Stories from Artists in Residence

The shift to a home residency/work grant was a great support during this period of isolation. Thanks to Pro Helvetia, I’ve been able to realize this new residency project that led to sharp research from a place where I felt safe with a group of competent, benevolent and generous experts.

My project/performance is called “Naslah” a type of small knives frequently used in slum areas in Egypt for dancing and fighting as well. It is based on research I started about people convicted of felons in Egypt that we call in Arabic “Mosagaleen Khatar” literally translated as “registered as dangerous”.

“As a mahraganat DJ I’ve been following the scene very closely for the past six years and noticed the major impact it had in and outside of Egypt. More and more club producers are incorporating or referencing mahraganat elements in their productions as well. It was very interesting to see what experimental artists and club producers draw from mahraganat and how they use it”

I have been always scared to deal with the physical space, owing to the nature of my medium, digital photography. The two exhibition experiences have taught me to get over that fear. Working without a curator, I have learnt how to create an experience and visual narration for space visitors.

The “Pretended Exchange” that is basically quick, short, single event which offers no scope or possibility to develop any real exchange. This is why the three-month residency is very important, it allows time for real engagement. The exchange should be constructed in a way that makes a follow-up possible, there should be sustainability.

“Where are you?” was the first SMS typed into my new cell phone after arriving in Cairo for my curator-in- residence program, November 2008. While waiting downtown in the coffee shop beside the Townhouse Gallery for my city-guide, and a fellow practicing artist, Mahmoud Hanafy. The question “Where are you?” accompanied me everywhere I went.

I got a chance to know the European culture with a close eye -especially the Swiss culture- since it was my first trip to Europe. The residency was the key that opened many doors for me on both personal and professional levels. After coming back, and having solid personal contact with Swiss artists, the cooperation between Medrar for Contemporary Art, the company I co-founded in 2005, and Pro Helvetia Cairo started to get shaped.