From the Editors
Rheim Alkadhi ريم القاضي
هنا، في هذه المنطقة، في خضم الحماس الأوّلي، المؤكّد، الدائم. الذي يضع أجسادنا في اضطراب دائم (ومرحّب به)؛ من هذه اللحظات التي تتنوّع ما بين الحيرة، والخيبة، والنشوة، والرهبة، والإلهام ــ من هذه اللحظات فصاعداً، سنرى أنفسنا معروضين ونتخلّص من متاحف التقادم. وفي محاولة النهوض المطلقة الصدق، يعاد تشكيلنا بفرادة. كيف نعوّض عن كلّ الساعات والسنوات والعقود التي ضاعت ونحن ننظر إلى حيواتنا عبر عدسة ،مستقبل نرثه باستمرار (غير معروف، لكنه ممكن ــ المستقبل ــ يا له من تطلعّ بسيط، ولكن ...Keep Reading »
Here in this region, amid the initial, proven, lasting fervor that sends our bodies into perpetual (welcome) disturbance; from these variously perplexing, disappointing, exhilarating, terrible, or inspired moments—from these moments on, we see ourselves on display, and we shed our museums of obsolescence, and in the truest effort to stand up, we are uniquely reshaped. How to compensate for so many lost hours, years, decades of looking at our lives through ...Keep Reading »
Rheim Alkadhi is engaged in an expanding visual practice that includes narrative photo projects and ephemeral social interactions. Sights are set along infinitely increasing velocities of time. ‘Plans’ as well as realized works exist under the reality of non-static visual conditions; gendered involvement across multiple landscapes draws on traditions of performative intervention, and intimate knowledge is collected as a contemporary research-practice pursued against stratifications of class, ethnic origin, and sexual identity. Civil culture (peoples’ music, for example) and spoken chronicles have become integral in this regard.
Born in 1973, Alkadhi grew up as a bi-national citizen in Iraq and the US. Her work has been exhibited on diverse platforms internationally, including the most recent Cairo Biennial, Para/Site (Hong Kong), LACE (Los Angeles Contemporary Exhibitions), and will be included in the forthcoming dOCUMENTA(13). She has received grants from the Arab Fund for Art and Culture, California Community Foundation, Art Matters, and she is currently artist-in-residence at Darat al Funun, Amman.
"... breaking from the chains of subjugation means undermining the historico-racial schema by challenging the white mythos created by the law and sustained by the self, including the carefully crafted legal fictions of the separateness of Jerusalemites/Bedouin/Arab-Israelis/West Bankers/Gazans/refugees. By doing so, they will be better placed to effect free agency in the schematization of the colonial world they inhabit.click | email | tweet