrilla audio guide on the occasion of the expansion of the British Museum’s collection of Ancient Egyptian artefacts into the modern. br />br />br />br />/column-unit>column-unit slot2 span4>b>Sound/Audiobr />/b>br />40 minbr />Voice, arrangement, direction: Malak Helmybr />Instrumentals, additional vocals by death metal artist Nader Sadekbr />Lyrics from a pasage in China Mieville’s Krakenbr />Commissioned by a hrefhttps://coldprotein.today/ target_blank>Cold Protein/a>br />/column-unit>column-unit slot3 span2>gallery-slideshow autoplayfalse mobile-vertical-aligncenter vertical-aligntop>media-item classzoomable hashI1725645761058484461338917279895 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashO1725626775798611007984360954007 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashV1726892651015272547719231248535 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b> The Ten Year Objectspan classcaption>br />2015/span>/b>/column-unit>column-unit slot1 span4>On sustaining distances and the need for long-duree choreographies with friends.br />br />br />br />br />br />br />br />/column-unit>column-unit slot2 span4>b>Essaybr />/b>br />in i>New Vocabulary/i>br />edited by Mai Abu El Dahabbr />funded by Mophradat/column-unit>column-unit slot3 span2>gallery-slideshow autoplayfalse mobile-vertical-aligncenter vertical-aligntop>media-item classzoomable hashY1726781560276795347035397757079 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashA1726777465726800282021063760023 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashP1726777465745247026094773311639 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashD1726777465763693770168482863255 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b> Both Sides of the Curtain: Meeting Points 8span classcaption>br />2015-2017/span>/b>/column-unit>column-unit slot1 span4>An exhibition is conceptualized as the making of a group music album. br />Inspired by growing improvisation, listening and writing practices and the pedagogical models of Oskar Schlemmer, performance programs and scenographies build on each other over two years.br />br />br />br />br />br />br />/column-unit>column-unit slot2 span3>b>Curated Exhibitionbr />/b>br />With Alaa Abdullatif, Lawrence Abu Hamdan, Sophia Al Maria, Mirene Arsanios, Uriel Barthélémi, An Breugelmans, The Dwarfs of East Agouza (Alan Bishop, Maurice Louca and Sam Shalabi), Alix Eynaudi, Entissar Al Hamdany, Laura Huertas Millán, Candice Lin, Joe Namy, Elena Narbutaitė, Marnie Slater, and Nile Sunset Annex with Doa Aly, Shehab Awad, Chris Beauregard, Olivier Castel, Ericka Florez, and Marnie Slater.br />curated by Malak Helmy and Raimundas Malasauskasbr />funded by Mophradat/column-unit>column-unit slot3 span1>gallery-slideshow autoplayfalse mobile-vertical-aligncenter vertical-aligntop>media-item classzoomable hashV1725636326784822611841805654167 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashU1725636326803269355915515205783 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashT1725636325954719128524875831447 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashH1725636326766375867768096102551 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashY1725636326821716099989224757399 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashO1725637614939408023053504551063 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashH1725637615474363601191081547927 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashJ1725641003864548780530070132887 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>column-unit slot4 span2>gallery-slideshow autoplayfalse mobile-vertical-aligncenter vertical-aligntop>media-item classzoomable hashV1725636326784822611841805654167 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashU1725636326803269355915515205783 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashT1725636325954719128524875831447 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashH1725636326766375867768096102551 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashY1725636326821716099989224757399 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashO1725637614939408023053504551063 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashH1725637615474363601191081547927 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashJ1725641003864548780530070132887 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>br />hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b>Scene 4: For the Sunsetbr />span classcaption>br />2013/span>/b>/column-unit>column-unit slot1 span4> A fourth scene for the three in Records from theExcited State. br />A space cube becomes salt, a salt rock becomes a blue blob.br />br />br />/column-unit>column-unit slot2 span4>a hreftag-4 relhistory tag-textTag-4>b>Public Sculpture/b>br />br />/a>Salt cube (100x100x100cm), metal water tanks, fiberglassbr />A permanent installation on Nile Sunset Annex rooftop, Cairobr />br />/column-unit>column-unit slot3 span2>gallery-slideshow autoplayfalse mobile-vertical-aligncenter vertical-aligntop>media-item classzoomable hashM1725861231462370894582029949079 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashT1725888766216273446028764190871 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashI1726899862732974676321016420503 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashK1726899863470844439269398485143 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashO1726899863489291183343108036759 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashD1725888766234720190102473742487 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashB1725888766253166934176183294103 