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<channel>
	<title>rosana elkhatib</title>
	<link>https://rosanakhatib.work</link>
	<description>rosana elkhatib</description>
	<pubDate>Sun, 23 Feb 2020 17:45:18 +0000</pubDate>
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	<item>
		<title>—information</title>
				
		<link>https://rosanakhatib.work/information</link>

		<pubDate>Fri, 15 Nov 2019 18:29:38 +0000</pubDate>

		<dc:creator>rosana elkhatib</dc:creator>

		<guid isPermaLink="true">https://rosanakhatib.work/information</guid>

		<description>rosana elkhatib 
















is a Palestinian designer, researcher, and
curator whose work focuses on the mutual construction of bodies and spaces
as they are complicated by their political, social, and religious environs. She
is a co-founding principal of 



 feminist architecture collaborative (f-architecture), a three-woman architectural research enterprise she co-founded with gabrielle printz and virginia black. rosana is currently researching the historic and
contemporary implications of Zionist carcerality on Palestinian resistance, constructs of motherhood, womanhood, and queerness, and collective
liberation. Most recently, she published with f-architecture “vial Acts” in Yale’s journal Perspecta 56, focusing on sperm smuggling and reproductive resistance. She remains deeply committed to writing on and laboring towards Palestinian liberation.&#38;nbsp;
rosana








has taught at
Columbia University’s Graduate School of Architecture, Planning and Preservation,
and has worked for multiple design firms including Henning Larsen, REX, and
Selldorf Architects. rosana holds a M.S. in Critical, Curatorial and Conceptual Practices in Architecture from Columbia University GSAPP and a B.Arch from the Illinois Institute of Technology.
︎ my resume

︎︎ my work portfolio
︎ me

f-architecture is aimed at disentangling the contemporary spatial politics and technological appearances of bodies, intimately and globally. Their projects traverse theoretical and activist registers to locate new forms of architectural work through critical relationships with collaborators across the globe. Projects are located in New York City, on the US-Mexico border, in the Amazon of Ecuador, in Jordan, and in Lebanon. Winners of the 2019 Architectural League of New York League Prize, their writing and work has appeared in Harvard Design Magazine, MIT Thresholds, Ed, the Real Review, -NESS, and Girls Like Us, and at institutions including the Morgan Library and Museum, the New School, FRAC, Darat Al Funun, and UN-Habitat.





&#60;img width="1922" height="1998" width_o="1922" height_o="1998" data-src="https://freight.cargo.site/t/original/i/d4b43ace782eb54fc9d7ac02c0a6c81663d9ad96ad490f7b069b1333a07468d5/Temple_beige2.png" data-mid="54826611" border="0" data-scale="18" src="https://freight.cargo.site/w/1000/i/d4b43ace782eb54fc9d7ac02c0a6c81663d9ad96ad490f7b069b1333a07468d5/Temple_beige2.png" /&#62;
f-architecture

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		<title>—work index</title>
				
		<link>https://rosanakhatib.work/work-index</link>

		<pubDate>Fri, 15 Nov 2019 20:14:47 +0000</pubDate>

		<dc:creator>rosana elkhatib</dc:creator>

		<guid isPermaLink="true">https://rosanakhatib.work/work-index</guid>

		<description>work index
	




&#60;img width="2853" height="2000" width_o="2853" height_o="2000" data-src="https://freight.cargo.site/t/original/i/974a9cbaae82c1bc48b777e7174bc191149936b2e93843d961ac60d1079837b7/cosmo-clinical-09.jpg" data-mid="59689044" border="0"  src="https://freight.cargo.site/w/1000/i/974a9cbaae82c1bc48b777e7174bc191149936b2e93843d961ac60d1079837b7/cosmo-clinical-09.jpg" /&#62;
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&#60;img width="1050" height="700" width_o="1050" height_o="700" data-src="https://freight.cargo.site/t/original/i/ecbff80d14bee52c7c0f6c367eafdfac6e432c4a0f0425201d4b9e7d0eb9b468/Buckminster_2.jpg" data-mid="59689765" border="0"  src="https://freight.cargo.site/w/1000/i/ecbff80d14bee52c7c0f6c367eafdfac6e432c4a0f0425201d4b9e7d0eb9b468/Buckminster_2.jpg" /&#62;
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&#60;img width="3060" height="2223" width_o="3060" height_o="2223" data-src="https://freight.cargo.site/t/original/i/bcf16ecce9d1c1f8600a761a8ce6b61f5ff30382349614c11ad7699e694f9bff/courtyard-rendering.png" data-mid="59689762" border="0"  src="https://freight.cargo.site/w/1000/i/bcf16ecce9d1c1f8600a761a8ce6b61f5ff30382349614c11ad7699e694f9bff/courtyard-rendering.png" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>cosmo-clinical interiors of beirut</title>
				
