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<channel>
	<title>Mirna Bamieh</title>
	<link>https://mirnabamieh.info</link>
	<description>Mirna Bamieh</description>
	<pubDate>Mon, 20 Apr 2026 14:00:30 +0000</pubDate>
	<generator>https://mirnabamieh.info</generator>
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		<title>Palestine Hosting Society</title>
				
		<link>https://mirnabamieh.info/Palestine-Hosting-Society</link>

		<pubDate>Tue, 13 Jun 2023 21:43:54 +0000</pubDate>

		<dc:creator>Mirna Bamieh</dc:creator>

		<guid isPermaLink="true">https://mirnabamieh.info/Palestine-Hosting-Society</guid>

		<description>


	





















	








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	<item>
		<title>Palestine Hosting Society</title>
				
		<link>https://mirnabamieh.info/Palestine-Hosting-Society-1</link>

		<pubDate>Tue, 13 Jun 2023 22:03:17 +0000</pubDate>

		<dc:creator>Mirna Bamieh</dc:creator>

		<guid isPermaLink="true">https://mirnabamieh.info/Palestine-Hosting-Society-1</guid>

		<description>
	Palestine Hosting Societywww.palestinehostingsociety.com

Palestine Hosting Society is a live art project that explores traditional food culture in Palestine especially those that are on the verge of disappearing. The project brings these dishes back to life over dinner tables, talks, walks, and various interventions. Palestine Hosting Society was founded in 2017, by artist and chef Mirna Bamieh, as an extension of her art practice that often looks at the politics of disappearance, and memory production. Mirna creates artworks that unpack social concerns and limitations in contemporary political dilemmas, and reflect on the conditions that characterize Palestinian communities.&#38;nbsp;
To date, Palestine Hosting Society has created several projects, including "The tongue tracing the hand tracing the earth", "Menu of Dis/appearance", "Trails of Taste-Telling", "Fermentation Station", “The Edible Wild Plants of Palestine Table”, “The Wheat Feast”, "A Wondering in Flavors: The Old City of Jerusalem, a table, a tour and a map”, "Our Jerusalem Table", "Our Nabulsi Table", "Food Walks: The Tahini Trail", "Family Dinners". After an intensive research period for each project, the collective creates a menu that is shared over one long table for 40-60+ guests, with dishes carefully selected to create spaces of reflection upon socio-political realities, attitudes, and historical practices, and even the suppressed elements of history. Palestine Hosting Society Tables took life in Palestine and in different parts of the world including Palestine, Vienna, Saudi, Amman, Warsaw, Brussels, New York
.





	





	
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	<item>
		<title>The Empty seat at the table </title>
				
		<link>https://mirnabamieh.info/The-Empty-seat-at-the-table</link>

		<pubDate>Tue, 13 Jun 2023 22:27:45 +0000</pubDate>

		<dc:creator>Mirna Bamieh</dc:creator>

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		<description>
	The empty seat at the table, reflections on the work of Palestine Hosting Society. Lecture Performance, 90 minutes. &#38;nbsp;

	A lecture-performance that weaves together storytelling, archival research, and acts of radical hospitality. &#38;nbsp;Emerging from Mirna Bamieh’s long-term projects Palestine Hosting Society and Sour Things, it reflects on food as a site of disappearance and endurance. 

Speaking from a place of distance, Bamieh revisits her first and last research trips in Palestine before the war, tracing how recipes, lands, and gestures vanish under occupation yet persist through memory and care. 

The performance blends live narration, projected images, sound fragments, and moments of collective food sharing. Absence becomes a material presence, the host who cannot return, the dish that cannot be made, the table that holds both loss and continuity. Through this constellation of storytelling and sensory experience, Bamieh invites audiences to consider how cooking, preserving, and remembering can open a space for mourning, resilience, and the imagination of a different future.&#38;nbsp;

Comissioned by Hyundai Tate research center, Ancestorial Knowledges Symposium, Tate Modern, London.&#38;nbsp;


www.palestinehostingsociety.com





	
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</description>
		
	</item>
		
		
	<item>
		<title>Potato Talks</title>
				
		<link>https://mirnabamieh.info/Potato-Talks</link>

		<pubDate>Tue, 07 Feb 2017 00:02:12 +0000</pubDate>

		<dc:creator>Mirna Bamieh</dc:creator>

		<guid isPermaLink="true">https://mirnabamieh.info/Potato-Talks</guid>

		<description>




	Potato Talks
Live art perfromance, 2016-ongoing

“Every sphere of human activity -Even peeling a potato- can be a work of art, as long as it is a conscious act.” Joseph Beuys




Potato Talks is a public performance project that takes the figure of speech—peeling potatoes—literally. &#38;nbsp;Centered around this everyday gesture, each performance gathers ten storytellers in a public space to explore a shared theme.