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashO1725888766271613678249892845719 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashC1725888766290060422323602397335 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashV1725888766308507166397311948951 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashH1725889549852408441284226390167 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>br />hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b>Records from the Excited State - Chapter 3: Lost Referents of Some Attractionbr />/b>span stylecolor: rgba(0, 0, 0, 0.4);>br />2012/span>br />br />/column-unit>column-unit slot1 span4>Three scenes in landscape: a salt flat, a beach, and a future nuclear power plant.br />Five characters walk on the edge of a narrative, anticipating employment into function and meaning. Like the landscape, they are extras on the periphery of an event br />br />br />br />br />br />br />/column-unit>column-unit slot2 span4>a hreftag-4 relhistory tag-textTag-4>b>Film/Video br />/b>/a>br />7 minbr />HD video, sound, colourbr />/column-unit>column-unit slot3 span2>gallery-slideshow autoplayfalse vertical-aligntop>media-item classzoomable grid-span4 hashU1675619102565762095271561074839 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashW1726900870128115285673339721879 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashD1726900870146562029747049273495 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashM1675618959621942268096245602455 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>br />hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b>Statements from the Compound/b>br />span classcaption>br />2010/2014/span>/column-unit>column-unit slot1 span4> A poem tells of a city where as a cure to worker’s nostalgia, they build its walls with photopaper sans fixer. In it no image can hold, nor record of past, future or law. In it they live in the permanence of the present, a permanent happy now. br />br />Cast on unfixed photo paper the statement gives into the environment.br />br />br />br />br />br />/column-unit>column-unit slot2 span4>b>Installation/b>br />br />Foam-shaved sculptures (sizes variable), 20-part framed poem br />cast on unfixed photo paper. br />br />/column-unit>column-unit slot3 span2>gallery-slideshow autoplayfalse vertical-aligntop>media-item classzoomable hashQ1725894467274763146334238873751 limit-bywidth rotation0 scale100>figcaption classcaption slotcaption>b>span style--font-scale: 0.4; line-height: 0.5;>Marble Marble Gurgle Fountain Marble Marble/span>/b>/figcaption>/media-item>media-item classzoomable hashA1726905187975947362941796030615 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashK1726905187994394107015505582231 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashB1726905066079862523869078952087 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>br />hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b>Music for Drifting/b>span classcaption>br />2013/span>/column-unit>column-unit slot1 span4>Homing pigeons read magnetic fields to orient themselves during travel. This device in their consciousness is trained to return to a place in time it references as home. But where do bearings go when things no longer bear significance? Field recordings were made during a pilgrimage with a homing pigeon in August of 2013 in anticipation of a regime change to sites of ancient and modern events that have beenerased from historical narratives.br />br />This soundinstallation is composed of an arrangment of these tracks.br />br />br />br />br />br />br />br />br />br />br />br />br />br />br />br />/column-unit>column-unit slot2 span4>b>Sound Installation/b> br />br />40 minbr />4 to 6 channel audio (depending on location)./column-unit>column-unit slot3 span2>gallery-slideshow autoplayfalse mobile-vertical-aligncenter vertical-aligntop>media-item classzoomable hashO1725970015896670279729172650135 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable grid-span4 hashC1725891225093471495217156397207 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashL1725891225111918239290865948823 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashY1725892431012471825831674189975 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashV1725892431030918569905383741591 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashD1725892431049365313979093293207 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>br />hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b>Liar Bird (Ecology without Nature Writing)br />span stylecolor: rgba(0, 0, 0, 0.4);>br />2015/span>br />br /> /b>/column-unit>column-unit slot1 span4>This script was made for a voice actor who spends all his time online. It riffs off of a lyrebird who can mimic any other bird’s call, with a vocal range so wide as to include the accurate mimicry of cars and saws that describe its own nature’s destruction. br /> br />Originally commissioned as a studio visit for the Art Dubai’s The Island radiobr />br />br />br />br />/column-unit>column-unit slot2 span4>b>a hreftag-4 relhistory tag-textTag-4>Sound/Voicebr />br />/a>/b>8 minbr />MP3 on audio player, headphones, carpet, spotlightbr />/column-unit>column-unit slot3 span2>gallery-slideshow autoplayfalse vertical-aligntop>media-item classzoomable hashU1725915081621945981200427063447 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>br />hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b>Notes from the Carbon Coastbr />/b>span stylecolor: rgba(0, 0, 0, 0.4);>br />2010/span>/column-unit>column-unit slot1 span4>Carbon and its allotropes, graphite and diamond, tell