		<link>https://rosanakhatib.work/cosmo-clinical-interiors-of-beirut</link>

		<pubDate>Sat, 16 Nov 2019 05:15:23 +0000</pubDate>

		<dc:creator>rosana elkhatib</dc:creator>

		<guid isPermaLink="true">https://rosanakhatib.work/cosmo-clinical-interiors-of-beirut</guid>

		<description> cosmo-clinical interiors of beirut

Prague, New York, Singapore10/2018 - 11/2019 &#124; 6/2019 - 7/2019 &#124; 11/2018 - 01/2019



an augmented exhibition of clinic interiors renders new access to the curious and gendered landscape of hymenoplastic medical practice in Beirut. The project was exhibited at VI PER Gallery in Prague, the Sheila C. Johnson Design Center Galleries in New York, and Nanyang Technological University’s ADM Gallery in Singapore.&#38;nbsp;


Virginity remains consequential to the agency, empowerment, and self-possession of women around the world. The concept of virginity is constructed not just at the site of the body, but also in multiscalar architectural operations, in the spaces that mediate between subjects and their desires. The clinic is a site of bodily reinvention and also production. Interior finishes, collateral objects, and aesthetic protocols aid in the spatial and cultural production of contemporary virginity and sexuality, available in new commodity forms. Beirut in particular—a Middle East capital for medical tourism, Arab soap-star beauty, and lingering gender and sexual norms—is a site where bodily indulgences and corrections converge in the plastic surgery clinic. 
As both physical reproduction and VR navigation of documented clinic interiors, the exhibition acts as both record of and speculation about hymenoplastic architecture. Cosmo-Clinical Interiors of Beirut examines the constructed space, interior finishes, and designed protocols of the plastic surgery clinic to make perceptible its role in shaping subjects, virginity culture and an ideal body. Here, architecture is understood as the confluence of the technological, social, and economic—not a built fact, but an organizing force in a constellation of produced and productive objects.

+learn more about this project



research&#38;nbsp; &#124;&#38;nbsp; design&#38;nbsp; &#124;&#38;nbsp; exhibition


a project of f-architecturepartners: virginia black, gabrielle printzVR specialist: kathy yuen



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&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/973fce5d0f574f0ffa02f7be2af592d4c4f71ec1bd78a701b7c9a0e2b49593bf/cosmo-clinical-02.jpg" data-mid="57133092" border="0"  src="https://freight.cargo.site/w/1000/i/973fce5d0f574f0ffa02f7be2af592d4c4f71ec1bd78a701b7c9a0e2b49593bf/cosmo-clinical-02.jpg" /&#62;
&#60;img width="3333" height="5000" width_o="3333" height_o="5000" data-src="https://freight.cargo.site/t/original/i/468a8758fdae2843ef8108588a58264c0715da39639eab1f0db124209d72160a/cosmo-clinical-03.jpg" data-mid="57133093" border="0"  src="https://freight.cargo.site/w/1000/i/468a8758fdae2843ef8108588a58264c0715da39639eab1f0db124209d72160a/cosmo-clinical-03.jpg" /&#62;
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&#60;img width="1632" height="1056" width_o="1632" height_o="1056" data-src="https://freight.cargo.site/t/original/i/9cdc2f8f69e66318897bda07005580ff1565fd56f45a299b77a3d2833ff3273d/VR_Self-Exam.jpg" data-mid="57133344" border="0"  src="https://freight.cargo.site/w/1000/i/9cdc2f8f69e66318897bda07005580ff1565fd56f45a299b77a3d2833ff3273d/VR_Self-Exam.jpg" /&#62;

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&#60;img width="2000" height="3008" width_o="2000" height_o="3008" data-src="https://freight.cargo.site/t/original/i/8a0a6e0d30e635c82a570772056cee6620697f707775c51106bec9365740a03a/cosmo-clinical-07.jpg" data-mid="57133100" border="0"  src="https://freight.cargo.site/w/1000/i/8a0a6e0d30e635c82a570772056cee6620697f707775c51106bec9365740a03a/cosmo-clinical-07.jpg" /&#62;
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&#60;img width="4578" height="3155" width_o="4578" height_o="3155" data-src="https://freight.cargo.site/t/original/i/e12fb58f382e0e425dd941b7f6885ec0517a300c01c04de2c65f22b3c4bdbfba/cosmo-clinical-axo.png" data-mid="57133104" border="0"  src="https://freight.cargo.site/w/1000/i/e12fb58f382e0e425dd941b7f6885ec0517a300c01c04de2c65f22b3c4bdbfba/cosmo-clinical-axo.png" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>paper machine</title>
				