Through peeling, sharing, and speaking, participants reveal the power of simple acts as vessels of memory and identity, bridging the mundane with the profound.


Each edition transforms public space into a communal kitchen, where stories simmer and collide. Audiences, both intentional and accidental, are invited into an unfiltered exchange, raw, present, and alive.


Potato Talks is an ongoing experiment in how the ordinary becomes extraordinary, where small gestures open portals to connection, meaning, and transformation.




Why Potatoes?Potatoes are like stories they come from the land, they are familiar to the people in the street, yet the magic happens when those potatoes are brought from the closed doors of kitchens to the street, becoming story holders. Just like their waxy and starchy earthy non overpowering properties, that offer a rich canvas for many other favours and textures to raise.
And! The Potato has deeply rooted stories of immigration, foodways, colonialism, famine and wars and survival. 

Who are the Potato Storytellers?the transformation to become a potato storytellers happens after a three-day workshop guided by Mirna Bamieh, focusing on deep listening and slow attention. Through shared meals, reflection, and spacific exercises according to each theme, we begin to uncover personal stories rooted in everyday life. It’s a gentle process where memory, gesture, and voice meet. By the end, each participant holds a story ready to be shared: honest, unpolished, and told while peeling a potato.



Every edition of Potato Talks has the same flow:In a public space, 10-12 storytellers peeling potatoes for 2 hours. In the chairs opposite them accidental passersby sits on the empty chair and the storyteller starts asks them to&#38;nbsp; help&#38;nbsp; by holding the peels of the potato, and recounts in a one-to-one interaction a story that peels through layers of the theme in focus.


After the story is finished, or even while it is being told, the listener is free to interact, comment, or even join in peeling a potato and tell their story, there is no time limit for this action. Once the passerby decides to leave, the storyteller goes back to peeling potatoes, until another passerby joins in, and the story is being told again.



Potato Talks: All the ways we shield, all the ways we reveal. Kunsthaus Zurich, 2025.The fifth edition of Potato Talks took place at Kunsthaus Zurich main entrance hall. Commissioned and produced by  Dr. Georg and Josi Guggenheim-Stiftung and Kunsthaus Zurich, curated by Mirjiam Varadinis.Photographer Caroline Minjolle.&#38;nbsp;
For this special edition at Kunsthaus Zürich, Mirna Bamieh collaborated with the museum’s security guards, those who silently watch over the artworks yet remain outside the curatorial spotlight. Over the course of a three-day workshop, I worked closely with them in preparation to step into the role of Potato storytellers. The guards share how their daily proximity to art has shaped personal reflections, experiences, and quiet forms of connection. This performance brings forward hidden layers of labor, memory, and presence embedded within the museum walls. 

Like with all Potato Talks perfromances, the potatoes of the storytellers are turned into a shared meal of Batata Harra shared with the public making the end of the perfromance a social gathering of eating together.&#38;nbsp;


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Potato Talks: Thinking like a Mountain. Biennale Gherdëina, 2023The forth edition of Potato Talks took place at Ortisei main square, Italy. Commissioned and&#38;nbsp; produced by Biennial Gherdëina, curated by Lorenzo Giusti.
The Edition of Potato Talks opened the ninth edition of the Gherdëina Biennale on July 2023, responding directly to the curatorial theme. The stories of the ten storytellers living in Val Gherdëina, speak of mountains and paths, of migrations and returns, of wilderness and animals, mixing personal experiences and legends, myths and everyday stories, that connect the local context - the Dolomites and their valleys - with other mountains in Europe and the Mediterranean, embracing, within a single choral narration, the field of investigation - from North Africa to the Middle East - that Biennale Gherdëina 9 intends to make its own.


