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Stay updated.",{"html":141},"\u003Cp>By subscribing to our newsletter you are agreeing to receiving updates and communications from Ibraaz.\u003C/p>",{"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",{"globalSet":152},{"id":153,"handle":154,"heading":12,"richText":155},"11","gdpr",{"html":156},"\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":158},{"id":159,"uri":132,"title":133,"slug":160,"postDate":161,"typeHandle":134,"sectionHandle":162,"meta":163,"categories":166,"figure":170,"pdf":185,"authorInfo":186,"richTitle":192,"richSubtitle":194,"richDescription":12,"richExcerpt":12,"image":196,"externalLinks":198,"entrySections":199,"related":245},"14820","screening-room-00-gathering","2025-10-14T08:00:00+01:00","watch",[164],{"title":133,"description":12,"image":165},[],[167],{"title":168,"slug":169},"Screening room","screening-room",[171],{"typeHandle":172,"image":173,"caption":181,"width":183,"ratio":184},"figure",[174],{"id":175,"path":176,"alt":12,"title":177,"width":178,"height":179,"mimeType":180},"3477","we-began-by-measuring-distance-2009/Hero-and-thumbnail-image.jpg","Hero and thumbnail image",720,480,"image/jpeg",{"html":182},"\u003Cp>Basma Alsharif, \u003Ci>We Began by Measuring Distance\u003C/i> (2009)\u003C/p>","wide","landscape",[],[187],{"authorName":188,"authorRole":12,"authorPortrait":189,"authorBio":190,"authorUrl":12},"Basma al-Sharif, Sophia Al Maria, Lawrence Lek",[],{"html":191},"\u003Cp>\u003Cstrong>Basma al-Sharif\u003C/strong> is a Palestinian artist/filmmaker who explores cyclical political histories and conflicts. In films and installations that move backward and forward in history, between place and non-place, she confronts the legacy of colonialism through satirical, immersive, and lyrical works. She received an MFA from the University of Illinois at Chicago in 2007, was a resident of the Fondazione Antonio Ratti in 2009, the Pavillon Neuflize OBC at the Palais de Tokyo in 2014-15. She received a Jury prize at the Sharjah Biennial in 2009, was awarded a Visual Arts of the Fundación Botín in 2010, Mophradat’s Consortium Commissions in 2018, she was a fellow of the Berlin Artistic Research Grant Programme for 2022-2023 and was nominated for the Prix Aware for 2024. Al-Sharif’s major exhibitions include shows with Pompidou Metz, De Appel, the Ruttenberg Contemporary Photography Series for the Museum of the Art Institute of Chicago, Modern Mondays at MOMA, CCA Glasgow, SALT Galata, the Whitney Biennial, the New Museum, Berlin Documentary Forum, and Manifesta 8. Her films have screened in the international film festivals of Locarno, Berlin, Mar del Plata, Milan, London, Toronto, New York, Montreal, and Yamagata amongst others. Basma is based in Berlin and represented by Galerie Imane Farés in Paris.\u003C/p>\u003Cp>\u003Cstrong>Sophia Al-Maria\u003C/strong> is a Qatari-American artist, writer, and filmmaker based in London. Her work spans video, performance, and text, exploring themes of myth, memory, and the politics of storytelling. \u003C/p>\u003Cp>\u003Cstrong>Lawrence Lek\u003C/strong> unites filmmaking, video games, and electronic soundscapes in a singular cinematic universe. He is known for advancing the concept of Sinofuturism with immersive installations that explore spiritual and existential themes through the lens of science fiction. Featuring a recurring cast of wandering characters, his works are noted for their dreamlike narratives, evocative imagery, and preoccupation with technology and memory. In 2024, he was the winner of the Frieze London Artist Award and was named one of Time’s 100 most influential people in AI. Recent exhibitions include \u003Ci>NOX High-Rise\u003C/i>, Hammer Museum, Los Angeles, 2025; \u003Ci>A Cosmic Movie Camera\u003C/i>, Biennale de l'Image en Mouvement, CAC Genève, 2024; \u003Ci>NOX\u003C/i>, LAS Art Foundation, Berlin, 2024; \u003Ci>Ten Thousand Suns\u003C/i>, 24th Biennale of Sydney, 2024; \u003Ci>Black Cloud Highway\u003C/i>, Sadie Coles HQ, London, 2023. Lek performs live audio-visual shows of his films and video games, and his recent soundtrack releases include \u003Ci>AIDOL OST\u003C/i> (Hyperdub Records) and \u003Ci>Temple OST\u003C/i> (The Vinyl Factory). In 2021 he was the recipient of the 4th VH Award Grand Prix and the LACMA Art + Technology Lab Grant. Lek is represented by Sadie Coles HQ.