The video You Went Back Again and Again, 2009 addresses the space of mourning and does this by looking at the registers of memory. The camera traverses with me to spaces that repeatedly explode with images I want to erase. A video installation, the work is an assemblage of images, text, sounds. Set within the overall narrative of a car journey to my father's grave and back, the work seeks to document the two years after the event. Believing strongly in a certain image of grieving this work sets out for me and the viewer an alternative. Conversations traverse from the incredulous to deep feelings of guilt, images from journeys explore the space of being nowhere and the self writes itself in words that cannot be strung together. Bodies don't exist in these spaces whole, neither of those who have passed nor of those who live to tell, to mourn. It testifies to what is left, the images, the knowing, the ifs and the buts.
3 Mostra de Vídeo Independent de Barcelona 1996.
UntitledThe Mouth screams. Like a shadow, it looms on the event horizon. It swells, hunting the night like a snake in the dark. The laceration tears through the stars, devouring its meal. Within the nothing swims something of a memory of movement. Far beyond, something out of the black reveals itself. In the infinite womb, limbs drift suspended, like flies in a giant spider web. An infinite sea of pale flesh. Bodies without organs. Death's renewal awaits, as the bodies pass through the void.
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United Kingdom (Great Britain).
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Triggered by the memoirs of a medical missionary on the Afghan borderlands, this film is constructed from still photographs of colonial life on the North West frontier of British India at the turn of the 20th century. Searching for clues to the realities behind images framed during a time of colonial conflict, the film plays sound against image to find contemporary parallels in Western portrayals of a distant place and people.
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Over two thirds of the world's cotton is grown in developing countries and the former Soviet Union. Valued at over $32 billion each year, global cotton production should be improving lives. But this “white gold” too often brings misery. EJF is committed to eradicating child labour and the deadliest pesticides from cotton production and promoting organic alternatives.
What's your limit? Royal Commandos
United Kingdom (Great Britain).
Simon decided to record Barry delivering a monologue exploring US imperialism and the project for the new American century. This speech became the focal point around which animation was constructed. "what Barry says" is very much a response to Simon witnessing his peer's apparent lack of interest in the anti-war marchers between the attack on Afghanistan and the second gulf war. Many young Londoners seemed to feel that they could do nothing to stop the attack on Iraq, so why bother
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Thousands of people visit London every summer. They fill the streets with shopping bags and cameras and enjoy all the possibilities of the capital. But amongst the crowd another type of visitor exists. Kwaku is a Ghanaian living in London. There, he finds himself dealing with loneliness and boredom. He is living on standby, dreaming of a full time job and also of a friend to count on.
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He asked me: “Ms Ziadah, don’t you think that everything would be resolved if you would just stop teaching so much hatred to your children? (...). Pause. I look inside me for strength to be patient but patience is not at the tip of my tongue as the bombs drop over Gaza. Patience has just escaped me. Pause. Smile. We teach life, sir! (...) These are not two equal sides: occupier and occupied. And a hundred dead, two hundred dead, and a thousand dead. (...) Is anybody out there? Will anyone listen? I wish I could wail over their bodies. I wish I could just run barefoot in every refugee camp and hold every child, cover their ears so they wouldn't have to hear the sound of bombing for the rest of their life the way I do. (...) Today my body was a TV’d massacre. We teach life, sir. We Palestinians wake up every morning to teach the rest of the world life, sir.”
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