[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"gql:data:MONBxYgYEhGUyk6f2DwO_Kk0nVufpNZxVFSOnBQAUmQ":3,"gql:data:kWi9TCkwr5vg93qpxD6jhfBm2MXIx2TQWy-GbjfKRFc":57,"gql:data:tyCI5HNt1HZczdKwWSz9r1bpaSHHrboaGtCGGtlkHBc":63,"gql:data:P1L-3F4yLFT8Sm-6QpbQIoqRmZ3TevlXAnhvTQmaZho":135,"gql:data:yxtepiAIgU6wIBqK3wYdgLRWg-QNgf2zDL8SSTsBMXA":142,"gql:data:qmJY4-503CHlJg4_ZSHARjkzFPaXzbxV7BFMovCRKYg":151,"gql:data:HT7XK9L7FevXFqeorguiilMT3M34fS21-YSozsBn3eg":157,"gql:data:SVqLTd3VhSe8Skd34FQKpJQa7AW92QwjeA6MY2Fohag":192},{"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>",[],{"entries":58},[59],{"uri":60,"title":61,"typeHandle":62},"ibraaz-publishing/watch/works-from-radical-film-school-part-ii-holding-fragments","Works from Radical Film School – Part II: Holding Fragments","videoForm",{"globalSet":64},{"id":65,"handle":66,"linksGroups":67},"128","navigation",[68,74,105,111,117,123,129],{"title":69,"entry":70,"links":73},"What’s On",[71],{"uri":72},"whats-on",[],{"title":75,"entry":76,"links":79},"Publishing",[77],{"uri":78},"ibraaz-publishing",[80,85,90,95,100],{"title":81,"entry":82},"Writing Gaza",[83],{"uri":84},"ibraaz-publishing/writing-gaza",{"title":86,"entry":87},"Mission Statement",[88],{"uri":89},"ibraaz-publishing/mission-statement",{"title":91,"entry":92},"Read",[93],{"uri":94},"ibraaz-publishing/read",{"title":96,"entry":97},"Watch",[98],{"uri":99},"ibraaz-publishing/watch",{"title":101,"entry":102},"Listen",[103],{"uri":104},"ibraaz-publishing/listen",{"title":106,"entry":107,"links":110},"Visit Us",[108],{"uri":109},"visit-us",[],{"title":112,"entry":113,"links":116},"About Us",[114],{"uri":115},"about-us",[],{"title":118,"entry":119,"links":122},"Oula: Café-in-Residence",[120],{"uri":121},"oula-cafe",[],{"title":124,"entry":125,"links":128},"Maktaba: Bookshop-in-Residence",[126],{"uri":127},"maktaba-bookshop-in-residence",[],{"title":130,"entry":131,"links":134},"Contact Us",[132],{"uri":133},"contact-us",[],{"globalSet":136},{"id":137,"handle":138,"heading":139,"richText":140},"37","forms","Culture is a work in progress. 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>",{"categories":158},[159,164,168,172,176,180,184,188],{"id":160,"slug":161,"title":162,"groupHandle":163},"4488","exhibitions","Exhibition","events",{"id":165,"slug":166,"title":167,"groupHandle":163},"4490","talks","Talk",{"id":169,"slug":170,"title":171,"groupHandle":163},"15579","music","Music",{"id":173,"slug":174,"title":175,"groupHandle":163},"4489","performance","Performance",{"id":177,"slug":178,"title":179,"groupHandle":163},"4492","film","Film",{"id":181,"slug":182,"title":183,"groupHandle":163},"6390","library-in-residence","Library-in-Residence",{"id":185,"slug":186,"title":187,"groupHandle":163},"18154","special-projects","Special Project",{"id":189,"slug":190,"title":191,"groupHandle":163},"18170","workshops","Workshop",{"entry":193},{"id":194,"uri":60,"title":61,"slug":195,"postDate":196,"typeHandle":62,"sectionHandle":197,"meta":198,"categories":201,"figure":205,"pdf":219,"authorInfo":220,"richTitle":12,"richSubtitle":225,"richDescription":227,"richExcerpt":12,"image":229,"externalLinks":231,"entrySections":232,"related":345},"28123","works-from-radical-film-school-part-ii-holding-fragments","2026-08-21T00:00:00+01:00","watch",[199],{"title":61,"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},"28277","Radical-Film-School-2/overview-card.png","Overview card",2468,1905,{"html":216},"\u003Cp>Leanne Davies, \u003Ci>Hurricane Recorder\u003C/i> (2023)\u003C/p>","wide","landscape",[],[221],{"authorName":222,"authorBio":223},"Tülin Dağ, Leane Davies, Bea Macdonald, Nesh Dadgostar, Mars K, Sasha Patel",{"html":224},"\u003Cp>\u003Cstrong>Tülin Dağ\u003C/strong> is a London-based artist filmmaker from Turkey, working with experimental moving images, archival materials, and oral histories. Drawing on her experience as a Kurdish political prisoner for nine and a half years, her work explores memory, resistance, and collective survival through embodied and personal narratives.