\u003C/p>",{"html":193},"\u003Cp>Screening Room 00: Gathering\u003C/p>",{"html":195},"\u003Cp>Screening until 30 January 2026\u003C/p>",[197],{"id":175,"path":176,"alt":12,"title":177,"width":178,"height":179,"mimeType":180},[],[200,204,209,219,224,232,237],{"typeHandle":201,"richTitle":12,"richSubtitle":12,"richText":202},"content",{"html":203},"\u003Cp>This inaugural edition of Screening Room was curated by Stephanie Bailey. It gathers three films by Basma al-Sharif, Sophia Al-Maria, and Lawrence Lek, who all attended Ibraaz’s inaugural \u003Ca target=\"_blank\" href=\"https://ibraaz.org/ibraaz-publishing/mission-statement\" rel=\"noreferrer noopener\">Mission Gathering\u003C/a> in February 2025. Their films, in different ways, utilise and blend diverse forms and genres, including documentary and speculative fiction, to explore themes of colonial history, conflict, and representational and political crises. The Screening Room will run until the end of January 2026. \u003C/p>",{"typeHandle":201,"richTitle":205,"richSubtitle":12,"richText":207},{"html":206},"\u003Cp>Basma al-Sharif, \u003Ci>We Began by Measuring Distance\u003C/i> (2009)\u003C/p>",{"html":208},"\u003Cp>An anonymous group of cartographers set out to fill their time by measuring distance. Innocent measurements become political, drawing attention to how image and sound communicate history, tragedy, and the complication of Palestinian nationalism. \u003Ci>We Began By Measuring Distance\u003C/i> reveals an ultimate disenchantment with facts, exploring what happens when the visual fails to communicate the tragic.\u003C/p>",{"typeHandle":172,"image":210,"caption":12,"width":183,"ratio":184},[211],{"id":212,"path":213,"alt":214,"title":215,"width":216,"height":217,"mimeType":218},"18566","Beast-Type-Song/288714005-0c2ff4f48c084aec5af2b26471f38eba85ae8f003ad6506d2b8071336697789f-d.webp","","We Began By Measuring Distance",960,640,"image/webp",{"typeHandle":201,"richTitle":220,"richSubtitle":12,"richText":222},{"html":221},"\u003Cp>Sophia Al-Maria, \u003Ci>Beast Type Song\u003C/i> (2019)\u003C/p>",{"html":223},"\u003Cp>In \u003Ci>Beast Type Song\u003C/i> (2019), Sophia Al-Maria stages a richly textured meditation on erasure, power, and embodied memory. Shot in the derelict former campus of Central Saint Martins, over the course of the film’s fragmentary narrative we encounter the voices of three AWOL veterans of a solar war played by Yumna Marwan, Elizabeth Peace, and Tosh Basco, as well as Al-Maria herself playing the character of Slug – a time-travelling narrator who appears throughout a series of Al-Maria's. \u003Ci>Beast Type Song\u003C/i> blends personal histories with the public legacies of colonialism, reflecting on its inherited narratives and languages. Through choreographed movement, monologues, literary and audiovisual citations, and shifts in narrative tone that are punctuated by typography (the asterisk which has become a recurring glyph throughout Al-Maria's work), the film calls into question dominant histories by asking: what is our complicity, how do we rewrite what has been omitted, and what stories do we carry forward when the official versions collapse?\u003C/p>",{"typeHandle":172,"image":225,"caption":12,"width":183,"ratio":184},[226],{"id":227,"path":228,"alt":12,"title":229,"width":230,"height":231,"mimeType":16},"3062","Beast-Type-Song/Hero-image.png","Hero image",3361,2518,{"typeHandle":201,"richTitle":233,"richSubtitle":12,"richText":235},{"html":234},"\u003Cp>Lawrence Lek, \u003Ci>Temple OST\u003C/i> (2020)\u003C/p>",{"html":236},"\u003Cp>\u003Ci>Temple OST\u003C/i> is an album-length CGI music video for Lawrence Lek’s video game set in a deserted, post-crisis London. Originally commissioned for an exhibition at 180 The Strand, the work operates simultaneously as film, game, and soundscape: an immersive journey through a simulated city where spectral ravers travel from a ruined Tube station to a ghostly nightclub buried underground.