ARTFORMS
live art, interactive installations, performances, research and performance, relational aesthetics
MATERIALS / MEDIA
audience as an active collaborator, collection, archives, . . .
GUIDING INTERESTS
cultural exchange
refugees + borders
community
gendered public space
political performance
relationships to city and public space
QUOTE
“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.”
// IBRAAZ: I Once Fell in Love with an Audience Member
EXHIBITIONS Selection
2019 | Tunis.tn | Gardens Speak | DREAM CITY
2019 | Finland.fl | ANTI Festival | The Search for Power
. . .
PRACTICE
Since ???? | Festival Fisher Center Bard College | Guest curator
Since ???? | ???.uk | Forest Fringe Collective
Since ???? | Beirut.lb | Co-founder of Dictaphone Group
CV (link)
FORMATION
| Royal Holloway, University of London | PhD, Theater Studies
| Goldsmiths, University of London | MA, Performance Making
| Lebanese University | BA, Fine Arts
AWARDS
2019 | ANTI Festival
2019 | Soros Arts Fellow
2017 | International Live Art Prize
2011 | Total Theatre Innovation Award
2011 | Arches Brick Award
BIO
Lives and works between London.uk and Beirut.lb
1982 | Born in Jouneih.lb
LINKS
Gardens Speak. Tadween Publishing. 10th February 2016
TEXT
Site, or The Invisibility of Site-Specific Performance. In Terms of Performance. 6th March 2019
VIDEO
AUTHORS
Co-written by Aisha Abbassi, Ons Kammoun, Malika Hagemann, Amin Gharbi, and Hinda Rezgui
FEATURED IMAGE: Cite source here.
QUESTIONS
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?