BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.8//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news4841@zasb.unibas.ch DTSTAMP;TZID=Europe/Zurich:20251022T134640 DTSTART;TZID=Europe/Zurich:20251120T180000 SUMMARY:Film screening with Noor Abed: "A Night We Held Between" DESCRIPTION:Featuring "A Night We Held Between" (2024\, Noor Abed)\, "lett er to a friend" (2019\, Emily Jacir)\, "Electrical Gaza" (2015\, Rosalind Nashashibi)\, and "There Was Nothing Here Before" (2024\, Yvann Yagchi)\, the screenings this fall will be followed by discussions with the filmmake rs\, foregrounding cinema as a space of memory\, resistance\, and reimagin ing.\\r\\nNoor Abed is a Palestinian artist whose practice unfolds at the intersection of performance\, moving image\, and film. Abed attended the Whitney Independent Study Program in New York in 2015–16\, and the Home Workspace Program (HWP) at Ashkal Alwan in Beirut in 2016-17. She receive d her BA from the International Academy of Arts in Palestine and a MFA fro m the California Institute of the Arts\, Los Angeles. She was a resident a t the Skowhegan School of Painting and Sculpture in Maine (2014) and a fel low in documenta (13)’s “Department of Maybe Educatiοn and Public Pro grams” in Kassel\, Germany. A finalist and a third prize-winner in the 2 014 Young Artist Award\, she was awarded the March Project residency and c ommission from Sharjah Art Foundation (UAE) in 2016. Abed was awarded a re sidency at the Cité Internationale des Arts in Paris (France) in 2018 and a fellowship at the Raw Material Company in Dakar (Senegal) in 2019. In 2 020\, she co-founded\, with Lara Khaldi\, the “School of Intrusions\,” an educational platform in Ramallah\, Palestine. Between 2022 and 2024\, she held a residency at the Rijksakademie in Amsterdam\, where she complet ed the film "A Night We Held Between".\\r\\n"A Night We Held Between" ce nters on a original audio recording called «Song for the Fighters» and f ound by the filmmaker in the sonic archive of the Popular Art Centre in Pa lestine. Filmed among ancient sites near Jerusalem—caves\, carved hollow s\, underground passages\, and rugged valleys—the porous landscape becom es a stage for rituals of mourning\, remembrance\, and resistance. The gra iny 16mm images themselves resemble archival fragments with an uncertain t emporal index. Accompanied by a haunting montage of whispering sounds\, vo ices\, and the archival song\, the film combines static close-ups of miner al formations with kinetic choreographies of its protagonists (and the cam era)\, further complicating the temporal dynamics of this labyrinthine mem oryscape.\\r\\nChus Martínez is a curator\, art historian and Head of the Institute Art Gender Nature\, Basel Academy of Art and Design FHNW. She s erves as curator of Ocean Space in Venice\, a space initiated by TBA21–A cademy\, and at the Vuslat Foundation in Istanbul. At the Institute Art Ge nder Nature\, Martínez currently leads "The Gender’s Factor"\, a resear ch project examining the role of education in promoting gender equality in the arts. She is a board member of CIMAM (International Committee for Mus eums) and serves on the advisory boards of numerous international art inst itutions\, including Castello di Rivoli in Turin\, De Appel in Amsterdam\, and the German Historical Museum in Berlin. Previously\, she was Chief Cu rator at El Museo del Barrio in New York and Head of Department at dOCUMEN TA (13). Prior to that\, she held positions as Chief Curator at MACBA in B arcelona and Director of the Frankfurter Kunstverein. X-ALT-DESC:

Featuring \;"A Night We Held Between" (2024\, Noor Abed)\ , "letter to a friend" (2019\, Emily Jacir)\, "Electrical Gaza" (2015\, Ro salind Nashashibi)\, and "There Was Nothing Here Before" (2024\, Yvann Yag chi)\, the screenings this fall will be followed by discussions with the f ilmmakers\, foregrounding cinema as a space of memory\, resistance\, and r eimagining.

\n

Noor Abed \;is a Palestinian arti st whose practice unfolds at the intersection of performance\, moving imag e\, and film. Abed attended the Whitney Independent Study Program in New&n bsp\;York in 2015–16\, and the Home Workspace Program (HWP) at Ashkal Al wan in Beirut in 2016-17. She received her BA from the International Acade my of Arts in Palestine and a MFA from the California Institute of the Art s\, Los Angeles. She was a resident at the Skowhegan School of Painting an d Sculpture in Maine (2014) and a fellow in documenta (13)’s “Departme nt of Maybe Educatiοn and Public Programs” in Kassel\, Germany. A final ist and a third prize-winner in the 2014 Young Artist Award\, she was awar ded the March Project residency and commission from Sharjah Art Foundation (UAE) in 2016. Abed was awarded a residency at the Cité Internationale d es Arts in Paris (France) in 2018 and a fellowship at the Raw Material Com pany in Dakar (Senegal) in 2019. In 2020\, she co-founded\, with Lara Khal di\, the “School of Intrusions\,” an educational platform in Ramallah\ , Palestine. Between 2022 and 2024\, she held a residency at the Rijksakad emie in Amsterdam\, where she completed the film \;"A Night We Held Be tween".

\n

"A Night We Held Between" \;centers on a original audi o recording called «Song for the Fighters» and found by the filmmaker in the sonic archive of the Popular Art Centre in Palestine. Filmed among an cient sites near Jerusalem—caves\, carved hollows\, underground passages \, and rugged valleys—the porous landscape becomes a stage for rituals o f mourning\, remembrance\, and resistance. The grainy 16mm images themselv es resemble archival fragments with an uncertain temporal index. Accompani ed by a haunting montage of whispering sounds\, voices\, and the archival song\, the film combines static close-ups of mineral formations with kinet ic choreographies of its protagonists (and the camera)\, further complicat ing the temporal dynamics of this labyrinthine memoryscape.

\n

Chus Martínez is a curator\, art historian and Head of the Ins titute Art Gender Nature\, Basel Academy of Art and Design FHNW. She serve s as curator of Ocean Space in Venice\, a space initiated by TBA21–Acade my\, and at the Vuslat Foundation in Istanbul. At the Institute Art Gender Nature\, Martínez currently leads "The Gender’s Factor"\, a research p roject examining the role of education in promoting gender equality in the arts. She is a board member of CIMAM (International Committee for Museums ) and serves on the advisory boards of numerous international art institut ions\, including Castello di Rivoli in Turin\, De Appel in Amsterdam\, and the German Historical Museum in Berlin. Previously\, she was Chief Curato r at El Museo del Barrio in New York and Head of Department at dOCUMENTA ( 13). Prior to that\, she held positions as Chief Curator at MACBA in Barce lona and Director of the Frankfurter Kunstverein.

DTEND;TZID=Europe/Zurich:20251120T200000 END:VEVENT END:VCALENDAR