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Potato Talks: Kitchen Recollections, Old city of Jerusalem, 2017The third edition of Potato Talks took place at Suq Al Dabbagha (Suq Aftimos), in the old city of Jerusalem. This edition was produced by al-Ma’mal Foundation for Contemporary Art. The theme of this edition was around kitchen recollections. 8 storytellers shared stories about the generation kitchen of different their communities, who have been inhabiting the old city for centuries. We heard Jerusalem storytellers recalling stories that their great grandfathers brought with them from India, Uzbekistan, Chad, Sudan, Morocco, Armenia and other countries, they weaved these stories into their current life in the old city of Jerusalem, one potato at a time.

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video documentation of Potato Talks in Jerusalem 
Potato Talks: (Up)rooting, Ramallah Edition, 2016The second edition of Potato Talks took place at al-Manara/Ramallah, as was part of Qalandiya International. Produced by Ramallah Municipaliy, curated by Sahar Qawasmi and Beth Stryker. Photographer Nurin Kaoud.&#38;nbsp;
Eleven storytellers peeled through layers of stories, that think/rethink what it means to be uprooted, to belong, placed we leave and those we return to, stories that tries to think what it means for a Palestinian to look at exodus in the ever-shifting world we inhabit.

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&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/8b875d2a59194802b6c06a851dccab67d15c4e8db3d8f95855e33b5c9a06c356/14681062_1223117374413902_4829592827466656971_o.jpg" data-mid="796296" border="0"  src="https://freight.cargo.site/w/1000/i/8b875d2a59194802b6c06a851dccab67d15c4e8db3d8f95855e33b5c9a06c356/14681062_1223117374413902_4829592827466656971_o.jpg" /&#62;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; video documentation of Potato Talks in Ramallah &#38;nbsp;
Potato Talks: Marrakech Edition, 2016the first edition of Potato Talks took place at Madina in Marrakech. This edition was produced by MAM Maroc Artist Meeting, as one of the parallel programs of Marrakech Biennial.&#38;nbsp;&#38;nbsp;


The first Edition of Potato Talks was born in March 2016, after sharing a 3-week residency in Marrakech with International artists/ dancers/ performers. in the residency we were thinking about social sculptures, and from there Potato Talks came together. Nine from the residents , were part of the first edition of Potato Talks.&#38;nbsp;
In Marrakech Edition, the storytellers who were mostly foreigners except for two, are seen by the Marrakchi street as “tourists”, during Potato Talks they stepped out the economy of “the tourist”, and reclaimed their voice, offering their personal stories. With the passing of time, the storytellers became listeners, and the street passersby led us through their own fascinating potato stories and beyond, through Potato Talks we all experience Marrakech through that magical overlapping of our stories and the stories of the street.&#38;nbsp;



&#60;img width="1224" height="918" width_o="1224" height_o="918" data-src="https://freight.cargo.site/t/original/i/d11ea4ea6d3f3af65295bfa043c9f808a9f820ad3dcf01b9be075f93e0a6c329/12957552_1067290393327469_6807567628267229427_o.jpg" data-mid="796290" border="0"  src="https://freight.cargo.site/w/1000/i/d11ea4ea6d3f3af65295bfa043c9f808a9f820ad3dcf01b9be075f93e0a6c329/12957552_1067290393327469_6807567628267229427_o.jpg" /&#62;
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&#60;img width="4300" height="2421" width_o="4300" height_o="2421" data-src="https://freight.cargo.site/t/original/i/0b4cb98fac87c9e05c2f5a19c56e5e5ea797040ff5c87e6150119ca1cbf9f146/2.jpg" data-mid="796289" border="0"  src="https://freight.cargo.site/w/1000/i/0b4cb98fac87c9e05c2f5a19c56e5e5ea797040ff5c87e6150119ca1cbf9f146/2.jpg" /&#62;
&#60;img width="804" height="1071" width_o="804" height_o="1071" data-src="https://freight.cargo.site/t/original/i/61f5aa0567b3301d48719c42f13a99f85ea326b3a2b55ffba0898a81c28b1d78/14712778_1103346286385531_5580393796025778727_o.jpg" data-mid="796295" border="0"  src="https://freight.cargo.site/w/804/i/61f5aa0567b3301d48719c42f13a99f85ea326b3a2b55ffba0898a81c28b1d78/14712778_1103346286385531_5580393796025778727_o.jpg" /&#62;
&#60;img width="1224" height="918" width_o="1224" height_o="918" data-src="https://freight.cargo.site/t/original/i/857f8717ea2d9648d22abf958d6efe96446ac580d85ff358b6486e1b2dfecafe/12967979_1067290879994087_350200209923740734_o.jpg" data-mid="796292" border="0"  src="https://freight.cargo.site/w/1000/i/857f8717ea2d9648d22abf958d6efe96446ac580d85ff358b6486e1b2dfecafe/12967979_1067290879994087_350200209923740734_o.jpg" /&#62;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;

