Catalog view is the alternative 2D representation of our 3D virtual art space. This page is friendly to assistive technologies and does not include decorative elements used in the 3D gallery.
A group of various rejected media works, including video art, digital art & photography, and sound art. Several works in this section cannot be categorized into one theme or subject. These specifically are surprisingly refreshing. An example is a video art about a worm-ghost by María Morales Arango.
This is a video about a worm-ghost, it is a myth about becoming, narrated through images of an uncertain dimension where the organic and the inorganic merge in a new environment. The text is a poetic interpretation of some fragments of a Wikipedia article about earthworms, intertwined with other words that grow from a reflection about matter, death, perception, and the body as open topics that become fluid and give new meaning(s) to each other.
Lovesick Puppy uses rhetoric from land and zoning legislators and property developers as a means to interrogate longer histories of settler relationships to land and aspiration in the Australian colony. Filmed outside a construction site in Guildford West on unceded Bidjigal and Darug Land, the work directly quotes The City of Parramatta's Cultural Development Plan; property developer and former deputy mayor of Sydney's Auburn City Council, Salim Mehajer; and Bow Wow's 'Too Real'. In 2015, Mehajer's infamous wedding opened inquiries into the links between local councils and private developers. Bow Wow's 'Too Real' film clip was recorded inside Mehajer's luxury home in a recently rezoned area in Lidcombe, and is a song that laments possessive desire for two people. The title refers to Mehajer's lawyer who in 2017 described him as a lovesick puppy who was "only guilty of loving his wife, not guilty of intimidation".
The artwork ”INSIDE THE WOLFMAN'S DREAM” questions and investigates the implications of trauma and the subjective nature of time and temporality for human beings and how reality is constructed and deconstructed as a concept in the human mind. In this artwork we are invited into a dream-like altered state of dissociated consciousness that mimics the manifest state of an emotional flashback that human beings who have been sexually abused in childhood is prone to experience later in life when triggered. Initially the Freudian concept of Nachträglichkeit (afterwardness) was an inspiration. The concept has been widely discussed by scholars like Lacan (Lacan uses the term aprés-coup) and it proposes that trauma is not in the event itself but in the rememberance of the event and that a retroactive transcribing of the original experience as traumatic at a later date in the subject’s history is taking place and somehow time is being reversed; not physically but on the level of the psyche. The title refers to one of the most famous dreams of psychoanalysis and was the childhood nightmare of one of Freud's patients, Sargei Pankejeff (1886-1979) - a Russian aristocrat. Pankejeff had been sexually abused by a family member in his childhood and he was given the pseudonym Wolfman to protect his identity but later on Pankejeff published his own memoir.
"ONE LAST NIGHT" is a feature-length screenplay written in 2020 following three friends the night before a nationwide lockdown due to an unnamed yet dangerous reason. The group is made of two foreign girls who rashly decided to stay in their new home country for the lockdown and one boy who has grown up in the country his whole life. The friends go around the city's seediest nightclubs with only one goal in mind: dancing until the curfew begins. However, personal problems come between the friends throughout the night, and they only have a limited time until lockdown to solve them with their friendships at risk. The screenplay was reviewed by people in the film industry and ultimately decided that due to the subject matter, no film organization would be willing to pick up and produce the script, therefore edits and aspirations to get the film made were halted indefinitely. The submitted work is a storyboard and commentary over excerpts of the delayed script.
ʻHuman Donʼt Shootʼ (in Arabic) design by Michel Maʼayeh, is a modified replica of the war zone design print, worn by journalists during the 1982 Lebanese civil war. In my design, I replaced the word 'Journalist' with 'Human' because every human being has the inherent right to life. Today, more than ever, our world needs love, acceptance and tolerance.
Figure (2021) is a mixed media drawing exploring the intersection between sociability and visual culture. It has been rejected more than once, privacy and copyright issues (the photograph was taken in a private gallery) being cited as the reason. The style is typical of my wider practice which focuses on the concept of relational aesthetics, including ideas surrounding the haptic eye, appropriation and chance.
A site-specific installation addressing the issue of bureaucracy, in all its political and social forms. The installation aims to engage the viewers in a long and uncalled-for walk within The Lab’s right-side room. The walk is a left-to-right, right-to-left track composed similarly to queue barricades at major institutions but are DIY ones as seen in the streets using empty olive oil and cheese tin cans. The installation primarily aims to induce frustration and annoyance in the participants. It provides them with a choice between either attempting a walk through the path to complete the journey, or not. A third choice arises halfway through the path, prompting participants to consider cheating and crawl beneath the barricade to either ends of the room. The installation aims to be quite uninviting and intense in the number of isles present. The installation touches upon a number of issues alongside the politically charged bureaucratic aspect. The concept of taking risks is present, since the participants do not know what is at the end of the path, and if it is even worth walking through to begin with. The path is also both an obstacle course and a personal challenge. As it is completely up to the participant whether or not they want to complete the entire course, or take a shortcut and crawl beneath it. The installation is to be placed across the entirety of the right-side room at The Lab. With walls painted black, a table is placed at the end of the path with the papers saying “مبروك لقد نجحت بالاختبار” and “Congratulations you have passed the test” asking viewers to rate their experience and signing using their fingerprints.
sound art piece