In our third session of the dialogue series, documentary photographer Sakir Khader and visual artist and filmmaker Dina Mimi engage in a discussion on the politics of representation, and the work of images in inspiring or inhibiting imagination. With the artists practices grounded in their hometowns of Nablus and Jerusalem respectively, the session also brings much-needed attention to the ongoing war crimes being committed in the West Bank apace with the genocide in Gaza. Sakir and Dina will be joined in conversation by artist and cultural organiser Hilda Moucharrafieh.
Alongside her participation in the dialogue session, Dina will also be sharing her newest film Thousand Thrashing Arms (2024), screening in the Palestine as Lens: Solidarities Across Struggles shorts programme on Saturday 11 October.
Day:
Sat, 11 Oct
Time:
17:00–18:45
Venue:
LAB111
Location:
Kapel
The Dialogue Sessions are a series of conversations taking place throughout the festival, which invite two cultural producers to share short presentations on their practices followed by an extended conversation between them.
Still from Dina Mimi’s Thousand Thrashing Arms (2024), featured in Palestine as Lens: Solidarities Across Struggles shorts programme on Saturday 11 October.
Sakir Khader at work
Biographies:
Sakir Khader is a Palestinian photographer and director based in the Netherlands. Formerly a reporter and investigative journalist, he later turned to documentary photography and filmmaking. His work centres on the fragile boundary between life and death in conflict zones, particularly across the Middle East. Known for his raw yet intimate cinematic style, he seeks to reveal the poetic sorrows woven into everyday life. His work has earned recognition through prestigious honors, including the Silver Camera.
Dina Mimi is a Palestinian visual artist and filmmaker who is based between Palestine and the Netherlands. Mimi works with experimental filmmaking and lecture performances that research the question of how and when bodies become sites of resistance. This question finds its material interest in moving images, especially found footage. Understanding editing as a playground, Mimi plays with opacity in moving images by seeking to brush up against footage which desires to be ungraspable or is in the act of vanishing. This is a continuous attempt at non-linear narration as a way of disfiguring one’s imagination of bodies as sites of resistance.
Hilda Moucharrafieh is a Lebanese artist and cultural worker focusing on anti-colonial solidarities and collective well-being. Through site-specific interventions, she amplifies voices marginalized by Western narratives and neo-colonial policies. She collaborates across disciplines to foster solidarity, co-directs Platform BK advocating for better art policy in the Netherlands, and serves as artistic coordinator at (A)WAKE in Rotterdam, where she co-curates the ‘New Radicalisms’ biennial as well as the current exhibition ‘OP=OP’ at moezeum.