\u003C/p>\u003Cp>\u003Cstrong>Leanne Davies\u003C/strong> is an artist-filmmaker based in London. Working primarily in a non-fiction mode, her work blends documentary, archival, performative, and fictive elements to move beyond factual tellings. Her work is grounded in intersectional feminism and explores the bodily and the erotic, feminist spiritual practices, the natural world, and the entanglements between them. \u003C/p>\u003Cp>\u003Cstrong>Bea Macdonald\u003C/strong> is a London‑based artist filmmaker whose work moves between documentary and poetry, tracing questions of memory, time, and myth. Working primarily with analogue film, she has recently collaborated with Open City Documentary Festival, Drop Everything, and Deptford X. She also runs Analogue Dreamscapes, a workshop series that explores dreaming as a mode of inner political resistance.\u003C/p>\u003Cp>\u003Cstrong>Nesh Dadgostar\u003C/strong> is a British-Iranian artist and filmmaker based in South London. His work navigates the personal and collective dimensions of diasporic identity, engaging with themes of  displacement, belonging, and the resilience of cultural narratives.\u003C/p>\u003Cp>\u003Cstrong>Mars K\u003C/strong> is an artist working with video, text, and performance, made in London with parts from Hull. Former Head of the DIY Fringe! Queer Film & Arts Fest, they joined Radical Film School in 2024 and began bringing their stories to life. They are a writer published in \u003Ci>GRASS Magazine\u003C/i> and \u003Ci>Sticky Fingers Journal\u003C/i>, and editor of \u003Ci>Screwed Mag\u003C/i>.\u003C/p>\u003Cp style=\"margin-left:0cm;\">\u003Cstrong>Sasha Patel \u003C/strong>is a visual anthropologist, filmmaker and investigative researcher based in/out of London. She is an ESRC-funded PhD candidate in Anthropology at the University of Sussex, where her research examines intimacy and conviviality across South Asia and its diasporas. Her professional work spans film and television production, sonic ethnography, and research, made in collaboration with arts, academic and community organisations in the UK and India. \u003C/p>\u003Cp>\u003Cstrong>Fi Al Hamdan\u003C/strong> is a Syrian-Chinese researcher and producer with a background in Middle Eastern Studies. Her practice moves across exhibition-making, critical writing, and public programming with a focus on anti-colonial methodologies and queer temporalities. Fi’s ongoing audio project and research draws on Saidiya Hartman’s theory of ‘critical fabulation’ to explore the experimental archival practices of Palestinian and Syrian artists responding to the dominant narratives of loss, return, and recovery.\u003C/p>\u003Cp>\u003Cstrong>Adam Hasyim Al Raschid \u003C/strong>is an actor, filmmaker, and producer from Lombok, Indonesia. Whether he is performing or working behind the scenes, Adam loves to tell bold world stories and collaborate with different artists from a broad range of practices. Adam’s work is borderless and multilingual, having made work in Arabic, English, French, Indonesian, and Spanish. His latest short film, \u003Ci>Air Pangea\u003C/i>, was shot in Indonesia.