&#38;nbsp; video documentation of Potato Talks in Marrakech &#38;nbsp;

&#60;img width="606" height="598" width_o="606" height_o="598" data-src="https://freight.cargo.site/t/original/i/ffad8e13cf81d2547825214973cd07dea513764d9add1aefc74939c2ac84129c/Screen-Shot-2017-07-01-at-22.56.20.png" data-mid="839546" border="0" data-scale="32" src="https://freight.cargo.site/w/606/i/ffad8e13cf81d2547825214973cd07dea513764d9add1aefc74939c2ac84129c/Screen-Shot-2017-07-01-at-22.56.20.png" /&#62;










	&#38;nbsp;
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</description>
		
	</item>
		
		
	<item>
		<title>Sour Things: The Door</title>
				
		<link>https://mirnabamieh.info/Sour-Things-The-Door</link>

		<pubDate>Mon, 20 Apr 2026 14:00:30 +0000</pubDate>

		<dc:creator>Mirna Bamieh</dc:creator>

		<guid isPermaLink="true">https://mirnabamieh.info/Sour-Things-The-Door</guid>

		<description>
	
Sour Things: The Doormultimedia installation, proculain, ceramics, 4 videos, sound piece, ink drawings.&#38;nbsp;
A multimedia installation that explores the architecture of immigration. Sour Things: The Door, foregrounds the everyday rituals through which displaced identities are preserved and re-articulated: the packing of food as inheritance, the intimate labor of taste, the embodied memory embedded in ingredients. Through its interplay of porcelain, moving image and voice, the installation offers a framework for thinking about home as a practice of care, survival, and everyday forms of resistance.


A threshold-like door curtain made of porcelain stones, creates a space that is not fully enclosed nor open; a barrier that evokes a status of suspension between entering and not entering, not being fully welcomed or unwelcome. A liminal space that immigrants know deeply. Around Inside this porous form, 3 videos speak about food ingredients immigrants from SWANA region pack in their luggages when they visit the homeland, Zaatar, Sumac, Olive oil, dates, dried okra, Aleppo pepper, dried Mloukieh, Jammed, spices, Harissa etc etc the journey with this passage, and its significance for them. All of them intimately and passionately recount the fragments of home they transport across borders.




Produced by Nika Project Space
&#38;gt;&#38;gt; read the curatorial text by Anne Davidian. 






	
	




	
	

	
	

&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/2a57b1349166a829d331c38f608b713bae1c7521e8a3ebd2dc7e9232c746525d/_DSC9938.jpg" data-mid="247426080" border="0"  src="https://freight.cargo.site/w/1000/i/2a57b1349166a829d331c38f608b713bae1c7521e8a3ebd2dc7e9232c746525d/_DSC9938.jpg" /&#62;

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&#38;nbsp;&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/d395016fb53677449b450a65b51fcd5431d9adbdff3ed91bef3bef64652a0886/_DSC9915.jpg" data-mid="247424075" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/d395016fb53677449b450a65b51fcd5431d9adbdff3ed91bef3bef64652a0886/_DSC9915.jpg" /&#62;&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/10e3330ae91a3a7da1d1d6ff23ea32c1f24dc9075f54570bb6929b15e2370821/_DSC9989.jpg" data-mid="247424574" border="0"  src="https://freight.cargo.site/w/1000/i/10e3330ae91a3a7da1d1d6ff23ea32c1f24dc9075f54570bb6929b15e2370821/_DSC9989.jpg" /&#62;
	



