Through the found memoir of Jesús Flores Thies, the last living inhabitant of this Spanish colony from 1933, “The Last Witness” confronts the clash between one man’s nostalgia for his childhood in Spanish Sahara with the lengthy and brutal struggle for a land whose sovereignty is still disputed after Spanish withdrawal in 1975.
Mixed Media: Photography, Text, Video, Iron Sculpture, 2017
An Astronomical Determination of the Distance Between Two Cities examines the structural remnants of La Agüera, a former Spanish colonial outpost buried in the sand dunes of the Ras Nouadhibou peninsula in West Africa. The project explores the town’s colonial era in juxtaposition to the remaining architecture guarded by Mauritanian military forces.
Mixed Media: Photography, Text, Projection, 2016
The Earth is an Imperfect Ellipsoid is a land surveillance project that utilizes Al-Bakri’s “Kitab al-Masalik wal-Mamalik” (The Book of Roads and Kingdoms), an eleventh-century Arabic geography text describing major trade routes in West Africa under the Islamic Empire. Today, the original manuscript only exists in fragments. In 2014, Heba Amin embarked on a five-month journey along the same routes and documented the contemporary geographies missing from the manuscript.
This lecture-performance converges historical accounts, biblical prophecies, colonial narratives, and politics of surveillance to investigate the contemporary conditions of a state paranoia that turned a migrating bird into an international spy.
video, 6.43 min, 2016
In late 2013, Egyptian authorities detained a migratory stork suspected of espionage due to an electronic device attached to its leg. “As Birds Flying” confronts the absurdity of the media narrative in Egypt that has turned a bird into a symbol of state paranoia.
public art performance, 2016
This project asks if artivism is worth pursuing as a mechanism or is it just a tool that uses media to heighten the public’s consciousness? Should we be seeking a ‘revolutionary’ aesthetic?
Subversive Media, 2015
In July 2015 “The Arabian Street Artists” engineered a graffiti media hack by incorporating subversive graffiti on the set of the popular US TV series ‘Homeland’. Their filmic commentary ‘Homeland is Not a Series’, produced by Laura Poitras (Citizenfour), explores dialogues following the worldwide resonance of the critique that motivated the hack.
Art Collective, 2015 –
The Black Athena Collective is a research and artistic laboratory for experimentation that engages political discourse and territorial logics connected to the Red Sea region from Eritrea to Egypt. It looks specifically at archival documents and a re-writing of historical narratives on the various frameworks of space in relation to errant bodies in the region.
Photographs, 2014 –
“Objects in Exile” looks at the illicit movement of objects in the context of economic crisis and political violence. The images address loopholes and contradictions in the constructs of trade and economy through dislocation, deconstruction and the re-framing of contested objects.
film installation/archive, 2011-ongoing
Project Speak2Tweet is a growing archive of experimental films that utilizes Speak2Tweet messages prior to the fall of the Mubarak regime on February 11, 2011 and juxtaposes them with the abandoned structures that represent the long-lasting effects of a corrupt dictatorship…
pen and paper, 2008-ongoing
Series of ink drawings.
Digital Work, 2007
How do we put a face on the word evil? What attributes create an evil person? Who can be evil? Inspired by G.W. Bush’s coined term “Axis of Evil” this project explores the notion of racial profiling and to what extent surveillance is used to find evil among regular people.