Alserkal Residency was created as a platform for artistic and discursive exchange, seeking to support cultural practitioners as they realise projects pertinent to their respective practices. The programme is designed to be immersive and engage the local interdisciplinary community through a series of public events and conversations. Founded by Abdelmonem Bin Eisa Alserkal and the Alserkal family, the Residency focuses on research-based and socially-engaged practices.
To foster an interdisciplinary community engaged with the cultural landscape of the Middle East, North Africa and South Asia and furthermore, to support individuals with wide-ranging practices by bringing their work to a unique and diverse audience in the city of Dubai.
Split into three cycles – Spring, Summer and Fall – via a combination of open calls and solicited proposals, Alserkal Residency is open to emerging and mid-career artists, as well as curators, architects, writers, and researchers working in related fields.
The primary focus of the Residency is to foster an exploration of ideas. Residents are expected to contribute towards creating a dynamic public programme that engages local and regional audiences, establishing dialogue with both their peers and the UAE community.
Based in a 6,000 sq. foot warehouse space located in the heart of Alserkal Avenue the residency was designed by UAE-based architectural collective ‘a hypothetical office’, and can accommodate up to six residents per cycle.
ROUND-TRIP TRANSPORTATION, ACCOMMODATION, MONTHLY STIPEND:
The Residency provides economy return flights from the resident’s home city to Dubai.
Single room accommodation in a shared space with up to four other residents.
Residents receive a stipend towards their living expenses.
Development and delivery of a public event is the major requirement for all residency participants. Residents are encouraged to interact with the Alserkal Avenue community, and the wider UAE public through the event they create.
Residents will have access to a stipend to be used towards the realisation of the public event. The event could include performances, talks, workshops, screenings, lectures, panels and seminars or other formats.
Residents are asked to participate in one Open Studio session.
During the residency, exploration with process and research is also encouraged – to that end, each resident will have access to a research stipend which can be used towards the development of their personal research.
In their final week, residents will be asked to present the ‘results’ of their time in residence to the Director, and their fellow residents.
STUDIO VISITS / CRITIQUES / EXCURSIONS
The Residency will give participants access to creative resources and networks in Dubai through studio visits, critiques, and gatherings.
Residents will be taken on excursions to explore Dubai and the surrounding Emirates, and are encouraged to immerse themselves in the city.
Amanda Abi Khalil
An independent curator currently based in Beirut, Amanda has focused her curatorial projects on socially engaged practices and exhibitions that critically address modes of production and exhibition in the art world today. She is the founder of Temporary Art Platform, a curatorial platform that aims to shift artistic and curatorial discourse towards social and contextual concerns in Lebanon through residencies, research projects and commissions. Abi Khalil lectures in curating and sociology of arts at the American University of Beirut (AUB) the Lebanese Academy of Fine Arts (ALBA) and the Saint Joseph University (USJ) in Beirut.
Diana Campbell Betancourt
As Artistic Director of Dhaka-based Samdani Art Foundation and Chief Curator of the Dhaka Art Summit, Diana Campbell Betancourt has developed the Dhaka Art Summit to be the world’s leading research and exhibitions platform for art from South Asia, bringing together artists, architects, curators, and writers from across South Asia through a largely commission based model where new work and exhibitions are born in Bangladesh.
In addition to her exhibitions making practice, Betancourt also is responsible for developing the Samdani Art Foundation collection. She has consulted the New Museum and MCA Chicago and many other leading institutions on their inclusion of South Asia in their exhibitions programs and has presented her research as part of MoMA’s C-MAP initiative. She is a nominee for the 2016 Independent Curators International Independent Vision Curatorial Award and a part of MoMA’s 2016 International Curatorial Institute.
Since 2012, Luigi Fassi has been visual arts curator at the steirischer herbst festival in Graz, Austria. He has curated exhibitions for different institutions internationally, including Kunsthalle Helsinki, Finland; Konstmuseum, Malmö, Sweden; Museo Marino Marini, Florence, Italy; GAM-Galleria d'Arte Moderna e Contemporanea, Turin, Italy; Pori Art Museum, Pori, Finland; ISCP, New York, US; Prague Biennale, Prague, Czech Republic. A Helena Rubinstein Curatorial
Fellow at the Whitney Museum ISP in New York in 2008, he was director of the ar/ge kunst Kunstverein in Bolzano (2009–12). He is a contributor to Mousse Magazine and Camera Austria and has been commissioned different texts for catalogues and books for Alfredo Jaar, Danh Vo, Roman Ondak, João Maria Gusmão + Pedro Paiva, Diango Hernandéz, and others. In 2016 he has been a fellow of the Artis Research Trip Program in Tel Aviv and curator of the XVI Quadriennale in Rome, Italy. In 2017 he is a nominator to the Prince Claus Award in Amsterdam, Netherlands.
