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Stay updated.",{"html":63},"\u003Cp>By subscribing to our newsletter you are agreeing to receiving updates and communications from Ibraaz.\u003C/p>",{"globalSet":65},{"id":66,"handle":67,"linksGroups":68},"128","navigation",[69,75,106,112,118,124,130],{"title":70,"entry":71,"links":74},"What’s On",[72],{"uri":73},"whats-on",[],{"title":76,"entry":77,"links":80},"Publishing",[78],{"uri":79},"ibraaz-publishing",[81,86,91,96,101],{"title":82,"entry":83},"Writing Gaza",[84],{"uri":85},"ibraaz-publishing/writing-gaza",{"title":87,"entry":88},"Mission Statement",[89],{"uri":90},"ibraaz-publishing/mission-statement",{"title":92,"entry":93},"Read",[94],{"uri":95},"ibraaz-publishing/read",{"title":97,"entry":98},"Watch",[99],{"uri":100},"ibraaz-publishing/watch",{"title":102,"entry":103},"Listen",[104],{"uri":105},"ibraaz-publishing/listen",{"title":107,"entry":108,"links":111},"Visit Us",[109],{"uri":110},"visit-us",[],{"title":113,"entry":114,"links":117},"About Us",[115],{"uri":116},"about-us",[],{"title":119,"entry":120,"links":123},"Oula: Café-in-Residence",[121],{"uri":122},"oula-cafe",[],{"title":125,"entry":126,"links":129},"Maktaba: Bookshop-in-Residence",[127],{"uri":128},"maktaba-bookshop-in-residence",[],{"title":131,"entry":132,"links":135},"Contact Us",[133],{"uri":134},"contact-us",[],{"entries":137},[138],{"uri":139,"title":140,"typeHandle":141},"ibraaz-publishing/watch/scenes-of-erasure-part-ii-remains","Scenes of Erasure – Part II: Remains","videoForm",{"globalSet":143},{"id":144,"handle":145,"activated":146,"heading":147,"richText":148,"text":150},"16767","notification",false,"Visitor Information",{"html":149},"\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",{"categories":152},[153,158,162,166,170,174,178,182],{"id":154,"slug":155,"title":156,"groupHandle":157},"4488","exhibitions","Exhibition","events",{"id":159,"slug":160,"title":161,"groupHandle":157},"4490","talks","Talk",{"id":163,"slug":164,"title":165,"groupHandle":157},"15579","music","Music",{"id":167,"slug":168,"title":169,"groupHandle":157},"4489","performance","Performance",{"id":171,"slug":172,"title":173,"groupHandle":157},"4492","film","Film",{"id":175,"slug":176,"title":177,"groupHandle":157},"6390","library-in-residence","Library-in-Residence",{"id":179,"slug":180,"title":181,"groupHandle":157},"18154","special-projects","Special Project",{"id":183,"slug":184,"title":185,"groupHandle":157},"18170","workshops","Workshop",{"globalSet":187},{"id":188,"handle":189,"heading":12,"richText":190},"11","gdpr",{"html":191},"\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>",{"entry":193},{"id":194,"uri":139,"title":140,"slug":195,"postDate":196,"typeHandle":141,"sectionHandle":197,"meta":198,"categories":201,"figure":205,"pdf":219,"authorInfo":220,"richTitle":12,"richSubtitle":226,"richDescription":12,"richExcerpt":12,"image":228,"externalLinks":230,"entrySections":231,"related":271},"22913","scenes-of-erasure-part-ii-remains","2026-05-08T05:30:00+01:00","watch",[199],{"title":140,"description":12,"image":200},[],[202],{"title":203,"slug":204},"Screening room","screening-room",[206],{"typeHandle":207,"image":208,"caption":215,"width":217,"ratio":218},"figure",[209],{"id":210,"path":211,"alt":12,"title":212,"width":213,"height":214,"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,{"html":216},"\u003Cp>Ali Cherri, \u003Ci>The Digger \u003C/i>(2015)\u003C/p>","wide","landscape",[],[221],{"authorName":222,"authorRole":12,"authorPortrait":223,"authorBio":224,"authorUrl":12},"Ali Cherri, Maeve Brennan, Joana Hadjithomas & Khalil Joreige",[],{"html":225},"\u003Cp>\u003Cstrong>Ali Cherri\u003C/strong>’s work is inspired by artefacts and the natural world. Using