		<link>https://rosanakhatib.work/paper-machine</link>

		<pubDate>Sun, 23 Feb 2020 17:45:18 +0000</pubDate>

		<dc:creator>rosana elkhatib</dc:creator>

		<guid isPermaLink="true">https://rosanakhatib.work/paper-machine</guid>

		<description> paper machine

Darat al Funun &#124; Amman, Jordan01/14/2020 - 03/09/2020


a solo exhibition exploring the laws and artifacts that mediate bodily claims to belonging and territory.&#38;nbsp;


Citizenship is something designed. It describes the state between rights protected and rights denied. The threshold of citizenship is not a binary relation between one’s body and a territory: he is a citizen and she is not. In reality, there is complex terrain between the two positions, and its experiences are further conditioned by gender, race, and class.. The body who belongs is not enough. Rather, bodily claims to territory and nationality are mediated by a world of artifacts:&#38;nbsp; biomaterial, paper documents, scanners, and other physical interfaces between people and governments. The governing apparatus does not always recognize its subjects on the appropriate side of a line projected onto sand. Belonging to the nation is an experience through materials; it wears on the body.

In the uneven textures between holding citizenship and being without it, women are especially vulnerable to exception and expulsion. Nationality codes that inherit the terms of jus sanguinis (“right of blood” instead of&#38;nbsp; “right of the soil,” jus soli) confer nationality through patrilineal bloodline. Under such laws, women cannot reproduce citizenship; their blood does not pass as the material of belonging. In 25 countries around the world, jus sanguinis situates the body as a threshold of inclusion, a truth more certain than residency. But it continues to leave women out of the full protection of the rights of the citizen. When the paper document attests to the identity of its holder&#38;nbsp; through paternity and nationality, women are challenged to present the proper evidence of their belonging. Women bear the immediate and existential consequences of being written out of the law, and the document enforces displacement.

This exhibition seeks possibility in counterfeits. It does not aim to produce papers that pass; but criticizes the very medium of national identity. The gallery wears the disguise of the passport office. Here, we examine the language of the law, legal documents, their methods of design and spaces of procurement. Does the identity document have capacity for inclusion? We respond to this question with unofficial tactics but great care. If the political subjectivity of womanhood is narrowly defined by the law, we must identify the techniques that design her citizenship. Somewhere between the bureaucratic interior of the Civil Status Department and the myth of blood-and-soil, Paper Machine creates a site of&#38;nbsp; encounter with the contemporary apparatus of jus sanguinis.

+learn more about this project



research&#38;nbsp; &#124;&#38;nbsp; design&#38;nbsp; &#124;&#38;nbsp; exhibition



a project of f-architecturepartners: virginia black, gabrielle printz
curator: joud halawani al-tamimi
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</description>
		
	</item>
		
		
	<item>
		<title>republic of body</title>
				
		<link>https://rosanakhatib.work/republic-of-body</link>

		<pubDate>Sun, 17 Nov 2019 02:38:30 +0000</pubDate>

		<dc:creator>rosana elkhatib</dc:creator>

		<guid isPermaLink="true">https://rosanakhatib.work/republic-of-body</guid>

		<description>republic of bodyNew York, NY &#124; 07/2016 - 11/2016


a choreographed performance of bodies through Amman, Jordan. Part ritual procession and part gay pride parade, the curated event instantiated a public and symbolic space for feminist and queer Arab artists to assume a visibility they are otherwise denied.
By way of a public provocation, Republic of Body stakes its claim to the streets of Amman. This Republic, a nation constructed of and by precarious sexual bodies, unveiled its spatial autonomy in the schema of Hashemite nation-building narratives and through symbols of power borrowed from the Hashemite Kingdom of Jordan as a memetic sovereignty—symbols which in turn were borrowed from the colonial residue of the British Mandate. New performances, costumed by the multi-symbolic objects of this layered history, are enacted by Republic to disrupt a gendered national inheritance. By appropriating these memetic symbols, the members of Republic can express the intersection and mutual construction of queer, Arab, and gender identities, and assert their right to space and legitimacy under the persistently masculine hegemony over the public sphere.

Part ritual procession and part gay pride parade, the march was modeled after Hashemite royal processions. The manifestation of Republic of Body on Al-Shari’a Street is ritualized as an extension of royal ceremonies and confers that power of official appearance to bodies otherwise marginalized in gendered public space.

After a complex permitting process (another parade through municipal power) police came to lead our motorcade of bodily armatures carrying local feminist and queer artists. Guarded by the very state that delegitimizes them, the performers assumed visible orientation on the street: a queer body is veiled and externalized by his accusatory soundbite; a materialization of the elusive modern Arab woman, who otherwise exists only on virtual stages; the Jordanian scarf takes on the femininity that it denies.

