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Moad Musbahi with Enass Khansa, Ikhtiyar and the Production of (in)Visibility, 2020. Still. Performance-Lecture. Courtesy of the artist.

Moad Musbahi, Sufi Tombs and Sea Burials, Performing Preservation, 2020. Still. Performance-Lecture. Courtesy of the artist.

Moad Musbahi with Sheryn Akiki, Ligatures and Broken Verse, 2020. Still. HD Video. 27 minutes. Colour. Courtesy of the artist.

Moad Musbahi, paper nor me_xx1, 2019. Still. Installation view. Courtesy of the artist.

Moad Musbahi utilises exhibition making, video installation and writing to investigate migration as a method for cultural production and political expression. Through researching the movement of stories, people, and sound, he focuses on the social practices and forms of knowledge that displacement engenders.

At Gasworks, Musbahi began a new collaborative project with Skye Arundhati Thomas on the family as a mechanism to navigate personal memory and resist dominate political narratives. Drawing on the often fragmented, denied, and erased nature of the elements that compose individual family histories, they will employ techniques of speculative fiction and documentary practice. The work will be produced alongside a series of public study sessions in the future.

Musbahi has also continued working on Corners of Continuity, a multi-part video installation that explores the ancestral claims of families settling in Algeria from the nineties until the present day. Supported by the Sharjah Art Foundation’s Production Programme, experimenting with various projection and spatial strategies to explore different modalities of representing the claims and their wider implications for border regimes and mobility.

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On the occasion of the Open Studios, Moad has also made his video work being token ignited 1/ The Other Eye available to view:

being token ignited 1/ The Other Eye

being token ignited 1/ The Other Eye
Single Channel Video, 5 mins, English (2021)
Myriam Amri and Moad Musbahi

On the 50 Tunisian dinar banknote is an image of the medieval poet Ibn Rachiq. He is depicted within this largest of denominations as a symbol of national identity. An emblem that is carried and circulated, the dinar is exchanged and redeemed for monetary value as guaranteed by the state. Yet as currency moves across and indexes borders, resisting containment, Ibn Rachiq’s history too spanned vast geographies. The son of a jeweller, the court poet of the Zirid dynasty, he spent most of his life in exile, seeking refuge across the Mediterranean.

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Moad Musbahi is an artist and curator who works between London and Tripoli. He recently curated In Pursuit of Images at the Architectural Association, London (2020); and was a member of the curatorial team for the inaugural Sharjah Architecture Triennial, Sharjah (2019). Recent work has been presented in Archives of Forgetfulness, Johannesburg (2021); Jameel Arts Center, Dubai (2020) and Beirut Art Center, Beirut (2019). He writes regularly in English and Arabic, and has been published in Failed States Journal, (2021); Kayfa-Ta Press, (2020); AA Files, (2019); and the Funambulist Magazine (2018).

Gasworks Studio Residencies are a response to outbreak of Covid-19, which has caused the postponement our international residency programme. Until the programme can resume, the residency studios have been made available to London-based artists and writers who are currently unable to access their own dedicated workspace.