a story about value, real estate and the body between the Arab Gulf and Egypt.br />br />br />br />br />br />br />br />/column-unit>column-unit slot2 span4>a hreftag-4 relhistory tag-textTag-4>b>Film/Videobr />/b>/a>br />3 minbr />SD Video, colour, soundbr />/column-unit>column-unit slot3 span2>gallery-slideshow autoplayfalse vertical-aligntop>media-item browser-defaulttrue disable-zoomtrue hashU1677502429100073480710205937815 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashC1726739876907081748509993146519 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashL1726742960317247157208964864151 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashX1726900434526700729095987861655 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashV1726900434545147473169697413271 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashI1726742960335693901282674415767 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>br />hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b>Keyword Searches for Dustbr />span stylecolor: rgba(0, 0, 0, 0.4);>br />2009/span> /b>/column-unit>column-unit slot1 span4> In arabic, Habaa2 is the term used to describe the moment when individual particles of dust become visible to the naked eye. Habaa2’s translation into English renders these four words: br />1. Dust; 2. Aerosol; 3. Chaos; 4. Vanity.br />br />i>A narrative of dust in its mutable forms investigates, and it, itself, gets caught in a symptom. A form sheds its properties and becomes contagious: an avalanche razes a populated residential plateau; spontaneous combustions erupt in both The People’s Assembly Archive and a national theatre; in the countryside a home-bound train catches fire, all at once. Objects, normally bound within their own being-- whether a human body, concrete structure, digital image, exhibition, memory or word--are observing, and may perform the behavior of the other, possess its actions or qualities at will. Seemingly orchestrated yet attributable to none, it is as though the mere anarchy of witnessing, can cause an accidental collective event. /i>br />br />/column-unit>column-unit slot2 span4>a hreftag-4 relhistory tag-textTag-4>b>Film/Video/b>br />/a>br />6 minbr />SD Video, colour, soundbr />/column-unit>column-unit slot3 span2>gallery-slideshow autoplayfalse vertical-aligntop>media-item browser-defaulttrue disable-zoomtrue hashS1726749117821972217383584733335 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashU1726746715963660100031416572055 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashN1726746715982106844105126123671 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashS1726746716000553588178835675287 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashC1726746716019000332252545226903 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashQ1726746716037447076326254778519 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashS1726746716055893820399964330135 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashH1726746716074340564473673881751 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashS1726746716092787308547383433367 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>br />hr />column-set gutter2rem mobile-hide-emptyfalse mobile-stacktrue>column-unit slot0 span2>b>Kiosk/b>br />br />span stylecolor: rgba(0, 0, 0, 0.4);>2013/span>br />/column-unit>column-unit slot1 span4>An abandoned multi-function structure in downtown Cairo is transformed into a wishing booth. br />/column-unit>column-unit slot2 span4>b>Public Sculpturebr />br />/b>br />Repurposed multi-use structure in downtown Cairo, br />velvet curtain, irridescent wall paper, a message that br />says, “place your wish here and come tomorrow.” /column-unit>column-unit slot3 span2>gallery-slideshow autoplayfalse mobile-vertical-aligncenter vertical-aligntop>media-item classzoomable hashV1726750546208706076935295015063 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashC1726750546227152821009004566679 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashY1726750546245599565082714118295 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashR1726750546282493053230133221527 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashY1726750546300939797303842773143 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashY1726750546319386541377552324759 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashV1726750546337833285451261876375 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashN1726750546356280029524971427991 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashZ1726750546374726773598680979607 limit-bywidth rotation0 scale100>/media-item>media-item classzoomable hashC1726750546393173517672390531223 limit-bywidth rotation0 scale100>/media-item>/gallery-slideshow>/column-unit>/column-set>/bodycopy>/div>/div>style>/style>style idmobile-offset-styles-L3653494802>/style>/div>/div>div idP3894460573 page-urlfooter classpage pinned pinned-bottom overlay >a idfooter>/a>div classpage-layout>div classpage-content>bodycopy style--fit-height: 10px; --resize-parent-width: 100%;>column-set gutter2rem mobile-gutter0rem>column-unit slot0>span stylecolor: rgba(0, 0, 0, 0.4);>©MMXXI/span>/column-unit>column-unit slot1>span stylecolor: rgba(0, 0, 0, 0.4);>Lorem ipsum dolor sit amet, consectetur adipia/span>/column-unit>/column-set>/bodycopy>/div>/div>style>id"P3894460573" .page-content { padding-bottom: 1.5rem; padding-top: 6rem;}/style>style idmobile-offset-styles-P3894460573>/style>/div>/div> script srchttps://build.cargo.site/frontend/7007d5/index.js async typemodule>/script> /body>/html>
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