Vassilis Oikonomopoulos is Assistant Curator, Collections International Art at Tate Modern, London. He is responsible for acquisitions, working closely with Tate’s Middle East and North Africa Acquisitions Committee. Vassilis has organised the Hyundai Commission Anywhen with French artist Philippe Parreno at Tate Modern’s Turbine Hall. Previously he has co-curated the exhibition Alexander Calder: Performing Sculpture. He is currently working on the retrospective exhibition of Fahrelnissa Zeid, which is set to open at Tate Modern in June 2017. His work appears in journals, books and online publications regularly.
Uzma Z. Rizvi is Associate Professor of Anthropology and Urban Studies at the Pratt Institute of Art and Design, Brooklyn, NY, and Visiting Researcher in the Department of International Studies at the American University of Sharjah, UAE. Rizvi has been a lead tutor (w/ Murtaza Vali) of Art Dubai’s seminar program, Campus Art Dubai (CAD) since 2014 and directed (w/ Amal Khalaf) Art Dubai’s 2016 Global Art Forum (GAF), The Future Was. Her writing can be found in The New Inquiry and LEAP. Recent academic publications include ‘Decolonization as Care’ (2016); ‘Crafting Resonance: Empathy and Belonging in Ancient Rajasthan’ (2015); ‘Decolonizing Archaeology: On the Global Heritage of Epistemic Laziness,’ (2015); and The World Archaeological Congress Research Handbook on Postcolonial Archaeology (2010).
Aquamarina holds a B.A. in Philosophy and Classics from the University of Kent and an M.A. in Contemporary Art from the Sotheby’s Institute of Art London, where she specialised in Contemporary Middle Eastern Art. Her knowledge of the MENASA region’s artistic landscape further developed while she was Associate Director at Green Art Gallery, Dubai. Prior to her return to the UAE, Aquamarina was Artist Liaison at Carroll/Fletcher Gallery in London. Presently, Aquamarina is spearheading the development of Alserkal Residency alongside managing a prolific year-round homegrown programme.
For Spring and Fall cycles, the Residency Director and Selection Committee will nominate artists and cultural practitioners to apply. The Selection Committee consists of leading international scholars, curators and writers. For Summer cycles, applications are accepted via an Open Call which is released on Alserkal Avenue social media channels. Shortlisted applicants for all three cycles will be interviewed by the Residency Director before final places are afforded.
All applicants are required to present the following materials as part of their application in a single PDF. Incomplete applications will not be considered.
- Full CV with complete contact information (full name, phone contact, email address, Skype ID and personal website URL if applicable)
- A statement of intent, of approximately 500 words, that includes a description of what the artist / cultural practitioner would like to present for their public programme. The statement should also mention if there are any specific media or studio requirements.
- Portfolio (the portfolio will not take the place of the statement of intent).
- Up to 15 images no larger than 1MB. An image list should be included containing the title, date, size and materials.
- If images are not possible due to the nature of the applicant’s work, we also accept up to two video/audio files that support the application (no more than five minutes in duration each, and no larger than 2GB)
- ‘Professional or Artist Statement’ of no more that 250 words.
- Curators / Writers / Researchers should include a minimum of two writing samples of 500 words each.
