[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"gql:data:MONBxYgYEhGUyk6f2DwO_Kk0nVufpNZxVFSOnBQAUmQ":3,"gql:data:P1L-3F4yLFT8Sm-6QpbQIoqRmZ3TevlXAnhvTQmaZho":57,"gql:data:MXCz8Go4zFjocDxczQj_z4vVBjqsspL7TKXuZQTziIg":64,"gql:data:tyCI5HNt1HZczdKwWSz9r1bpaSHHrboaGtCGGtlkHBc":70,"gql:data:qmJY4-503CHlJg4_ZSHARjkzFPaXzbxV7BFMovCRKYg":142,"gql:data:yxtepiAIgU6wIBqK3wYdgLRWg-QNgf2zDL8SSTsBMXA":148,"gql:data:IlnTs8ckaKQ25cbDx1LKHsiGCKOXy5YyvPFd3XZFtB0":157,"gql:data:HT7XK9L7FevXFqeorguiilMT3M34fS21-YSozsBn3eg":296},{"globalSet":4},{"id":5,"handle":6,"heading":7,"image":8,"contacts":17,"address":28,"networks":35,"richSubtitle":52,"richText":54,"links":56},"2","identity","Ibraaz",[9],{"id":10,"path":11,"alt":12,"title":13,"width":14,"height":15,"mimeType":16},"47","building.png",null,"Building",1536,1024,"image/png",[18,23],{"title":19,"contactLink":20},"General",{"value":21,"defaultLabel":22},"mailto:enquiries@ibraaz.org","enquiries@ibraaz.org",{"title":24,"contactLink":25},"Press",{"value":26,"defaultLabel":27},"mailto:press@ibraaz.org","press@ibraaz.org",[29],{"title":30,"countryCode":31,"addressLine1":32,"addressLine2":12,"addressLine3":12,"locality":33,"postalCode":34},"Location","GB","93 Mortimer Street","London","W1W 7SS",[36,40,44,48],{"title":37,"path":38},"Instagram",{"url":39},"https://www.instagram.com/ibraazlondon/",{"title":41,"path":42},"Facebook",{"url":43},"https://www.facebook.com/profile.php?id=61583823886627",{"title":45,"path":46},"YouTube",{"url":47},"https://www.youtube.com/@ibraazlondon",{"title":49,"path":50},"Bluesky",{"url":51},"https://bsky.app/profile/ibraaz.bsky.social",{"html":53},"\u003Cp>Opening hours\u003C/p>",{"html":55},"\u003Cp>Wed - Sun: 11am - 6pm\u003C/p>",[],{"globalSet":58},{"id":59,"handle":60,"heading":61,"richText":62},"37","forms","Culture is a work in progress. Stay updated.",{"html":63},"\u003Cp>By subscribing to our newsletter you are agreeing to receiving updates and communications from Ibraaz.\u003C/p>",{"entries":65},[66],{"uri":67,"title":68,"typeHandle":69},"ibraaz-publishing/watch/scenes-of-erasure-part-i-ruins","Scenes of Erasure – Part I: Ruins","videoForm",{"globalSet":71},{"id":72,"handle":73,"linksGroups":74},"128","navigation",[75,81,112,118,124,130,136],{"title":76,"entry":77,"links":80},"What’s On",[78],{"uri":79},"whats-on",[],{"title":82,"entry":83,"links":86},"Publishing",[84],{"uri":85},"ibraaz-publishing",[87,92,97,102,107],{"title":88,"entry":89},"Writing Gaza",[90],{"uri":91},"ibraaz-publishing/writing-gaza",{"title":93,"entry":94},"Mission Statement",[95],{"uri":96},"ibraaz-publishing/mission-statement",{"title":98,"entry":99},"Read",[100],{"uri":101},"ibraaz-publishing/read",{"title":103,"entry":104},"Watch",[105],{"uri":106},"ibraaz-publishing/watch",{"title":108,"entry":109},"Listen",[110],{"uri":111},"ibraaz-publishing/listen",{"title":113,"entry":114,"links":117},"Visit Us",[115],{"uri":116},"visit-us",[],{"title":119,"entry":120,"links":123},"About Us",[121],{"uri":122},"about-us",[],{"title":125,"entry":126,"links":129},"Oula: Café-in-Residence",[127],{"uri":128},"oula-cafe",[],{"title":131,"entry":132,"links":135},"Maktaba: Bookshop-in-Residence",[133],{"uri":134},"maktaba-bookshop-in-residence",[],{"title":137,"entry":138,"links":141},"Contact Us",[139],{"uri":140},"contact-us",[],{"globalSet":143},{"id":144,"handle":145,"heading":12,"richText":146},"11","gdpr",{"html":147},"\u003Cp>We use cookies to give you the best experience. By clicking 'Accept' you consent to the use of all cookies. \u003Ca href=\"/privacy-policy\">Privacy Policy\u003C/a>.\u003C/p>",{"globalSet":149},{"id":150,"handle":151,"activated":152,"heading":153,"richText":154,"text":156},"16767","notification",false,"Visitor Information",{"html":155},"\u003Cp>Please note that our Majlis is currently closed and will reopen with our next exhibition in early July. The rest of the building is open so please do visit!