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9 October 2017 - 21 July 2018

HWP 2017-18 | October 9, 2017 - July 15, 2018

Workshops by Natascha Sadr Haghighian, Lina Majdalanie, Iman Issa and Raqs Media Collective

With seminars by Jalal Toufic, Monika Halkort, Walid Sadek, Carine Doumit, Elie Ayache and Walid Raad.

Image: Courtesy of Rayyane Tabet

About Home Workspace Program 2017-18
The 7th edition of the Home Workspace Program is organized around four workshops, a course of seminars and public lectures, three group critique sessions, and the end of year open studios. The program is initiated in tandem with the fourth and final Sharjah Biennial 13 off-site project, Upon a Shifting Plate and ACT II, the concluding program of SB13 taking place across Beirut on October 14-22, 2017. A two-week orientation follows, with a preface led by Rayyane Tabet.

Visiting Professors (VP): Natascha Sadr Haghighian, Lina Majdalanie, Iman Issa and Raqs Media Collective are invited to run two to three-week workshops, including guests of their choice, exploring themes, media and forms affined with their artistic practices. The VPs also conduct studio visits and engage in close discussions with HWP fellows.

The course, composed of 6 seminars and 4 public talks, explores theoretical and discursive concepts addressed in the work of each of the Guest Professors (GP), while interlocking with the themes of the VPs.

Roy Samaha is this year’s Resident Advisor, offering mentorship and advice to each of the HWP fellows.

Preface | Rayyane Tabet
October 23 – November 3, 2017

Site | City | Country
Geology | Archeology | Architecture

For the 2017-18 preface, Rayyane Tabet proposes an in-depth observation of the immediate surroundings of Ashkal Alwan, three neighborhoods in Beirut and three sites across Lebanon through the lenses of geology, archeology and architecture.

WORKSHOP I | Natascha Sadr Haghighian
January 15 – February 2, 2018

Preponderance of the small

What would art look like that does not represent or talk about something or somebody, but instead attempts to be in tune with the realities, the questions, the sites, the people and the struggles that are cohabiting the places it engages in? Fred Moten says that “you are already in it”, you are already in the thing that you call for and that calls for you.

The workshop will approach what it could mean to be in tune from different angles, using deep listening, elemental analysis and cognitive exercises – in short how we can think, talk and work ‘with’ rather than ‘about’ a subject matter.

WORKSHOP II | Lina Majdalanie
February 26 – March 9, 2018

This workshop aims to explore the relationship between the personal and the common (or the public). It aims to bring the distant closer and to estrange the familiar, or even to make a stranger out of it. It wants to dig vertically, archaeologically into a point, and to search horizontally for unexpected, possible and existing links.

WORKSHOP III | with Iman Issa
March 19 – 30, 2018

Entanglements and Imbrications

In various strands, the workshop will revolve around a central question of whether an independence of thought and action can be claimed by artists today. Can contested notions such as autonomy for artists, artworks, and their institutions hold any emancipatory potential or are different notions in need? Through a number of case studies, we will examine some of the different subject positions artists inhabit trying to unravel the varied economic, social and ideological entanglements that might be associated with such positions. We will also consider the conventions of aesthetic forms and use of sensual material; drawing a distinction between narratives (provided by the artist, curators, or others) and their supposedly corroborating sonic, visual, olfactory or other physical elements. The workshop will be run by Iman Issa and will contain two guest seminars run respectively by Antonia Majaca and Sven Lütticken.

WORKSHOP IV | RAQS media collective
May 21 – June 1, 2018


Raqs will return to Ashkal Alwan with a cluster of situations, readings, performative learning conditions and actions designed to focus on what they call ‘Infra-procedures.’ A program for the consideration of what it means to be giving voice to thought and practice that normally stays out of earshot.

Infra-Procedures can be seen as undercurrents, as subterranean and submersible thoughts, as energies that are best cultivated under the skin. Their latency is their strength, not their weakness. Raqs will undertake a conceptual tour of gestatory processes across cultures, plumb the depths of conscious concealment – investigating the history of concepts such as Taquiyya (sacred dissimulation), or the Ba’atin (the hidden), or the Guhya (the secret) in the Islamicate and Indic traditions in order to explore their potential for contemporary practice. In order to step aside from the secret and the sacred, infra-procedures will also allow us to tap into unused frequencies of thought and consciousness, untried protocols of conversation and practice.

Seminars with Guest Professors Jalal Toufic, Monika Halkort, Walid Sadek, Carine Doumit, Elie Ayache and Walid Raad .
Open Studios

Roy Samaha is a Lebanese artist, lives and works in Beirut. With a background in film studies, he started making videos in 2001. Samaha’s work deals with reality and its double, history and the memory of personal objects

Natascha Sadr Haghighian’s research-based practice encompasses a variety of forms and formats including video, performance, installation, text and sound. She is primarily concerned with the socio-political implications of contemporary modes of world-making.

Lina Majdalanie is concerned with contemplating the particularity of the Lebanese experience; questioning the signs of social and political reality through the many productions that she has directed, written and acted in. Today her work questions her citizenship and her place within public space, the notion of representation and the relation between the real and the fictional.

Iman Issa explores the relationship between history, memory, language and objects. Her recent work explores the notion of individual experience and how it is linked to the collective. In her practice, she detaches and deconstructs events, characters, and places to create something new, with new eyes.

Over the past two decades, the Raqs Media Collective has adapted a plurality of roles, often appearing as artists, occasionally as curators, and researchers and theorists. Raqs work across various media, experimenting with interdisciplinarity to articulate concerns with pedagogical and collaborative structures.

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