+learn more about this project




research &#124; design &#124; curatorial &#124; public intervention


photography:hiba judehvideography: azza houraniArtists: fadi zumot, mohammed tayyeb, shireen al-talhouni, dima houraniteam: mohammed hijazi (Ōbsølete), mufeeda abu-zaid, tempo dance company, malin hafensicht, joke jh, sami nada, emran ali, oldoz moradiafkan, jule tri, juliette dlv
[preview of the 45-minute performance that took place on 11/11/2016]


&#60;img width="2718" height="1603" width_o="2718" height_o="1603" data-src="https://freight.cargo.site/t/original/i/8721f67b1046e2fd38b5516535e2241e9d5df7baec44573694fabb12ae661545/map_performance-route-01-01.png" data-mid="54983473" border="0"  src="https://freight.cargo.site/w/1000/i/8721f67b1046e2fd38b5516535e2241e9d5df7baec44573694fabb12ae661545/map_performance-route-01-01.png" /&#62;[al-shari’a street, amman - site of the final performance]



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[sample of the historical and critical text produced as part of the year-long research project]
</description>
		
	</item>
		
		
	<item>
		<title>disclaimer + arab lesion</title>
				
		<link>https://rosanakhatib.work/disclaimer-arab-lesion</link>

		<pubDate>Sat, 16 Nov 2019 05:05:49 +0000</pubDate>

		<dc:creator>rosana elkhatib</dc:creator>

		<guid isPermaLink="true">https://rosanakhatib.work/disclaimer-arab-lesion</guid>

		<description>disclaimer + arab lesionAmman, New York &#124; 01/2016 + 02/2016

an exercise in image-making prior to the performance Republic of Body put the production of the Jordanian/Hashemite nation under scrutiny.&#38;nbsp;These archival and visual investigations prefigured the final public performance where marginalized bodies marched in a region at the edge of the economic divide in Amman.


Disclaimer (تنصل), was shot in Amman, along the edge of East and West, the crevices of an intersection between modernity and tradition. The aim was to address the displaced and distorted body of the woman in the masculine hegemonic domain. In the images, the femme body takes central focus on public steps of the older East Amman. Here, the private ritual of bloodletting is made public. 

The images in this second exercise conveniently named Arab Lesion (الجرح العربي) re-deploy the artifact of the pith helmet, a memetic symbol of state power which was created for the Arab Legion Bedouin army in 1933 by the British. Here, the nation’s sovereign symbols appear in photographs which stage them at the scale of the particular body that interrupts the state corporeal narrative, highlighting its instabilities and constructed history.

+learn more about disclaimer &#38;amp; arab lesion


design &#124; curatorial 

Photography: hilmi, shakhshir, helga traxl

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[disclaimer]



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&#60;img width="1334" height="2000" width_o="1334" height_o="2000" data-src="https://freight.cargo.site/t/original/i/1600ba7cf9b47ab2849fba5801a4835cf713ab61408bf671029b65e274e7f8e1/_MG_4824GROUP5.jpg" data-mid="55040422" border="0"  src="https://freight.cargo.site/w/1000/i/1600ba7cf9b47ab2849fba5801a4835cf713ab61408bf671029b65e274e7f8e1/_MG_4824GROUP5.jpg" /&#62;
&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/147355adbd63e38fb08e89522725253213b423b15405416f52dde6b7f1f839a7/_MG_4886GROUP5.jpg" data-mid="55040423" border="0"  src="https://freight.cargo.site/w/1000/i/147355adbd63e38fb08e89522725253213b423b15405416f52dde6b7f1f839a7/_MG_4886GROUP5.jpg" /&#62;
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&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/387fc3148b219bbdabaada4c9cacfa5968ff9bcb790adf50b6a3165f9f9670ab/_MG_5367GROUP13.jpg" data-mid="55040429" border="0"  src="https://freight.cargo.site/w/1000/i/387fc3148b219bbdabaada4c9cacfa5968ff9bcb790adf50b6a3165f9f9670ab/_MG_5367GROUP13.jpg" /&#62;
[arab lesion]

</description>
		
	</item>
		
		
	<item>
		<title>right of blood + left of the earth</title>
				
		<link>https://rosanakhatib.work/right-of-blood-left-of-the-earth</link>

		<pubDate>Sun, 17 Nov 2019 03:39:06 +0000</pubDate>

		<dc:creator>rosana elkhatib</dc:creator>

		<guid isPermaLink="true">https://rosanakhatib.work/right-of-blood-left-of-the-earth</guid>

		<description>right of blood + left of the earthal-majhoola min al-ard &#124; biennale d’architecture d’orléans 2019
orléans, france 09/30/2019 - 10/31/2019



 



part of the collective show “This Land’s Unknown” which looks at the complex and layered representation of Arab spatial and architectural imaginaries born out of the desire to unsettle oppressive structures.&#38;nbsp;&#38;nbsp;


Citizenship is a designed threshold between the protection and denial of rights. Its reduction to the legal state between body and territory elides the complex, gendered, and racialized experience often held in the suspension of citizenship. In the way that the flag—an icon for both territory and identity—preserves the abstraction of the nation, one’s belonging to the nation is imagined as an “in" or “out" relation. The governing apparatus does not always recognize its subjects on the appropriate side of a vector projected onto sand. Belonging is a perceptual terrain, one that wears on the body in distinct ways.