\u003C/p>",{"html":226},"\u003Cp>Screening until 11 September\u003C/p>",{"html":228},"\u003Cp>Curated by Fi Al Hamdan and Adam Hasyim Al Raschid\u003C/p>",[230],{"id":210,"path":211,"alt":12,"title":212,"width":213,"height":214,"mimeType":16},[],[233,237,253,258,271,276,288,293,306,311,322,327,340],{"typeHandle":234,"richTitle":12,"richSubtitle":12,"richText":235},"content",{"html":236},"\u003Cp>While the films of \u003Ca target=\"_blank\" href=\"https://ibraaz.org/ibraaz-publishing/watch/the-image-is-not-enough\" rel=\"noreferrer noopener\">\u003Ci>Part I: The Image Is Not Enough\u003C/i>\u003C/a> experimented with deconstruction, \u003Ci>Part II: Holding Fragments\u003C/i> brings together six experimental shorts that remake and rebuild the language of cinema.\u003C/p>\u003Cp>Across the works included in this programme, reconstruction emerges as a political and aesthetic method of redefining the representation of our built and natural environments. This reconstructive labour takes many forms: family photographs are recontextualised; historical footage is reordered; oral testimonies are reassembled; the architecture of oppression is challenged. Interweaving personal and political subjects, images and sounds are repurposed by the artists to reveal the conditions in which histories are recorded and remembered, while enacting alternative future applications.\u003C/p>\u003Cp>Moving beyond reconstruction as a simple act of restoration, these films engage in complex and ongoing processes of (re)negotiation. Repetition and editing are deployed creatively to produce other spaces where personal and collective histories are left ambiguous and open-ended. \u003C/p>\u003Cp>Alongside acts of imaginative reconstruction, several of these works turn to the natural world, exploring urban and rural landscapes, flora and fauna as repositories of memory, sites or figures of continuity and renewal. Spanning digital and analogue, found footage and animation, this programme offers a journey through recovered materials to position cinema not as a tool for understanding the past but rather as a device for reshaping our relationship to it.\u003C/p>\u003Cp> \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":238,"caption":12,"video":239,"image":245,"width":217},"video",[240],{"id":241,"path":242,"alt":12,"title":243,"width":12,"height":12,"mimeType":244},"28076","Radical-Film-School-2/o_bahçeli_ev___that_garden_house_dir._tülin_dağ_2025_v1-720p.mp4","O bahçeli ev that garden house dir tülin dağ 2025 v1 720p","video/mp4",[246],{"id":247,"path":248,"alt":12,"title":249,"width":250,"height":251,"mimeType":252},"28082","Radical-Film-School-2/O-Bahçeli-Ev-_-That-Garden-House.jpg","O Bahçeli Ev That Garden House",2326,1696,"image/jpeg",{"typeHandle":234,"richTitle":254,"richSubtitle":12,"richText":256},{"html":255},"\u003Cp>Tülin Dağ, \u003Ci>O Bahçeli Ev / That Garden House\u003C/i> (2025, 19m 21s)\u003C/p>",{"html":257},"\u003Cp>\u003Ci>O Bahçeli Ev / That Garden House\u003C/i> (2025) is an autobiographical film exploring remembering and forgetting through fragmented memories shaped by narratives, gestures, and objects. Centring on mother and daughter, it traces a ritual of repeated questioning, where shifting recollections reveal multiple versions of the past and remembering becomes a collective way of holding onto the present.