The Residency provides:
- Return flights from the resident’s home city to Dubai
- Single-room accommodation, in a shared space with up to five other residents
- Monthly living stipend
- Production stipend
- Programming stipend
- 24-hour access to an individual studio at Alserkal Avenue
- Support from Alserkal Residency team
- Introductions, mentorship and critiques from international and local professionals, who are part of Alserkal Avenue’s network of peers
RESIDENCY CYCLE DATES
Spring 2019: 1 February 2019 - 1 April 2019 (internally nominated)
Summer 2019: 1 May 2019 - 1 July 2019 (open call deadline 1 January 2019)
Fall 2019: 1 October 2019 - 1 December 2019 (internally nominated)
Spring 2020: 1 February 2020 - 1 April 2020 (internally nominated)
Summer 2020: 1 May 2020 - 1 July 2020 (open call deadline 1 January 2020)
Fall 2020: 1 October 2020 - 1 December 2020 (internally nominated)
Lama Altakruri, (b.1982 Abu Dhabi), is a Palestinian artist based in Ramallah. Lama was raised in Bahrain before moving to Palestine in 1994. She holds an MFA degree in Art Theory and Practice from Northwestern University, and a BA in Contemporary Visual Art from the International Academy of Art-Palestine. She currently works as a researcher/ assistant curator of the upcoming exhibition at the Palestinian Museum. In her practice, Lama uses text, sculpture, performance, and public interventions to explore global neo-liberal bubbles and the moments of comfort, familiarity, and detachment found in non-places.
Born in Karachi, Pakistan, Yaminay Chaudhri has a degree in architecture from Cornell University and an MFA in combined media studio arts from SUNY Albany. In 2011, she established the Tentative Collective in Karachi. Since then, she has been making work in response to the city both collaboratively and individually, using digital media and socially engaged practice. Her collaborative and individual works have been shown in various museums, galleries and festivals internationally including the Centre Pompidou (Paris), Kunstraum Bethanien (Berlin), Gandhara Artspace (Karachi), Twelve Gates Arts (Philadelphia), Maraya Art Center (Sharjah), Syracuse International Film Festival, Digital Marrakech Festival, IAWRT Asian Women's Film Festival (New Delhi), Karachi Biennale, Rabat Architecture Biennial (forthcoming). She has presented her work widely, most recently at the 2018 March Meeting in Sharjah and Tate Karachi Seminar. She has also written for various international publications and taught at universities in the USA and Pakistan.
Mochu is a video artist and film-maker. His works often combine art-historical material with elements from philosophy, horror fiction and techno-utopian narratives, realised through varying assemblages of text, video and animation. The most recent project enquires into the overlaps of cybernetic theory and psychedelic subcultures, prior to which he researched the practice of the Indian Modernist painter K.Ramanujam with a grant from India Foundation for the Arts. Mochu was a fellow at the Home Workspace Program at Ashkal Alwan Beirut in 2016 and his work has been exhibited at Sharjah Biennial 13, Transmediale BWPWAP Berlin, Kiran Nadar Museum of Art Delhi and Beirut Art Center. He is currently based in Delhi.
Mona Ayyash is a Dubai-raised artist. She holds an MFA in Studio Arts from Concordia University in Montreal, Canada and recently took part in the Campus Art Dubai 5.0 Core Programme. Her art practice reflects the themes of memory, the everyday, and her interest in the relationship between belonging and place. Selected group exhibitions include Loaning Sister Cities at Casino Artspace in Hamilton, Ontario (2016), Collision 11 at Parisian Laundry in Montreal (2015), SIKKA Art Fair in Dubai (2012), Regarding Borders at Maraya Art Center in Sharjah (2010), Dubai Episode at The Third Line in Dubai (2010).
Civil Architecture is a cultural practice preoccupied with the making of buildings and books about them. CIVIL asks what it means to produce architecture in a decidedly un-civil time, presenting a new civic character for a global condition. Since its founding by Hamed Bukhamseen and Ali Ismail Karimi, the practice has attracted a strong following for their provocative works and their offer of an alternate future to a nascent Middle East.
Ali El-Darsa, born in Beirut, Lebanon, lives and works in Berlin. He holds a Master of Visual Studies from Daniels Faculty of Architecture, Landscape and Design at the University of Toronto and a Bachelor of Fine Arts in Intermedia/Cyberarts from Concordia University, Montréal. Recent solo exhibitions and performances include: Hellerau European Centre for the Arts Dresden (Germany) and Dazibao (Montréal), "Within (A Bataillean Study)," Ymuno Gallery (Montréal). Select screenings include: Kassel Documentary Film and Video Festival (Kassel); Brooklyn Film Festival (New York); Festival International du Cinéma Méditerranéen (Montpellier).