In the varied textures of non/citizenship, women are especially vulnerable to exception and expulsion. In 14 of the 22 Arab League nation-states, the subjectification of the national citizen is bloody matter, dependent on the proper circulation of paternal blood at the expense of maternal rights. In Libya, Lebanon, Syria, Jordan, Iraq, Kuwait, Saudi Arabia, the United Arab Emirates, Qatar, Bahrain, Mauritania, Oman, Somalia, and Sudan, jus sanguinis (“right of blood” as opposed to “right of the soil,” jus soli) still excludes women from the reproduction of citizenship by endowing only patrilineal bloodlines with the power to confer it. 

Building on the existing images of Lebanese women who gave blood in protest of gendered nationality laws in Beirut in 2011, our contribution to Al-Majhoola Min al-Ard—“she who has been vanished from the earth”—ruminates on the fleshy constitution of identity and the successive denials to incorporate the blood of women into jus sanguinis.&#38;nbsp; Rather, we render women’s bodies within their diffuse tethers to land, state, family, and self as a material demonstration of belonging that is necessarily encountered in the street. 
A flag to The Children of Jordanian Women, to those living under an evolving guardianship, to the Bidoun and others “without,” we aim at a representation that opens the pages of documents that do not pass, that turns a gaze on custody withheld, that grasps with manicured claws at an Arab body-politic that readily consumes the bodies of women. We assert the political subjectivity of the Arab woman against the limiting postures she must assume under both national exclusion and patriarchal control. These are their inextricable limbs. 


research&#38;nbsp; &#124;&#38;nbsp; design&#38;nbsp; &#124;&#38;nbsp; exhibition


a project of f-architecturepartners: virginia black, gabrielle printz
curator: nora akawi
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/e3d5bbca1820ab21c8f45147a8df5a2e190b3810cc26aa0af4d7041e49994efb/FRAC.jpg" data-mid="54867333" border="0" alt="[flags flanking rue jeanne d'arc]" data-caption="[flags flanking rue jeanne d'arc]" src="https://freight.cargo.site/w/1000/i/e3d5bbca1820ab21c8f45147a8df5a2e190b3810cc26aa0af4d7041e49994efb/FRAC.jpg" /&#62;
&#60;img width="2300" height="2012" width_o="2300" height_o="2012" data-src="https://freight.cargo.site/t/original/i/47b84b6c41b558e276dbd953c609d381badd4bca24bb80bd454adbb7f0159aa4/RIGHT_FINAL_72dpi.jpg" data-mid="54867288" border="0" alt="[right of blood]" data-caption="[right of blood]" src="https://freight.cargo.site/w/1000/i/47b84b6c41b558e276dbd953c609d381badd4bca24bb80bd454adbb7f0159aa4/RIGHT_FINAL_72dpi.jpg" /&#62;
&#60;img width="2300" height="2012" width_o="2300" height_o="2012" data-src="https://freight.cargo.site/t/original/i/fbfeef5c205c4e82dfbb5bdc419d18ce720a6d10abf7d087d34228866d41d910/LEFT_FINAL_72dpi.jpg" data-mid="54867290" border="0" alt="[left of the earth]" data-caption="[left of the earth]" src="https://freight.cargo.site/w/1000/i/fbfeef5c205c4e82dfbb5bdc419d18ce720a6d10abf7d087d34228866d41d910/LEFT_FINAL_72dpi.jpg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>still i rise</title>
				
		<link>https://rosanakhatib.work/still-i-rise</link>

		<pubDate>Sun, 17 Nov 2019 04:04:58 +0000</pubDate>

		<dc:creator>rosana elkhatib</dc:creator>

		<guid isPermaLink="true">https://rosanakhatib.work/still-i-rise</guid>

		<description>still i rise [act 1 ]nottingham contemporary&#38;nbsp;nottingham, UK &#124; 10/27/2018 - 01/27/2019







 













a major group exhibition designed by f-architecture that explores the role women have played in the history of resistance movements and alternative forms of living. 













Still I Rise: Feminisms, Gender, Resistance situates women and queerness at the center of a historical arc of protest and the cultivation of alternative forms of living. Disbanding with fixed chronologies and static identities, the exhibition assembles thematic moments across a global situation of resistance: from intimate acts to large-scale uprisings, from the late 19th century to the present and beyond. We collaborated with curators to prepare this conceptual organization, the exhibition design and gathering spaces for two stagings of the show.