\u003C/p>\u003Cp>\u003Cbr /> \u003C/p>","Got it",{"entry":158},{"id":159,"uri":67,"title":68,"slug":160,"postDate":161,"typeHandle":69,"sectionHandle":162,"meta":163,"categories":166,"figure":170,"pdf":184,"authorInfo":185,"richTitle":12,"richSubtitle":190,"richDescription":12,"richExcerpt":12,"image":192,"externalLinks":194,"entrySections":195,"related":234},"22779","scenes-of-erasure-part-i-ruins","2026-04-24T07:00:00+01:00","watch",[164],{"title":68,"description":12,"image":165},[],[167],{"title":168,"slug":169},"Screening room","screening-room",[171],{"typeHandle":172,"image":173,"caption":180,"width":182,"ratio":183},"figure",[174],{"id":175,"path":176,"alt":12,"title":177,"width":178,"height":179,"mimeType":16},"22938","Scenes-of-Erasure-Screening-Room/UNDR-stills2.png","UNDR stills2",1937,1436,{"html":181},"\u003Cp>Kamal Aljafari, \u003Ci>UNDR\u003C/i> (2024)\u003C/p>","wide","landscape",[],[186],{"authorName":187,"authorBio":188},"Kamal Aljafari, Miranda Pennell, Jananne Al-Ani",{"html":189},"\u003Cp>\u003Cstrong>Kamal Aljafari\u003C/strong> is a Palestinian filmmaker and artist known for his distinctive approach to cinema. His installation \u003Ci>The Camera of the Dispossessed\u003C/i> was shown at the 35th Bienal de São Paulo in 2023. His feature film \u003Ci>A Fidai Film\u003C/i> (2024) was shown in over 100 festivals and won around 10 international awards. His most recent work, \u003Ci>With Hasan in Gaza\u003C/i> (2025), premiered in the International Competition at Locarno Film Festival, where it was awarded with the Europa Cinemas Label. \u003C/p>\u003Cp>\u003Cstrong>Miranda Pennell\u003C/strong> is a filmmaker whose films often rework images from British colonial archives to reflect on contemporary situations. Her work emphasises the role of the imagination in the interpretation of historical documents, and in the relationship between image, word, and sound. Pennell’s latest film work is part of the exhibition \u003Ci>Eye(s) Open – New Perspectives on Colonial Film Heritage\u003C/i> at the Eye Filmmuseum, Amsterdam, which runs until 6 September 2026.  A retrospective programme and gallery exhibition of her work will form part of Curtas Vila do Conde International Film Festival (Portugal) in July of this year.\u003C/p>\u003Cp>\u003Cstrong>Jananne Al-Ani \u003C/strong>is an artist and Reader in Photography and Moving Image at the University of the Arts London. Recent solo exhibitions include \u003Ca target=\"_blank\" href=\"https://www.fvu.co.uk/projects/timelines\" rel=\"noreferrer noopener\">\u003Ci>\u003Cu>Timelines\u003C/u>\u003C/i>\u003C/a>\u003Ci> \u003C/i>(Towner Eastbourne, 2022) and \u003Ca target=\"_blank\" href=\"https://ab-anbar.com/exhibitions/47-landmarks-jananne-al-ani/press_release_text/\" rel=\"noreferrer noopener\">\u003Ci>\u003Cu>Landmarks\u003C/u>\u003C/i>\u003C/a> (Ab-Anbar Gallery, 2023). Her work can be found in collections including the Imperial War Museum, London; Centre Pompidou, Paris; Mori Art Museum, Tokyo; and Darat al Funun, Amman. She is a trustee of \u003Ca target=\"_blank\" href=\"https://spacestudios.org.uk/\" rel=\"noreferrer noopener\">\u003Cu>SPACE\u003C/u>\u003C/a> studios and a member of the General Assembly of \u003Ca target=\"_blank\" href=\"https://mophradat.org/en/\" rel=\"noreferrer noopener\">\u003Cu>Mophradat\u003C/u>\u003C/a>, an organisation creating opportunities for artists from the Arab world.