live art, interactive installations, performances, research and performance, relational aesthetics
MATERIALS / MEDIA
audience as an active collaborator, collection, archives, . . .
refugees + borders
gendered public space
relationships to city and public space
“Performance art is essentially feminist. Performance art is inherently political. Performance art challenges the status quo, state violence, oppression, and patriarchy. It is radical and ephemeral.”
2019 | Tunis.tn | Gardens Speak | DREAM CITY
2019 | Finland.fl | ANTI Festival | The Search for Power
. . .
| Royal Holloway, University of London | PhD, Theater Studies
| Goldsmiths, University of London | MA, Performance Making
| Lebanese University | BA, Fine Arts
2019 | ANTI Festival
2019 | Soros Arts Fellow
2017 | International Live Art Prize
2011 | Total Theatre Innovation Award
2011 | Arches Brick Award
Lives and works between London.uk and Beirut.lb
1982 | Born in Jouneih.lb
Co-written by Aisha Abbassi, Ons Kammoun, Malika Hagemann, Amin Gharbi, and Hinda Rezgui
FEATURED IMAGE: Cite source here.
What is the difference between performing in Lebanon and London?
For performances that are repeated in multiple locations, how do you adapt your performance based on the location or context? Specifically in regards to your piece in Dream City “Gardens Speak”
How do you describe interactive performance or encounters as an artform?