Suzy Halajian is a curator and writer. Her work begins at the intersection of art and politics, treating image making as steeped in colonial pasts and modern surveillance states. She has recently curated exhibitions and programs at LACE, Hammer Museum, Human Resources LA, Los Angeles Contemporary Archive (all Los Angeles); Sursock Museum, Beirut; Tanya Bonakdar Gallery, New York; and UKS, Oslo. Halajian serves on the Programming Committee of Human Resources LA and is the Associate Curator at the Armory Center for the Arts. In 2017 she was granted a Creative Capital | Andy Warhol Foundation Arts Writers Grant, and in 2014 she received a Curatorial Research Fellowship from the Andy Warhol Foundation for the Visual Arts. Her writing has been published by ArtEast, BOMB, X-TRA, Ibraaz, among others.
Mandy Merzaban is an artist, writer and curator.
Laura Metzler is the curator at Maraya Art Centre in Sharjah. She received her BA from the University of Texas at Austin and her MA from the American University of Beirut having written her thesis on the influence of scientific research on the later works of Saloua Raouda Choucair. Her practice is particularly engaged in transregional dialogues and emerging art historiographies. Recent exhibitions include Timo Nasseri's All the Letters in All the Stars, From the Shelf to the Wall:Artistic research and resources from the Maraya Collection, Collectivity: Objects and associations in the UAE Art World, and Sadik Alfraji's Once Upon a Time: Hadiqat Al Umma (co-curated with Dr. Alexandra Macgilp).
Kosmas Nikolaou (b. 1984) lives and works in Athens, Greece. He studied Fine Arts and Architecture in Greece and Italy. In 2012 he co-founded 3 137, an independent artist run space in Athens, Greece. His practice deals with the function and power of architecture, memory and oral history. He has participated in many residencies in Greece, Germany, Itally, Malta, Poland, Russia, Serbia and Croatia. In 2017 he was participant of the Ideas City residency organized by the New Museum in New York. Recent solo show include: Sojourning, Athens, 2015,Instructed rituals, Cologne, 2016.
Franziska Pierwoss (*1981 Tübingen, Germany) currently lives and works in Beirut and Berlin. She graduated from the Academy of Visual Arts in Leipzig, Germany. Pierwoss is a performance and installation artist, who also works as an organizer & initiator of various cultural projects. With a strong focus on durational performance and collaborative practices she develops site specific installations that create situations of personal and political engagement. She was awarded the Young Artist Prize by the Goethe Institute. Her work has been shown in Harburger Kunstverein; Kunstverein Leipzig; Beirut Art Center; MUAC (Mexico City) and recently as part of the 13th Sharjah Biennial in Beirut. She co-initiated the Kino Projekt, a temporary cinema screening amateur Super 8 films and artist's video works in cities including Beirut, Naples, and Minneapolis.
Jaret Vadera is a transdisciplinary artist whose work explores how different social, technological, and cognitive processes shape and control the ways that we see the world around and within us. Vadera's paintings, prints, photographs, videos, and installations have been exhibited and screened internationally at venues such as the Queens Museum, MoMA, the Smithsonian Asian Pacific American Center, Asia Society, Aga Khan Museum, Bhau Daji Lad Museum, and the Maraya Art Centre. In parallel, Vadera has worked as a curator, programmer, and writer on projects that focus on art as a catalyst for social change. Vadera studied in the fine arts mobility program at The Cooper Union, received his undergraduate degree in fine art from the Ontario College of Art and Design University, and his M.F.A. in painting and printmaking from Yale University.
Michael John Whelan
Michael John Whelan was born in Dublin, Ireland. His work has been exhibited and screened internationally in institutions, galleries and project spaces, including solo exhibitions (selection) at Grey Noise, Dubai; Rua Red, Dublin; Kunstverein Bochum and Boetzelaer|Nispen, Amsterdam. Group exhibitions and screenings (selection) include Kunsthall Stavanger; Kunst Haus Wien, Vienna; Lismore Castle Arts, Ireland; Dortmund Kunstverein; Kiasma, Helsinki; Centre for Contemporary Art Ujazdowski Castle, Warsaw; Museum Bochum; Noorderlicht Gallery, Groningen; Temple Bar Gallery & Studios, Dublin. He received a BA in Fine Art from IADT-DL, Dublin in 2002 and an MA in Fine Art from Chelsea College of Art and Design (University of the Arts London) in 2004. He has had two books published: ‘The sun shone on the nothing new’, published by Grey Noise/Lismore Castle Arts and ‘Red Sky Morning’, published by Argobooks, Berlin. He is represented by Grey Noise, Dubai and has work is in a number of public and private collections.