\u003C/p>",{"html":191},"\u003Cp>Screening until 8 May 2026\u003C/p>",[193],{"id":175,"path":176,"alt":12,"title":177,"width":178,"height":179,"mimeType":16},[],[196,200,208,211,219,222,231],{"typeHandle":197,"richTitle":12,"richSubtitle":12,"richText":198},"content",{"html":199},"\u003Cp>Scenes of Erasure brings together six contemporary shorts in which archaeological ruins and relics figure as dense sites for excavating histories and processes of political violence, imperial domination, and cultural erasure. This programme coincides with the exhibition of Hrair Sarkissian’s \u003Ca target=\"_blank\" href=\"https://ibraaz.org/whats-on/stolen-past-hrair-sarkissian\" rel=\"noreferrer noopener\">\u003Ci>\u003Cu>Stolen Past\u003C/u>\u003C/i>\u003C/a> at Ibraaz London, in which the artist employs an adapted lithophane printing technique to create 3D renderings of mobile phone images of looted artefacts from the Raqqa Museum in Northern Syria. As with \u003Ci>Stolen Past\u003C/i>, the films featured in this programme use archaeological artefacts to explore the contested geopolitical landscapes in which they are embedded, attending to the systems, technologies, practices, and individuals that enable the destruction, appropriation, trafficking, recovery, and safeguarding of material heritage. \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":172,"image":201,"caption":12,"width":182,"ratio":183},[202],{"id":203,"path":204,"alt":12,"title":205,"width":206,"height":207,"mimeType":16},"22937","Scenes-of-Erasure-Screening-Room/UNDR-stills1.png","UNDR stills1",1944,1438,{"typeHandle":197,"richTitle":12,"richSubtitle":12,"richText":209},{"html":210},"\u003Cp>In \u003Ci>UNDR\u003C/i>, we see aerial helicopter footage of archaeological and historical sites located across historic and occupied Palestine, including the Al-Aqsa compound, Herodium, Masada, and the Qumran Caves. Originally created by Israeli filmmakers for educational purposes, these images are emblematic of the way in which archaeology has been weaponised by the Israeli regime in support of its settler colonial project and attempted erasure of Palestinian presence. This footage is intercut with images of detonations, Israeli settlements, Israel’s Afforestation Project, tourists visiting archaeological sites, peasants working the land, and girls playing hide-and-seek among the ruins. The film’s images, music, and title – which is taken from a short story by Jorge Luis Borges and resembles an acronym for a fictitious United Nations organisation – evoke the unsettling idea and feeling of a people ‘under’ permanent surveillance and occupation, as well as a landscape continuously remade by a subcutaneous process of ruination. \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":172,"image":212,"caption":12,"width":182,"ratio":183},[213],{"id":214,"path":215,"alt":12,"title":216,"width":217,"height":218,"mimeType":16},"23364","Scenes-of-Erasure-Screening-Room/Screenshot-2026-04-21-at-17.00.42.png","Screenshot 2026 04 21 at 17 00 42",2560,1440,{"typeHandle":197,"richTitle":12,"richSubtitle":12,"richText":220},{"html":221},"\u003Cp>In \u003Ci>Strange Object\u003C/i>, an album containing black-and-white aerial photographs of a desert landscape populated by ‘strange’ stone structures serves as the starting point for a meditation on the intimate imbrication of imperial image production, territorial conquest, and historical erasure. The film, which comprises images captured by the Royal Air Force’s Z Unit in 1920, interrogates the operations through which the ‘living worlds’ documented and destroyed by the British Empire are transformed into ‘dead facts’. ‘This machine makes a double of the world while it simultaneously erases the original forever’, the voice-over comments, observing how these flattened photographic replicas are transported back to the imperial capital to be stored away in a basement archive so that years later historians will make from them ‘History’.