Free-standing wall sections, niches, and furniture scaled to both the body and the crowd form the exhibition infrastructure. Their composite assemblies provide different atmospheres and mounting strategies for a diverse set of materials: a stretched fabric folding into a double-faced wall is a tactile surface for viewing and touching. Detailing across these soft surfaces evidence the labor of the body seen elsewhere in the exhibition, in banners and other textile works. “Curtain walls” undulate to provide an open interiority, but perform stature and solidity where it’s needed. Plywood is also hung, its edge expressed at the walls open end as it wraps over top its framing. These steel frames appear throughout the exhibition in multiple permutations: in a more substantial wall structure, in slight legs for the ribbon-like tables, in the armature for the stretched fabric niche. Somewhere between the living room and the street, the gallery opens another forum for the continued discourse of resistance.






curatorial&#38;nbsp; &#124;&#38;nbsp; exhibition design


a project of f-architecturepartners: virginia black, gabrielle printz
curators: irene aristizábal, rosie cooper, cédric fauq




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&#60;img width="1482" height="1224" width_o="1482" height_o="1224" data-src="https://freight.cargo.site/t/original/i/e6d6b02bd445919bc80bc64836c228a21da1bd03fa9a497f2d73da3c836d9372/plan.jpg" data-mid="59649290" border="0"  src="https://freight.cargo.site/w/1000/i/e6d6b02bd445919bc80bc64836c228a21da1bd03fa9a497f2d73da3c836d9372/plan.jpg" /&#62;

&#60;img width="6048" height="4032" width_o="6048" height_o="4032" data-src="https://freight.cargo.site/t/original/i/20cb1fec4e36747853f1939aa2679565f147ad2c5189e7c2a5e2704b66a440ae/NC_Rise_007_edit.jpg" data-mid="59649809" border="0"  src="https://freight.cargo.site/w/1000/i/20cb1fec4e36747853f1939aa2679565f147ad2c5189e7c2a5e2704b66a440ae/NC_Rise_007_edit.jpg" /&#62;
&#60;img width="6023" height="4015" width_o="6023" height_o="4015" data-src="https://freight.cargo.site/t/original/i/57143a9718f610589b5b506ff073e7372b756099b04a98233b09887325f08d1c/NC_Rise_098_edit.jpg" data-mid="59650058" border="0"  src="https://freight.cargo.site/w/1000/i/57143a9718f610589b5b506ff073e7372b756099b04a98233b09887325f08d1c/NC_Rise_098_edit.jpg" /&#62;

&#60;img width="2808" height="1872" width_o="2808" height_o="1872" data-src="https://freight.cargo.site/t/original/i/64f16c28d06e1ae6a6961420e7a95112ecdac440987b9657cde80a6b0b54dc3f/NC_Rise_101.jpg" data-mid="59650061" border="0"  src="https://freight.cargo.site/w/1000/i/64f16c28d06e1ae6a6961420e7a95112ecdac440987b9657cde80a6b0b54dc3f/NC_Rise_101.jpg" /&#62;
&#60;img width="2808" height="1872" width_o="2808" height_o="1872" data-src="https://freight.cargo.site/t/original/i/d948cbe5690f4319895c265473e274b9f24654fe08fdde43d4ee3b84723efeae/NC_Rise_089.jpg" data-mid="59650056" border="0"  src="https://freight.cargo.site/w/1000/i/d948cbe5690f4319895c265473e274b9f24654fe08fdde43d4ee3b84723efeae/NC_Rise_089.jpg" /&#62;

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&#60;img width="2808" height="1872" width_o="2808" height_o="1872" data-src="https://freight.cargo.site/t/original/i/cc99b09ae01d19199b36cff951e267bfa7513b66066f91d22f85b99e5c052f6a/NC_Rise_076.jpg" data-mid="59650049" border="0"  src="https://freight.cargo.site/w/1000/i/cc99b09ae01d19199b36cff951e267bfa7513b66066f91d22f85b99e5c052f6a/NC_Rise_076.jpg" /&#62;
&#60;img width="2808" height="1872" width_o="2808" height_o="1872" data-src="https://freight.cargo.site/t/original/i/3dbe2178a67a6c6dae271f64cafdf5ad1be7934de409907ef3589fdcf336d868/NC_Rise_146.jpg" data-mid="59651389" border="0"  src="https://freight.cargo.site/w/1000/i/3dbe2178a67a6c6dae271f64cafdf5ad1be7934de409907ef3589fdcf336d868/NC_Rise_146.jpg" /&#62;