23 September 2018 | Working With, Through, and Beyond institutions: Seminar with Alserkal Residency Selection Committee member Diana Campbell Betancourt
A closed seminar session with Alserkal Residency Selection Committee member Diana Campbell Betancourt. Diana took seminar participants through the text Made to Fit, or The Gathering of the Balloons by Maria Lind and focussed on how artists can work with institutions, using examples of artist-led initiatives from her experience in Bangladesh with the Samdani Art Foundation.
25 July 2018 | Laws of Motion in a Cartoon Landscape
As part of Alserkal Residency's 2018 summer programme, resident Laura Metzler invited artist Andy Holden to present a live performance of his work: Laws of Motion in a Cartoon Landscape. In it, Holden explores the cartoon world via green-screen, proposing 10 laws that govern this realm "where it seems as if anything can happen, yet not anything can." Through his analysis he moves between physics, animation, art history, critical theory and contemporary events to question our perception of the world around us, seeking a new methodology to proceed after the end of art history in a world that is increasingly resembling the cartoon landscape. The 57 minute performance was proceeded by an introduction by Laura Metzler.
23 July 2018 | An Unknown Lover's Discourse
Alserkal Residency Summer 2018 resident Mandy Merzaban presented an artistic intervention that engaged with her ongoing research art project An Unknown Lover's Discourse. The intervention drew on thesis research that investigates subjects such as love, affect and subjectivity in Stefan Zweig's 1922 unrequited love story of Letter from an Unknown Woman and its adaptation over the past century in Egyptian, Hollywood and Chinese film. The programme centered on an audio performance by the resident.
16 July 2018 | WE HAVE NEVER BEEN URBAN
Summer 2018 residents Hamed Bukhamseen + Ali Ismail Karimi (Civil Architecture) invited urbanist and author Pierre Bélanger to expand upon an ongoing theme of research which looks to dismantle the political and environmental complexes which have defined landscape in the region over the past century. By uncoupling territory from its colonial vision of fertile, or worked environment, the presentation (and post-lecture conversation moderated with geographer and writer Ahmad Makia) looked towards imagining new ecological, social and political formations for the Middle East. In light of the complete bankruptcy of the architectural as a formal and political project in the Gulf, the conversation tried to imagine new systems, and new natures through which to pose new modes of governance and life.
27 June 2018 | Seminar with Vassilis Oikonomopoulous
Alserkal Residency Selection Committee member Vassilis Oikonomopoulos took pre-registered participants through a series of seminal texts on space including Michel Foucault's Of Other Spaces: Utopias and Heterotopias (1967), Rem Koolhaas' Junkspace (2001) - pp 175 - 190 and poet and critic Quinn Latimer's The Mountain and the Shadow (2017). Vassilis used these texts as a starting point from where to expand on the concerns around the space for contemporary artistic production, the space of the artist, ecosystems and networks, with a loose focus drawn on the specific context of Dubai and what can be learnt from this context, when seen through the prism of these three texts.
14 March 2018 | Sinesiu Kirinis 24
Presented by Spring 2018 resident Kosmas Nikoalaou, Sinesiu Kirinis 24 was a storytelling encounter. Analytical tools like excavation, free association, evidence and witness were used in an abstract way to create an open narration. Findings, leftovers or abandoned items, props, devices, rumours, sayings and spoken words came together to reenact a memory. Sinesiu Kirinis 24 was a short duration guided tour that tried to create different environments and settings. A work in progress the performance was an attempt to work with the idea of the archaeology and the politics of gossip.
11 March 2018 | Screening Programme and Discussion: Anti-Ethnography
Anti-Ethnography is a selection of video works which examine the violence inherent in the ethnographic impulse, and unveils the absurd fetishism underpinning the discipline. Post-screening discussion with filmmaker Adam Khalil, producer Steve Holmgren, and Spring 2018 resident and curator Suzy Halajian.
12 March 2018 | Screening Program and Discussion: INAATE/SE/ [it shines a certain way. to a certain place/it flies. falls./]
Adam Khalil and Zack Khalil's 2016 film re-imagines an ancient Ojibway story, the Seven Fires Prophecy, which both predates and predicts first contact with Europeans. A kaleidoscopic experience blending documentary, narrative, and experimental forms, INAATE/SE/ transcends linear colonized history to explore how the prophecy resonates through the generations in their indigenous community within Michigan's Upper Peninsula. With acute geographic specificity, and grand historical scope, the film fixes its lens between the sacred and the profane to pry open the construction of contemporary indigenous identity.