\u003C/p>\u003Cp> \u003C/p>",{"typeHandle":172,"image":223,"caption":12,"width":182,"ratio":183},[224],{"id":225,"path":226,"alt":12,"title":227,"width":228,"height":229,"mimeType":230},"23350","Scenes-of-Erasure-Screening-Room/2014.235_SSII_filmstill_03_A02-Large-TIFF_4000-pixels-long.jpg","2014 235 SSII filmstill 03 A02 Large TIFF 4000 pixels long",4000,2250,"image/jpeg",{"typeHandle":197,"richTitle":12,"richSubtitle":12,"richText":232},{"html":233},"\u003Cp style=\"margin-left:0px;\">Shadow sites are archaeological features detected from the air when low-angle sunlight highlights subtle topographical variations on the ground, revealing details that would otherwise remain invisible. In \u003Ci>Shadow Sites II \u003C/i>(2011), Jananne Al-Ani employs this aerial reconnaissance method, using a large-format digital camera and light aircraft to photograph archaeological ruins and other signs of human settlement across different desert landscapes located in West Asia. The film was developed as part of a body of work titled \u003Ci>The Aesthetics of Disappearance: A Land without People\u003C/i>, which explores ‘the disappearance of the body in the contested and highly charged landscapes of the Middle East’. In contrast to Orientalist visions of the desert as an empty, unoccupied place, in \u003Ci>Shadow Sites II\u003C/i> the camera seemingly burrows into the landscape to disclose sedimented traces of human presence.\u003C/p>\u003Cp style=\"margin-left:0px;\"> \u003C/p>",[235],{"title":12,"relatedEntries":236},[237,255,277],{"typeHandle":238,"entries":239},"channelsEntries",[240],{"title":241,"uri":242,"image":243,"categories":250,"authorInfo":252},"Scenes of Erasure – Part II: Remains","ibraaz-publishing/watch/scenes-of-erasure-part-ii-remains",[244],{"id":245,"path":246,"alt":12,"title":247,"width":248,"height":249,"mimeType":16},"23897","Scenes-of-Erasure-Screening-Room/Part-II/Screenshot-2026-04-29-at-17.06.12.png","Screenshot 2026 04 29 at 17 06 12",2550,1372,[251],{"title":168,"slug":169},[253],{"authorName":254},"Ali Cherri, Maeve Brennan, Joana Hadjithomas & Khalil Joreige",{"typeHandle":256,"events":257},"calendarEvents",[258],{"title":259,"slug":260,"startDate":261,"endDate":262,"datesText":263,"image":265,"categories":272,"heading":276},"Stolen Past","stolen-past-hrair-sarkissian","2026-03-25T00:00:00+00:00","2026-05-24T23:59:59+00:00",{"html":264},"\u003Cp>25 Mar – 24 May\u003C/p>",[266],{"id":267,"path":268,"alt":12,"title":269,"width":270,"height":271,"mimeType":230},"20143","stolen-past/142NAK02908-要再調整.jpg","142 NAK02908 要再調整",1920,1281,[273],{"title":274,"slug":275},"Exhibition","exhibitions","Hrair Sarkissian",{"typeHandle":238,"entries":278},[279],{"title":280,"uri":281,"image":282,"categories":289,"authorInfo":293},"Zahrat Al Ghoula","ibraaz-publishing/watch/zahrat-al-ghoula",[283],{"id":284,"path":285,"alt":12,"title":286,"width":287,"height":288,"mimeType":16},"14735","Screenshot-2025-11-28-at-14.23.43.png","Screenshot 2025 11 28 at 14 23 43",4480,2520,[290],{"title":291,"slug":292},"Video","video",[294],{"authorName":295},"Adam Rouhana & Juline Hadaya",{"categories":297},[298,301,305,309,313,317,321,325],{"id":299,"slug":275,"title":274,"groupHandle":300},"4488","events",{"id":302,"slug":303,"title":304,"groupHandle":300},"4490","talks","Talk",{"id":306,"slug":307,"title":308,"groupHandle":300},"15579","music","Music",{"id":310,"slug":311,"title":312,"groupHandle":300},"4489","performance","Performance",{"id":314,"slug":315,"title":316,"groupHandle":300},"4492","film","Film",{"id":318,"slug":319,"title":320,"groupHandle":300},"6390","library-in-residence","Library-in-Residence",{"id":322,"slug":323,"title":324,"groupHandle":300},"18154","special-projects","Special Project",{"id":326,"slug":327,"title":328,"groupHandle":300},"18170","workshops","Workshop"]