archaeological artefacts as a starting point, he investigates the boundaries of ideologies that underpin the foundations of nations and the myth of national progression. His work explores the links between archaeology, historical narrative, and heritage, considering the processes of excavation and relocation of cultural objects into museums. Recent solo exhibitions include \u003Ci>Les Veilleurs\u003C/i> (Musées de Marseille, 2025); \u003Ci>How I Am Monument\u003C/i> (Baltic Art Centre, 2025; Secession, 2024); \u003Ci>Twenty-Four Ghosts per Second\u003C/i> (Bourse de Commerce, 2025), \u003Ci>ENVISAGEMENT\u003C/i> (Fondation Giacometti, 2024).\u003C/p>\u003Cp>\u003Cstrong>Maeve Brennan \u003C/strong>is an artist and filmmaker based in London. Her practice explores the social, historical, and political resonance of material and place. Brennan was awarded the prestigious Paul Hamlyn Award for Artists (2025) and is the recipient of the FLAMIN Production Award 2025 for her project \u003Ci>DEEP STORAGE\u003C/i>. She was shortlisted for the Jarman Award (2024) and was awarded the Sainsbury Scholarship, British School of Rome (2023), the Stanley Picker Fine Art Fellowship (2019–22), and the Jerwood/FVU Award (2018). She is currently in residence at Somerset House Studios, and her films are distributed by LUX.\u003C/p>\u003Cp>\u003Cstrong>Joana Hadjithomas \u003C/strong>&\u003Cstrong> Khalil Joreige\u003C/strong> are filmmakers and artists who question the fabrication of images and the writing of history. Their works create thematic and formal links between photography, video, performance, installation, sculpture, and cinema. Their films have received numerous awards, and they were awarded the prestigious Marcel Duchamp Prize in 2017 for their art project \u003Ci>Unconformities\u003C/i>. Their research is based on personal or political documents, traces of the invisible and the absent, histories kept secret, and the archaeological ruins buried beneath cities. \u003C/p>",{"html":227},"\u003Cp>Screening until 22 May 2026\u003C/p>",[229],{"id":210,"path":211,"alt":12,"title":212,"width":213,"height":214,"mimeType":16},[],[232,236,244,249,255,260,266],{"typeHandle":233,"richTitle":12,"richSubtitle":12,"richText":234},"content",{"html":235},"\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>Stolen Past\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":207,"image":237,"caption":12,"width":217,"ratio":218},[238],{"id":239,"path":240,"alt":12,"title":241,"width":242,"height":243,"mimeType":16},"23896","Scenes-of-Erasure-Screening-Room/Part-II/Screenshot-2026-04-29-at-17.05.01.png","Screenshot 2026 04 29 at 17 05 01",2560,1440,{"typeHandle":233,"richTitle":245,"richSubtitle":12,"richText":247},{"html":246},"\u003Cp>Ali Cherri, \u003Ci>The Digger\u003C/i> (2015, 23m 36s)\u003C/p>",{"html":248},"\u003Cp>\u003Ci>The Digger\u003C/i> documents the daily routines of caretaker and workman Sultan Zeib Khan, who keeps watch over the 5,000-year-old Neolithic necropolis of Jebel al-Buhais and the tombs of Mleiha and Jebel Hafeet in Sharjah and Abu Dhabi. Khan, a migrant from Pakistan who has looked after these ruins for 20 years, excavates funerary relics and transfers them to a nearby Sharjah Archaeological Museum where they experience another kind of entombment. Shot against the majestic desert landscape and in among the empty ancient tombs, the film portrays Khan’s solitary work as a form of labour that transcends simple maintenance and museological practices of conservation. Operating as a mediator between the living and the dead, Khan’s ritualistic and reparative efforts suggest a sacred act of stewardship and remembrance.