\u003C/p>\u003Cp> \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":238,"caption":12,"video":259,"image":264,"width":217},[260],{"id":261,"path":262,"alt":12,"title":263,"width":12,"height":12,"mimeType":244},"28073","Radical-Film-School-2/hurricane_recorder_dir._leanne_davies.mp4","Hurricane recorder dir leanne davies",[265],{"id":266,"path":267,"alt":12,"title":268,"width":269,"height":270,"mimeType":252},"28079","Radical-Film-School-2/HURRICANE-RECORDER-Large.jpeg","HURRICANE RECORDER Large",1280,800,{"typeHandle":234,"richTitle":272,"richSubtitle":12,"richText":274},{"html":273},"\u003Cp>Leanne Davies, \u003Ci>Hurricane Recorder\u003C/i> (2023, 5m)\u003C/p>",{"html":275},"\u003Cp>Inspired by mysterious notes that have appeared sporadically around Brixton for over a decade, signed by an unknown female writer, \u003Ci>Hurricane Recorder\u003C/i> is an experimental piece that uses archive material, performance, and text to give form to the anonymous woman’s voice.\u003C/p>\u003Cp> \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":238,"caption":12,"video":277,"image":282,"width":217},[278],{"id":279,"path":280,"alt":12,"title":281,"width":12,"height":12,"mimeType":244},"28075","Radical-Film-School-2/Murmuration-RFS-with-credits.mp4","Murmuration RFS with credits",[283],{"id":284,"path":285,"alt":12,"title":286,"width":269,"height":287,"mimeType":252},"28081","Radical-Film-School-2/Murmuration-Still-Large.jpeg","Murmuration Still Large",993,{"typeHandle":234,"richTitle":289,"richSubtitle":12,"richText":291},{"html":290},"\u003Cp>Bea Macdonald, \u003Ci>Murmuration\u003C/i> (2024, 2m 49s)\u003C/p>",{"html":292},"\u003Cp>\u003Ci>Murmuration\u003C/i> is a short poetic film composed of 16mm footage and drawings. The work is a modern-day ghost story, set in a block of flats at night. The film uses visual layering to play with the spectral qualities of memory and explores how birds symbolise a conduit between different worlds and times.\u003C/p>\u003Cp> \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":238,"caption":12,"video":294,"image":299,"width":217},[295],{"id":296,"path":297,"alt":12,"title":298,"width":12,"height":12,"mimeType":244},"28074","Radical-Film-School-2/May-I-Be-Sacrificed-For-You-FInal.mp4","May I Be Sacrificed For You F Inal",[300],{"id":301,"path":302,"alt":12,"title":303,"width":304,"height":305,"mimeType":252},"28080","Radical-Film-School-2/MAY-I-BE-SACRIFICED-FOR-YOU.jpeg","MAY I BE SACRIFICED FOR YOU",640,360,{"typeHandle":234,"richTitle":307,"richSubtitle":12,"richText":309},{"html":308},"\u003Cp>Nesh Dadgostar, \u003Ci>May I Be Sacrificed for You \u003C/i>(2026, 12m 24s)\u003C/p>",{"html":310},"\u003Cp>\u003Ci>May I Be Sacrificed for You\u003C/i> (قربونت برم) unfolds between a top-floor apartment in Isfahan and the uncertain terrain beyond it. Filmed over a two-month stay in Iran, the work observes the filmmaker’s grandmother, whose mobility is shaped by age and architecture. Daily rituals of beauty and routine become quiet assertions of agency within enclosure. As conflict interrupts filming, stillness and movement begin to overlap, holding home and departure, care and rupture, within the same cinematic space.