Four films by Rosalind Nashashibi

Sunday, 7 April 2024
6.30 pm

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Join us for a very special screening of films by Rosalind Nashashibi:

Open Day
2001, 12 min, colour, sound
Original Format: 16mm film
A musical film structured around six scenes in a city. Six scenes in London set to different pieces of music that add a fictional screen or act as counterpoint to the action.

2002, 12 min, colour, sound
Original Format: 16mm film
Morning to night in the streets of Omaha, Nebraska. In Midwest, the camera is on the street, watching people going about their business through the day – hanging around, walking, going in and out of a Mexican café and waiting outside a rehab centre. We see the forced leisure of a week day, and how people use their public spaces and neighbourhood streets. Midwest was made together with Midwest: Field which explores what goes on in the superflat landscape outside the city.

Dahiet Al Bareed, District of the Post Office
2002, 7 min, colour, sound
Original Format: 16mm film
One slow, hot afternoon in a neighbourhood built to be a utopian suburb for employees of the Palestinian Post Office; now becomes a lawless no-man’s-land between occupied East Jerusalem and Ramallah.

Hreash House
2004, 20 min, colour, sound
Original Format: 16mm film
One family as an entire community Hreash House shows an extended Palestinian family living a collective existence in a concrete block in Nazareth. It shows a feast and its aftermath during Ramadan.

British-Palestinian artist Rosalind Nashashibi is a painter and filmmaker. Her films chronicle intimate moments of contemporary life across diverse circumstances with a deeply empathetic and personal approach. Nashashibi’s work is marked with precise references to other filmmakers and painters—such as David Hockney, Pierre Bonnard and the filmmakers Alexander Kluge and Chantal Akerman. Nashashibi captures different kinds of relationships through the minutiae of her subjects’ lives and the lived environment. Her films are often non-linear, punctuated by manifestations of power dynamics and the subtext of collective histories. Subjects have included non-linear family structures, the multiple personae of the artist and chronicling Palestinian life.

Rosalind Nashashibi (1973, London, UK) received her BA in Painting from Sheffield Hallam University and her MFA from the Glasgow School of Art. In 2020, Nashashibi became the first artist in residence at the National Gallery in London, after the program was re-established. She was a Turner Prize nominee in 2017. In 2007 Nashashibi represented Scotland in the 52nd Venice Biennale. Her work has been included in Documenta14, Manifesta 7, Nordic Triennial, Sharjah 10, 14th Shanghai Biennial. She received the Paul Hamlyn award in 2014 and Beck’s Futures prize in 2003, among others.

Selected solo exhibitions include: Den Frie Centre of Contemporary Art, Copenhagen (DK); Nottingham Contemporary (UK); Musée Art Contemporain Carré d’Art, Nîmes (FR); Radvila Palace Museum of Art for CAC, Vilnius (LT); Artium Museum, Vitoria-Gasteiz (ES); National Gallery, London (UK); CAAC, Seville (ES); S.M.A.K., Ghent (BE); The High Line, New York, NY (US); Secession, Vienna (AT); Tate Britain, London (UK); Scottish National Gallery of Modern Art, Edinburgh (UK); The Art Institute of Chicago, Chicago, IL (US); Imperial War Museum, London (UK); Kunsthall, Bergen (NO); ICA, London (UK); Kunstlerhaus, Stuttgart (DE); Chisenhale Gallery, London (UK); Kunsthalle, Basel (CH); CCA, Glasgow (UK). Selected group exhibitions: Kunstmuseum Luzern, Luzern (CH); Centre Georges Pompidou and Forum des Images, Paris (FR); Tate, London (UK); Sculpture Center, New York, NY (US); Museo Tamayo, Mexico City (MX); Whitechapel, London (UK); Kunstverein, Frankfurt am Main (DE); UCLA Hammer Museum, Los Angeles, CA (US), and many others.

We would like to thank Rosalind Nashishibi and LUX for making the screening possible.

Image: still from Dahiet Al Bareed, District of the Post Office.
© Rosalind Nashashibi