Haitham (charles) Haddad       

شكراً     

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Solo Exhibition



Opening june, 15th. 2018

Part of an Artist Residency
in Aarau, Switzerland.


Photos from the exhibition in Aarau, Switzerland. 2018


Exploring the time spent away from home.
Exploring what is home in a digital world
And individuality in the midst of it all

“In a Parallel universe where computers reminisce, you will find chopped and screwed shapes of what we recognise as humans, they float in an ocean of pop up windows and left out internet browsers declaring a state of disconnection or lost. Errors surround the bodies, filling the void and flickering memories from the first hard drive installed in your childhood while sailing near you. Emergency buttons and random keyboard parts pop up and disappear reminding you of reality and questioning it at the same time…”


The exhibition takes the multi layered modern description of “Home”, and throughout different mediums there is an attempt to distort this term, recreate it and fantasies about it in parallel world and time. When the physical meaning and instant feeling of home is far from reach, alternatives emerge and create different meanings for the same feeling we associate home with.
Warmth can be replaced with digital encounters with familiar figures and emotional rollercoaster can occur from social media absence in ones life. The rooms exhibit the research process regarding this term. Taking it apart and rebuilding it again. And in a way studying the image of one’s self and identity according to the surrounding we float in. what parts are prominent and what are changeable depends on locationtime.

The materials and esthetics jumps from digital to tangible and back to distort our connotations with both of these definitions, what we are used to feel and see in each and create a third esthetic from their distortion in both mediums.



Frames from:  “screensavers for the soul 1 & 2”






Mark
The new mode الطراز الجديد


P
Participated in the YAYA competition  
during the 2018 cycle.
Produced by the A.M. Qattan foundation, Ramallah.

“..A projection displays the events and life in areas A-G between the years 2050 and 2078 when the land was under The Great Siege is what you are about to see. The tour in the embroidery museum in Ramallah in the year 2170 is about to end and this is the last chapter in the tour before entering the renaissance hall celebrating the awakening of our culture and stepping into what we know as “The New Palestine”...”

The New Mode is an installation leading the viewer through the main events, changes and societal habits that developed through the timeline mentioned above, utilizing an exaggerated speculative future to display and question ethical and anthropological issues that we encounter and carry collectively and individually. Examining the conceptual image of the body as it becomes a canvas for an alternative approach to activism, and the shift in notion from activism for public acknowledgement with thundering expressions to private individual acts of resistance that are intentionally made to be unnoticed. These changes function as a reflection of our current ideas of international exposure, revolution and the body as a mean of existing living resistance. Inspired from museum aesthetics, nature documentaries and TV reports narrations, the New Mode is presenting a report about a future that might not happen, of a reality that unfortunately might be real.


Welcome to His/Shit World 
اهلا وسهلا بعالم الخرا



Installation, 2017
Cardboard & acrylic

Part of Sharbek Collective Exhibition
Gallery 2OG, Berlin

To display a work of art internationally means the work is inherently lost in translation. Yet, under the conditions in some parts of the world today, where many artists (and non-artists) face severe lacks of opportunities, cultural infrastructure, and access to art consumers and critics, one becomes obliged to exhibit in the “Global North”. The problem that persists in this globalised cultural consumerism is how to present an artistic or a cultural experience to an audience that is completely unequipped to interpret the work’s culturally-specific nuances and stream of consciousness. This room is a kind of test, to see how the Other (or the local in another place) interacts with a work when they do not fully perceive it, and can never fully perceive it.

The room attempts to represent nothing. It is not a representation of a culture, but rather the abstractification of one. On this set, the viewers are invited to participate in an abstract, and visually pleasing sensory experience, a mass of colours, shapes, scents, furniture, and clothing - but the experience remains incomplete without a dictionary.







Mark
Amira ctrl+s 


Amira ctrl+s / أميرة 
ٍSolo Exhibition, 2016
Khashabi Theatre




This exhibition deals with memory -
the human and the electronic memory - and how it affects us.
Are we able to delete it, edit it, or reshape it?
Does this mean we can control it?

In this exhibition I try to "program" my family members,
their old stories and their memories, despite the fact I
was never a part of these and I am unaware of many details.
This programming is done by drawing features and basic shapes
that stabilise the personal memory in the memory of the computer.
The outcome might be far from reality, but it nonetheless seeks
to save memory from loss.

This exhibition was produced by Khashabi Theatre



Memory lab, part 1. Mixed media