&#60;img width="2808" height="1872" width_o="2808" height_o="1872" data-src="https://freight.cargo.site/t/original/i/a5ebcc45af59f2c6447ca9271644134b8c7255c124b544d6c41e5f0f66013af7/NC_Rise_009.jpg" data-mid="59650129" border="0"  src="https://freight.cargo.site/w/1000/i/a5ebcc45af59f2c6447ca9271644134b8c7255c124b544d6c41e5f0f66013af7/NC_Rise_009.jpg" /&#62;
&#60;img width="3870" height="2583" width_o="3870" height_o="2583" data-src="https://freight.cargo.site/t/original/i/192b53afdde38c8ba3177666f293b802d541c91bda36440deae2d1dca6c61a12/nc261018-68.jpg" data-mid="59650065" border="0"  src="https://freight.cargo.site/w/1000/i/192b53afdde38c8ba3177666f293b802d541c91bda36440deae2d1dca6c61a12/nc261018-68.jpg" /&#62;
&#60;img width="2808" height="1872" width_o="2808" height_o="1872" data-src="https://freight.cargo.site/t/original/i/593d52b6c86e996952e02b39ab3c0d89c9bea4467982fa7548fad3c939e1dcf0/NC_Rise_026.jpg" data-mid="59649950" border="0"  src="https://freight.cargo.site/w/1000/i/593d52b6c86e996952e02b39ab3c0d89c9bea4467982fa7548fad3c939e1dcf0/NC_Rise_026.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>#icalled</title>
				
		<link>https://rosanakhatib.work/icalled</link>

		<pubDate>Sun, 17 Nov 2019 03:38:30 +0000</pubDate>

		<dc:creator>rosana elkhatib</dc:creator>

		<guid isPermaLink="true">https://rosanakhatib.work/icalled</guid>

		<description>
	 #icalledNew York, NY &#124; 07/2016 - 11/2016


a deployable installation and media apparatus to scene new
performances of political speech. This architecture of protest
appropriates new signifiers of power to occasion, amplify, and
re circulate the will of the people against the whims of a CEO.

As an instagrammable call to arms, this multimedia scenography empowers citizens (and those to whom the privilege of the vote is denied) to voice resistance in three simultaneous fora: directly to members of government, on social media, and on the street. 




In an effort to secure the white-house-cum-penthouse within the public domain and interest, we have appropriated the idiosyncratic finishes of Trump-branded space to host other political speech: gilded props riff on the chintzy Versailles decoration of the Trump-branded residence and a printed wallpaper photo backdrop incorporates his own peachy visage. In doing so, we ask how the power of aesthetics—in addition to the power of space and occupation—might exert discourses overlooked by legislators and the executive?




A hashtagged video message to a member of government is the product and record of this occupation, another in an emerging genre of political selfies. #icalled exploits the minimal political cachet of the #ivoted selfie to examine how less glamorous and non-ritual activities of political participation inhabit the aesthetic lexicon of performative social media. 


Rarely is protest afforded its own interior, beyond those it claims for itself (the sit in, the cumulative space forged by a crowd in the street). #icalled establishes a public and mobile inside for hosting political speech against powers historically formalized by architecture.




+learn more about this project




design &#124; installation &#124; public intervention


a project of f-architecturepartners: virginia black, gabrielle printz
installed at:
forward union fair -&#38;nbsp;12/02/2016
the new school -&#38;nbsp;01/20/2017
morgan library &#38;amp; museum w/ MAS -&#38;nbsp;10/09/2017





 
	
&#60;img width="1670" height="1629" width_o="1670" height_o="1629" data-src="https://freight.cargo.site/t/original/i/4552b7aa60ebf40f50f7f95faeccc87ebddcefc851bcb82988c7f402a07a5ece/icalled-scene-seq-matchi.gif" data-mid="57188763" border="0"  src="https://freight.cargo.site/w/1000/i/4552b7aa60ebf40f50f7f95faeccc87ebddcefc851bcb82988c7f402a07a5ece/icalled-scene-seq-matchi.gif" /&#62;
&#60;img width="4896" height="3264" width_o="4896" height_o="3264" data-src="https://freight.cargo.site/t/original/i/41ec5fd024e7f9358cbc842de6ad57bcdbe8a5a4ef5d22d79762d45a2e32de61/DSCF0138.JPG" data-mid="57188685" border="0"  src="https://freight.cargo.site/w/1000/i/41ec5fd024e7f9358cbc842de6ad57bcdbe8a5a4ef5d22d79762d45a2e32de61/DSCF0138.JPG" /&#62;