\u003C/p>\u003Cp>A companion to Lek’s feature-length musical \u003Ci>AIDOL \u003C/i>(2019), in which a fading pop diva stages a comeback with help from an AI ghostwriter, \u003Ci>Temple OST\u003C/i> extends that narrative into a playable club environment rendered cinematic. Drawing from the Japanese term karaoke – ‘empty orchestra’ – the film unfolds as a nonlinear requiem: a rave without ravers, a dancefloor after the fall.\u003C/p>\u003Cp>Constructed entirely from in-game footage and scored to an original album composed by Lek, \u003Ci>Temple OST\u003C/i> blurs the line between narrative cinema and virtual architecture. Its ethereal anthems and synthetic refrains echo through vacant tunnels and neon corridors, mapping the emotional landscape of a world where memory persists only as simulation.\u003C/p>\u003Cp>Developed in the aftermath of personal loss, the film’s empty club becomes more than a setting; it is a spatial expression of absence, escapism, and emotional residue. At once elegy and environment, \u003Ci>Temple OST\u003C/i> reframes the music video as extended cinematic architecture—a full-length portrait of a future haunted by its own past.\u003C/p>\u003Cp>\u003Cstrong>Credit:\u003C/strong> Commissioned for 180 The Strand. Soundtrack available on the Vinyl Factory (VF344).\u003C/p>",{"typeHandle":172,"image":238,"caption":12,"width":183,"ratio":184},[239],{"id":240,"path":241,"alt":12,"title":242,"width":243,"height":244,"mimeType":180},"2491","Templt-OST-by-Lawrence-Lek/LawrenceLek_Temple_OST_02-HERMITAGE-隐居-ARTWORK_LANDSCAPE.jpg","Lawrence Lek Temple OST 02 HERMITAGE 隐居 ARTWORK LANDSCAPE",1920,1080,[246],{"title":247,"relatedEntries":248},"Related",[249,270,291],{"typeHandle":250,"entries":251},"channelsEntries",[252],{"title":253,"uri":254,"image":255,"readCategories":262,"writeCategories":263,"missionCategories":264,"authorInfo":267},"3. Who Are Our Audiences, Users, Protagonists?","ibraaz-publishing/mission-statement/session-3-who-are-our-audiences-users-protagonists",[256],{"id":257,"path":258,"alt":12,"title":259,"width":260,"height":261,"mimeType":16},"2902","Mission-Gathering/Session-3.png","Session 3",2160,2700,[],[],[265],{"title":80,"slug":266},"mission-statement",[268],{"authorName":269},"Jonas Staal, Nadja Argyropoulou, Basma al-Sharif",{"typeHandle":250,"entries":271},[272],{"title":273,"uri":274,"image":275,"readCategories":282,"writeCategories":286,"missionCategories":287,"authorInfo":288},"Algorithmic Visions: Artificial Intelligence and the Future of Warfare","ibraaz-publishing/read/algorithmic-visions-artificial-intelligence-and-the-future-of-warfare",[276],{"id":277,"path":278,"alt":12,"title":279,"width":280,"height":281,"mimeType":16},"5794","Algorithmic-Visions-Artificial-Intelligence-and-the-Future-of-Warfare/Screenshot-2025-10-02-at-09.58.39.png","Screenshot 2025 10 02 at 09 58 39",1614,888,[283],{"title":284,"slug":285},"Essay","essay",[],[],[289],{"authorName":290},"Anthony Downey",{"typeHandle":250,"entries":292},[293],{"title":294,"uri":295,"image":296,"categories":302,"authorInfo":306},"Futurhythmachines: Infopoiēsis","ibraaz-publishing/listen/futurhythmachines-infopoiēsis",[297],{"id":298,"path":299,"alt":12,"title":300,"width":301,"height":301,"mimeType":180},"13717","Muindi-Fanuel-Muindi.jpg","Muindi Fanuel Muindi",8333,[303],{"title":304,"slug":305},"Soundscape","soundscape",[307],{"authorName":300},{"categories":309},[310,315,319,323,327,331,335,339],{"id":311,"slug":312,"title":313,"groupHandle":314},"4488","exhibitions","Exhibition","events",{"id":316,"slug":317,"title":318,"groupHandle":314},"4490","talks","Talk",{"id":320,"slug":321,"title":322,"groupHandle":314},"15579","music","Music",{"id":324,"slug":325,"title":326,"groupHandle":314},"4489","performance","Performance",{"id":328,"slug":329,"title":330,"groupHandle":314},"4492","film","Film",{"id":332,"slug":333,"title":334,"groupHandle":314},"6390","library-in-residence","Library-in-Residence",{"id":336,"slug":337,"title":338,"groupHandle":314},"18154","special-projects","Special Project",{"id":340,"slug":341,"title":342,"groupHandle":314},"18170","workshops","Workshop"]