BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:21782@offbeat.amsterdam SUMMARY:after afterlives: film screening and talk programme DTSTAMP:20260504T202153Z DTSTART:20260527T180000Z DTEND:20260527T200000Z DESCRIPTION:What does the ground unleash when it is denied keeping what it holds? How does\nsoil get implicated in the carrying of catastrophe? And h ow does continuous\nexcavation for artefacts reveal an obsession to erase history in order to create\na new one? These are some of the questions we’ ll be engaging with during this\nprogram\, which will expand on the works of Areej Ashhab and Ola Hassanain\, in\nthe flour\, water\, soil exhibitio n\, and bring in the work of Dina Mimi\, to open\nup a conversation about the artefact as witness\, the erasure of history through\nexcavation\, the objects and topologies of repair\, and the relationship of people\nto the ir material environments. \n\nAreej will be sharing experts from her film Lime Through the Elements\, and\nconnecting them to her new installation\, The Ground Keeps What it Holds\,\ncommissioned for this exhibition.  The work engages ancient burial practices in\nPalestine and the aftermath of t heir settler-colonial excavation. Tracing the\nhistory of lime—with its el emental cycle mediating between material and spirit\,\nrock and flesh\, de ath and renewal—she asks what survives processes of erasure\nand eliminati on. \n\nWe will also be screening Dina Mimi’s short film The Eyes That Nev er See\, which\nnarrates the story of Ram(z)i\, a lonely working class man who died twice.\nRam(z)i was renamed as soon as his first body died\, to die again in Jerusalem\,\nunder the dusty ground while digging for artefac ts from a 6\,000 year-old ancient\ncity. Just like in Areej’s work\, Dina’ s film exposes the obsessions of a settler\nstate that continuously excava tes\, digging deep into the ground\, to find\nartefacts in order to create new histories.  \n\nOla will present her spatial installation for the exh ibition\, Water Collection\nPoints\, and contextualise it within her ongoi ng project Tell The Water What The\nClay Kept Secret. The work uses water collection points across the exhibition\nspace to make visible the efforts to repair the environment that emerge at the\nonset of catastrophes. Fram ed as a site for the ‘ecology of repair’\, Ola\nexamines this collective e ffort to deal with crisis by highlighting roles within\ncommunities—especi ally those living near water—where watching and listening\nemerge as spati al practices shaped by environmental and political rupture. \n\nThe films and talks will be followed by a conversation between Ola\, Dina\, and\nAre ej\, moderated by Margarita Osipian—interweaving their individual works an d\nthe stories that unfold through them. \n\nTicket: €7\,50Student and sol idarity ticket: €5\n\nBuy your tickets via Eventbrite\n[https://www.eventb rite.nl/e/after-afterlives-film-screening-and-talk-programme-tickets-19887 50734984?aff=oddtdtcreator&_gl=1*28zjb3*_up*MQ..*_ga*NzY1MzYyMzA4LjE3Nzc4O TIyOTE.*_ga_TQVES5V6SH*czE3Nzc4OTIyODkkbzEkZzAkdDE3Nzc4OTIyODkkajYwJGwwJGg w].\n\nAreej Ashhab [https:] is an artist and researcher whose work addres ses material\nheritage loss\, more-than-human ecologies\, and land politic s. Areej’s practice\nspans material experimentation\, writing\, and film\, and often unfolds\ncollectively through walks\, workshops\, and shared me als. She is the co-founder\nof Al-Block\, documenting lost narratives of t he Palestinian landscape through\ncollective walking\, and Al-Wah’at\, a t ranslocal collective countering\nanthropocentric and colonial narratives a round arid lands and futures. In her\nrecent project A Hand of Fire and St one\, she traced abandoned lime pits in\nPalestine\, built a lime kiln pro totype in Bethlehem\, and activated this lost\narchitecture through fire\, songs\, and meals\; following the elemental cycle of\nlime from stone\, t o paste\, and back to stone.\n\nOla Hassanain [https:]is an artist whose w ork moves through architecture\, film\,\nand spatial strategies to reflect on how power becomes visible—and felt—through\nbuilt environments. Her pr actice engages with places shaped by climate\ninstability\, postcolonial l egacies\, and displacement\, thinking through the\npolitics of inhabiting and how ecological and social systems shape one another\nacross time. As s he notes\, “observation summons a form of power”.\n\nDina Mimi [https:]is an artist working in experimental film and moving image\,\nexploring how\, and when\, bodies become sites of resistance. Often using found\nfootage to explore themes including smuggling and tactics of movement\, her work\n adopts non-linear forms of narration. She approaches editing as an open an d\nexploratory process\, experimenting with the opacity of footage—images that are\nin the act of vanishing. URL:https://offbeat.amsterdam/event/after-afterlives-film-screening-and-tal k-programme GEO:52.3737514;4.8959885 LOCATION:W139 - Warmoesstraat 139\, 1012 JB Amsterdam STATUS:CONFIRMED CATEGORIES:amsterdam-centrum,classes,community,ecology,exhibition,experimen tal,film,oude kerk,repair,rock,screening,stories,talk X-ALT-DESC;FMTTYPE=text/html:

What does the ground unleash when it is den ied keeping what it holds? How does soil get implicated in the carrying of catastrophe? And how does continuous excavation for artefacts reveal an o bsession to erase history in order to create a new one? These are some of the questions we’ll be engaging with during this program, which will expan d on the works of Areej Ashhab and Ola Hassanain, in the flour, water, soil exhibition, and bring in the work of Dina Mimi, to open up a co nversation about the artefact as witness, the erasure of history through e xcavation, the objects and topologies of repair, and the relationship of p eople to their material environments. 

Areej will be sharing ex perts from her film Lime Through the Elements, and connecting the m to her new installation, The Ground Keeps What it Holds, commis sioned for this exhibition.  The work engages ancient burial practice s in Palestine and the aftermath of their settler-colonial excavation. Tra cing the history of lime—with its elemental cycle mediating between materi al and spirit, rock and flesh, death and renewal—she asks what survives pr ocesses of erasure and elimination. 

We will also be screening Dina Mimi’s short film The Eyes That Never See, which narrates th e story of Ram(z)i, a lonely working class man who died twice. Ram(z)i was renamed as soon as his first body died, to die again in Jerusalem, under the dusty ground while digging for artefacts from a 6,000 year-old ancient city. Just like in Areej’s work, Dina’s film exposes the obsessions of a settler state that continuously excavates, digging deep into the ground, t o find artefacts in order to create new histories.  

Ola w ill present her spatial installation for the exhibition, Water Collect ion Points, and contextualise it within her ongoing project Tell The Water What The Clay Kept Secret. The work uses water collection p oints across the exhibition space to make visible the efforts to repair th e environment that emerge at the onset of catastrophes. Framed as a site f or the ‘ecology of repair’, Ola examines this collective effort to deal wi th crisis by highlighting roles within communities—especially those living near water—where watching and listening emerge as spatial practices shape d by environmental and political rupture. 

The films and talks will be followed by a conversation between Ola, Dina, and Areej, moderated by Margarita Osipian—interweaving their individual works and the stories that unfold through them. 

Ticket: €7,50Student and solidarity ticket: €5

Buy your tickets via Ev entbrite.

Areej Ashhab is an artist and researcher whose work addresses material heritage loss, more -than-human ecologies, and land politics. Areej’s practice spans material experimentation, writing, and film, and often unfolds collectively through walks, workshops, and shared meals. She is the co-founder of Al-Block, do cumenting lost narratives of the Palestinian landscape through collective walking, and Al-Wah’at, a translocal collective countering anthropocentric and colonial narratives around arid lands and futures. In her recent proj ect A Hand of Fire and Stone, she traced abandoned lime pits in P alestine, built a lime kiln prototype in Bethlehem, and activated this los t architecture through fire, songs, and meals; following the elemental cyc le of lime from stone, to paste, and back to stone.

Ola Hassanain is an artist whose work moves through architecture, film, and spatial strategies to reflect on how power becomes visible—and felt—through built environments. Her practice engages with pl aces shaped by climate instability, postcolonial legacies, and displacemen t, thinking through the politics of inhabiting and how ecological and soci al systems shape one another across time. As she notes, “observation summo ns a form of power”.

Dina Mimi is an artist working in experimental film and moving image, exploring how , and when, bodies become sites of resistance. Often using found footage t o explore themes including smuggling and tactics of movement, her work ado pts non-linear forms of narration. She approaches editing as an open and e xploratory process, experimenting with the opacity of footage—images that are in the act of vanishing.

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