&#60;img width="901" height="1202" width_o="901" height_o="1202" data-src="https://freight.cargo.site/t/original/i/d850d386cfccf063cf248e0ee5da50613b6b47ea3375100eca86d9d0f2d591c1/vid1.png" data-mid="57188185" border="0"  src="https://freight.cargo.site/w/901/i/d850d386cfccf063cf248e0ee5da50613b6b47ea3375100eca86d9d0f2d591c1/vid1.png" /&#62;
&#60;img width="901" height="1202" width_o="901" height_o="1202" data-src="https://freight.cargo.site/t/original/i/d64f40d19dcb2093da89ef1fc7faeb23ad0e2d14915461b4aad0c601723152c4/vid6.png" data-mid="57188187" border="0"  src="https://freight.cargo.site/w/901/i/d64f40d19dcb2093da89ef1fc7faeb23ad0e2d14915461b4aad0c601723152c4/vid6.png" /&#62;
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&#60;img width="901" height="1202" width_o="901" height_o="1202" data-src="https://freight.cargo.site/t/original/i/f88346a2efe5fdbba574c56f920eb98e822c13a56a18f1d34c02f2f5f2ed322e/vid4.png" data-mid="57188191" border="0"  src="https://freight.cargo.site/w/901/i/f88346a2efe5fdbba574c56f920eb98e822c13a56a18f1d34c02f2f5f2ed322e/vid4.png" /&#62;
&#60;img width="901" height="1202" width_o="901" height_o="1202" data-src="https://freight.cargo.site/t/original/i/313c42da2b24a3c1db91f27308ab2ae55b8913f14ca3a5cf44be29be0bf1cd7f/vid3.png" data-mid="57188190" border="0"  src="https://freight.cargo.site/w/901/i/313c42da2b24a3c1db91f27308ab2ae55b8913f14ca3a5cf44be29be0bf1cd7f/vid3.png" /&#62;
&#60;img width="901" height="1202" width_o="901" height_o="1202" data-src="https://freight.cargo.site/t/original/i/7fe27e6d40218e12348bdf2778c505acb660061202f2daac74ce370425f84386/vid2.png" data-mid="57188186" border="0"  src="https://freight.cargo.site/w/901/i/7fe27e6d40218e12348bdf2778c505acb660061202f2daac74ce370425f84386/vid2.png" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>mediating realities</title>
				
		<link>https://rosanakhatib.work/mediating-realities</link>

		<pubDate>Sun, 17 Nov 2019 04:02:42 +0000</pubDate>

		<dc:creator>rosana elkhatib</dc:creator>

		<guid isPermaLink="true">https://rosanakhatib.work/mediating-realities</guid>

		<description>
	mediating realitiesnew inc. new museum
New York, NY &#124; 04/18/2015


fifth season of Interpretations, an installment of the annual symposium series led by the Critical, Curatorial and Conceptual Practices in Architecture students at GSAPP. 

is it real? The question is too obvious, too fundamental, yet it’s one which continues to trouble architecture and other disciplines. Despite the extensive deconstruction of the term within the framework of the 20th century's semiotic discourse, claims on the real, in the colloquial sense of the term, still surface in a contemporary condition which is, according to some, increasingly mediated.

The real isn’t dead, it’s disfigured. Its ghost lingers. Even now, the increasingly complex and invisible mechanisms of capital exchange are rendered real through their spatial products; they are seemingly anchored or made concrete in the domain of architecture. While our everyday experience is constituted by an&#38;nbsp;entanglement of appearances—which are simultaneously physical, networked, represented, simulated, abstracted, quantified, remembered, imagined, performed, and so on—and which have the capacity for “real” affect, we still insist on the possibility of a life offline, in the street, and somehow disengaged from what might be called “unreal” engagements. Whether addressed to the real or its obverse—the unreal, the fake, the simulation, the phantasmagoric, the non-existent, the imaginary—the trope of reality seems to find its way to the surface of discussions, questioning the reasons, places, times and forms by which architects practice upon the world.Committed to addressing the practice and effects of mediation, this symposium will reflexively position its structure as a mediating device. How have these definitions of the real latent in contemporary discourse shifted into new forms? How do critical and conceptual propositions in spatial, visual, and theoretical practices engineer new realities? Within and beyond these identified sites—Publics, Time, Economies—what are mediating strategies that construct, and perhaps now comprise reality? We hope to locate these questions in architecture, art, media, curatorial, journalistic, philosophical and even economic practices, asking invited speakers to engage through their own work questions pertaining to the mediated status of the real.




symposium



interpretations v
curated by 2014 CCCP candidates
virginia black, maite borjabad, pedro ceñal, lai jing chu, pedro correa, martina dolejsova, rosana elkhatib, james folta, maryam fotouhi, gabrielle printz, rayna razmilic, tania tovargraphic design: pedro ceñal, lai jing chu, rosana rlkhatib and tania tovar
catering/afterparty: rosana elkhatib, lai jing chu
Photography: lai jing chu



	
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