\u003C/p>\u003Cp> \u003C/p>",{"typeHandle":207,"image":250,"caption":12,"width":217,"ratio":218},[251],{"id":252,"path":253,"alt":12,"title":254,"width":242,"height":243,"mimeType":16},"23899","Scenes-of-Erasure-Screening-Room/Part-II/Screenshot-2026-04-29-at-17.09.28.png","Screenshot 2026 04 29 at 17 09 28",{"typeHandle":233,"richTitle":256,"richSubtitle":12,"richText":258},{"html":257},"\u003Cp>Maeve Brennan, \u003Ci>An Excavation\u003C/i> (2022, 20m 21s) \u003C/p>",{"html":259},"\u003Cp>In 2014, 45 crates of looted antiquities were discovered at the Geneva Freeport in a warehouse belonging to the disgraced antiquities dealer Robin Symes. Three of the crates, containing a series of funerary vases that were clandestinely excavated from 2500-year-old tombs in Southern Italy, were sent to forensic archaeologists Dr Christos Tsirogiannis and Dr Vinnie Norskov to investigate. \u003Ci>An Excavation\u003C/i> documents Tsirogiannis and Norskov as they attempt to reconstruct the missing links in the trafficking chain: from looters and smugglers to dealers, restorers, and auction houses. In addition to mapping the illicit networks of the international antiquities market, Tsirogiannis and Norskov endeavour to piece together the incomplete fragments of one of the looted vases as well as the archaeological contexts from which it was irremediably separated.\u003C/p>\u003Cp> \u003C/p>",{"typeHandle":207,"image":261,"caption":12,"width":217,"ratio":218},[262],{"id":263,"path":264,"alt":12,"title":265,"width":242,"height":243,"mimeType":16},"23898","Scenes-of-Erasure-Screening-Room/Part-II/Screenshot-2026-04-29-at-17.07.40.png","Screenshot 2026 04 29 at 17 07 40",{"typeHandle":233,"richTitle":267,"richSubtitle":12,"richText":269},{"html":268},"\u003Cp>Joana Hadjithomas & Khalil Joreige, \u003Ci>Palimpsests\u003C/i> (2017, 12m 39s)\u003C/p>",{"html":270},"\u003Cp>Part of Joana Hadjithomas and Khalil Joreige’s multimedia project \u003Ci>Unconformities\u003C/i>, \u003Ci>Palimpsests\u003C/i> records the process of extracting drilling core samples from several construction sites across Beirut. With the guidance of archaeologist Hadi Choueri, the artists disclose how these samples index the hidden layers of sedimented pasts buried just beneath our feet. The mixing of drone footage and microscopic images pulls us, vertiginously, from the immediacy of the urban present into the depths of the Earth’s history and its stratified records of human and geological events. The urban fabric of Beirut is presented as a giant palimpsest, a city where centuries of history are continuously overwritten, destroyed, and rebuilt, blending different epochs together.\u003C/p>\u003Cp> \u003C/p>",[272],{"title":273,"relatedEntries":274},"Related",[275,293,314],{"typeHandle":276,"entries":277},"channelsEntries",[278],{"title":279,"uri":280,"image":281,"categories":288,"authorInfo":290},"Scenes of Erasure – Part I: Ruins","ibraaz-publishing/watch/scenes-of-erasure-part-i-ruins",[282],{"id":283,"path":284,"alt":12,"title":285,"width":286,"height":287,"mimeType":16},"22938","Scenes-of-Erasure-Screening-Room/UNDR-stills2.png","UNDR stills2",1937,1436,[289],{"title":203,"slug":204},[291],{"authorName":292},"Kamal Aljafari, Miranda Pennell, Jananne Al-Ani",{"typeHandle":294,"events":295},"calendarEvents",[296],{"title":297,"slug":298,"startDate":299,"endDate":300,"datesText":301,"image":303,"categories":311,"heading":313},"Stolen Past","stolen-past-hrair-sarkissian","2026-03-25T00:00:00+00:00","2026-05-24T23:59:59+00:00",{"html":302},"\u003Cp>25 Mar – 24 May\u003C/p>",[304],{"id":305,"path":306,"alt":12,"title":307,"width":308,"height":309,"mimeType":310},"20143","stolen-past/142NAK02908-要再調整.jpg","142 NAK02908 要再調整",1920,1281,"image/jpeg",[312],{"title":156,"slug":155},"Hrair Sarkissian",{"typeHandle":276,"entries":315},[]]