Post-screening discussion with filmmaker Adam Khalil, producer Steve Holmgren, and Spring 2018 resident and curator Suzy Halajian.
4-5 March 2018 | Hydrogen Helium
Hydrogen Helium consisted of a new 10-channel sound installation by Michael John Whelan. A solo voice lists 28 obsolete star constellations that once took the form of animals. Some were recognised for decades, some for centuries, until their deletion in 1922. Each channel is delayed slightly, allowing the names of the constellations to merge, shift and grow together, creating both a cacophony of loss and the birth of a new unrecognisable lexicon. Voice: Cillian Murphy, sound recording: Brian Crosby.
20 February 2018 | Critical Heritage and Participatory Discourses in the UAE
Led by Alserkal Residency Selection Committee member Uzma Z. Rizvi, this talk took a look at the role of art and design in informing the ways in which critical heritage discourse unfolds. Rizvi focussed on projects that provide a platform for participatory discursive action within a threshold at which decolonization problematizes contemporary inequity. This is significant given the high-income nature of the UAE as post-colony with the issues of class upfront, embedded within which are the racialized and gendered forms of transnational labour (both blue- and white-collar). This is not about taking to the streets. It is about maintaining a space of criticality within deep stillness and a quietness. It is about decolonizing moments and slow change.
10 December 2017 | Zwischenspiel
Zwischenspiel was series of research-based performance workshops by Fall 2018 resident Ali El-Darsa. The workshops examined gestures as renditions of language, speech, image-making and creative writing. The final performance held at Alserkal Residency Project Space on 10 December 2018 was open to the public.
Performers: Hened Choueiry, Sandra Egido Ibañez, Vrushali Kulkarni and Isaac Sullivan.
8 December 2017 | hyper/slow
Alserkal Fall 2017 resident Jaret Vadera led a group of participants on a curated 25-minute silent experience of Dubai and the World Islands by helicopter. It has been said that Dubai is a city designed to be seen from above. But who has access to this perspective? And does zooming out provide a sharper focus or create a deeper abstraction? Is it possible to synchronize with a capitalist frequency of time, and then speed it up, in order to slow it down? Participants were invited to join in this collective experiment by engaging in silence during the helicopter flight, by turning off cell phones, and by refraining from taking any pictures. In an effort to see if we can hack a tourist interface and reprogram it as an artistic or meditative one. Participants were selected at random following an open invitation.
6 December 2017 | Reflections on a cold noodle soup
Raengmyon - a Korean cold noodle dish served in a savoury ice-cold broth. According to a cookbook published in North Korea in 1973, Raengmyon, referred to as the Pyongyang cold noodle soup, is said to have first emerged in the eastern part of the Daedong River district. Made out of buckwheat flour, the noodles are served in a clear cold broth and topped with meat, radish, steamed egg and pepper strips. As part of her Alserkal Residency public programme, Fall 2018 resident Franziska Pierwoss, reflected on the historical relations of the Raengmyon dish in regional contexts.
29 November 2017 | Making Space: Artist-run initiatives and their place in the city
Led by Fall 2018 resident Mona Ayyash, this round table conversation with members from the art community explored how artist-led initiatives in Dubai could take shape while considering obstacles such as rent, money, time, access. The discussion focused on artist-run studio structures, galleries, and cooperatives as potential models to what could possibly work for Dubai.
28 November 2017 | How to do Things with Art: Art and Exhibition Making as Transformative Experiences
Led by Alserkal Residency Selection Committee member Luigi Fassi and moderated by Barjeel Art Foundation Director and Curator Karim Sultan, this talk aimed to reflect upon art and exhibition making as transformative knowledge-sharing formats.
5 November 2017 | Origin Destination: Placing practice in non-place times: Conversations with the inaugural Alserkal Residents 2017
In this talk, Alserkal Residency Selection Committee member Uzma Z. Rizvi was joined by artists Mona Ayyash, Ali El Darsa, Franziska Pierwoss and Jaret Vadera for a broad discussion on their respective practices.