\u003C/p>\u003Cp> \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":238,"caption":12,"video":312,"image":317,"width":217},[313],{"id":314,"path":315,"alt":12,"title":316,"width":12,"height":12,"mimeType":244},"28072","Radical-Film-School-2/alien-feeling-dir-mars-k-2026.mp4","Alien feeling dir mars k 2026",[318],{"id":319,"path":320,"alt":12,"title":321,"width":269,"height":270,"mimeType":252},"28078","Radical-Film-School-2/ALIEN-FEELING-Large.jpeg","ALIEN FEELING Large",{"typeHandle":234,"richTitle":323,"richSubtitle":12,"richText":325},{"html":324},"\u003Cp>Mars K, \u003Ci>Alien Feeling\u003C/i> (work in progress) (2026, 13m 46s)\u003C/p>",{"html":326},"\u003Cp>To a jazzy, vaudevillian soundtrack, artist Mars K collages video elements to depict the alienation they inherited in a Black family at the edge of England. In a reversal of the sci-fi genre’s ethnographic gaze, they look inward at the ways that being othered creates a sense of intra-community fear and division, tracing the divergent forms with which people respond to racism over time. \u003Ci>Alien Feeling\u003C/i> journeys from a ‘coloured boy’ on a 1970s TV show to the unknown future through the figure of the child, who discovers their own powers while observing the evil above.\u003C/p>\u003Cp> \u003C/p>\u003Cp> \u003C/p>",{"typeHandle":238,"caption":12,"video":328,"image":333,"width":217},[329],{"id":330,"path":331,"alt":12,"title":332,"width":12,"height":12,"mimeType":244},"28077","Radical-Film-School-2/parakeets_sp.mp4","Parakeets sp",[334],{"id":335,"path":336,"alt":12,"title":337,"width":338,"height":339,"mimeType":252},"28083","Radical-Film-School-2/Parakeets.jpeg","Parakeets",1912,1075,{"typeHandle":234,"richTitle":341,"richSubtitle":12,"richText":343},{"html":342},"\u003Cp>Sasha Patel, \u003Ci>Parakeets\u003C/i> (2025, 6m 28s)\u003C/p>",{"html":344},"\u003Cp style=\"margin-left:0cm;\">\u003Ci>Parakeets\u003C/i> is a humorous, sensory ethnography of contemporary London told through the city’s most divisive residents, rose-ringed parakeets. Crossing the river and London’s north-south divide, the birds become mischievous observers of gentrification, social tropes, and everyday coexistence in the city. This short is part one of a work in progress. \u003C/p>\u003Cp style=\"margin-left:0cm;\"> \u003C/p>",[346],{"title":12,"relatedEntries":347},[348,366,384],{"typeHandle":349,"entries":350},"channelsEntries",[351],{"title":352,"uri":353,"image":354,"categories":361,"authorInfo":363},"Works from Radical Film School – Part I: The Image Is Not Enough","ibraaz-publishing/watch/the-image-is-not-enough",[355],{"id":356,"path":357,"alt":12,"title":358,"width":359,"height":360,"mimeType":16},"27032","Radical-Film-School/Screenshot-2026-07-28-at-16.45.40.png","Screenshot 2026 07 28 at 16 45 40",3369,2519,[362],{"title":203,"slug":204},[364],{"authorName":365},"Rev Sullivan, Maria Paradinas, Anuka Ramischwili-Schäfer & Vanga Mikashavidze, Florenza Deniz Incirli, Makella Ama, Layla Tosifi",{"typeHandle":349,"entries":367},[368],{"title":369,"uri":370,"image":371,"categories":378,"authorInfo":381},"All That Burnt All That Glow","ibraaz-publishing/watch/youngsook-choi-all-that-burnt-all-that-glow-2025",[372],{"id":373,"path":374,"alt":12,"title":375,"width":376,"height":377,"mimeType":16},"2030","hellishes-on-earth/Image-for-landing-scroll.png","Image for landing scroll",4480,2520,[379],{"title":380,"slug":238},"Video",[382],{"authorName":383},"Youngsook Choi",{"typeHandle":349,"entries":385},[386],{"title":387,"uri":388,"image":389,"readCategories":396,"writeCategories":400,"missionCategories":401,"authorInfo":402},"From the peaks above to the palms below","ibraaz-publishing/read/from-the-peaks-above-to-the-palms-below",[390],{"id":391,"path":392,"alt":12,"title":393,"width":394,"height":395,"mimeType":16},"27530","Ayman-Zedani/Asser1.PNG","Asser1",4314,2876,[397],{"title":398,"slug":399},"Visual Thinking","visualthinking",[],[],[403],{"authorName":404},"Ayman Zedani"]