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</description>
		
	</item>
		
		
	<item>
		<title>Sour Cords</title>
				
		<link>https://mirnabamieh.info/Sour-Cords</link>

		<pubDate>Sat, 14 Sep 2024 19:41:21 +0000</pubDate>

		<dc:creator>Mirna Bamieh</dc:creator>

		<guid isPermaLink="true">https://mirnabamieh.info/Sour-Cords</guid>

		<description>
	Sour CordsGlazed ceramics installation, 2024&#38;nbsp;







Suspended ceramic forms, hung like offerings to the sun. Inspired by sun-drying, an ancient method of preservation. What draws me in is the tension: water is drawn away, and yet its absence becomes presence. You feel it only when it’s gone.

Oversized ceramic chilis, okra, garlic, cloves, each form ripe with memory. Garlic and chili, fierce and healing; cloves, tiny seeds of luck and tradition. In northern Palestine, cloves are stitched into bridal necklaces, marking the passage from girlhood to womanhood, from threshold to unknown.

Each sculpture carries a morsel of grief, an ember of outrage. Some are marked with childlike drawing, suns, stick figures, blocky houses, a language of innocence trying to make sense of destruction. My recurring talismanic eyes rise again, watchful, wide, emerging from hands like sails, holding silent witness to a brutality that persists, in Palestine and beyond.

Garlic bulbs loom, etched with Mahmoud Darwish’s words:
“You will be forgotten as if you never existed.”

These ceramic bodies, bulging with pain, refuse disappearance. Their grotesque scale, their vivid glazes, their irreverent brightness, all speak back to silence, to retreat, to erasure.
Drawings and ceramics produced NIKA Project Space, for Sour Things Solo show at NIKAParis.&#38;nbsp; September 8- October 27 2024

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&#38;nbsp;
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</description>
		
	</item>
		
		
	<item>
		<title>Grieving in Colors </title>
				
		<link>https://mirnabamieh.info/Grieving-in-Colors</link>

		<pubDate>Sat, 14 Sep 2024 21:59:28 +0000</pubDate>

		<dc:creator>Mirna Bamieh</dc:creator>

		<guid isPermaLink="true">https://mirnabamieh.info/Grieving-in-Colors</guid>

		<description>
	Grieving in Colours
Glazed ceramics sculptures, 2024&#38;nbsp;


Where does grief reside in the body? Is pain a seed that sprouts in turmoil, or is it imposed on the body, saturating it with grief?I am myself. I am my collective body. And my collective body is gradually and violently being killed. I open my eyes, I close my eyes, and the grieve keeps getting more incomprehensible.How can the collective pain feel THIS personal? 
They say that grief comes in stages, beginning with shock and ending with acceptance. They say these stages vibrate in the body with light and color. My grief is going through all the stages at once, compact, dense, and suffocating. White taken over by red, red taken over by gray, gray taken over by yellow, yellow taken over by green, green taken over by all the colors.
And I cannot stop grieving in sourness.








&#38;nbsp;“In a series of ceramic wall pieces, Grieving in Colours (2024), a batch of gloopy oranges is glazed in a variety of colours. Rot and mould have set in and the individual fruit dissolves into one citrusy mess. The pieces are gorgeously lush and absolutely disconcerting at the same time. The artist often speaks of how her work addresses collective experiences. In this particular work the singular orange stands for the whole, the whole for a singular orange. The port city of Jaffa, where Bamieh’s paternal family originally hails from, is most commonly associated with the export of citrus. Oranges are highly iconographic in Palestinian visual art and literature, indicating a strong agricultural connection to the land and, following the Nakba, the severance of this bond. This motif is most forcefully articulated in Palestinian writer Ghassan Kanafani’s 1962 short story “The Land of Sad Oranges,” which describes the expulsion of a Palestinian family from Jaffa in 1948. Grieving in Colours, in this respect, addresses accumulative grief: that of the past, that what is ongoing, and that of the future.” By Nat Muller, from Sour Things curatorial statement.&#38;nbsp;



Sculptures comissioned by NIKA Project Space, for Sour Things Solo show at NIKA Paris. &#38;nbsp;&#60;img width="2999" height="2000" width_o="2999" height_o="2000" data-src="https://freight.cargo.site/t/original/i/cb93d05d641ad2232cd5f8a0e3deb90df8eb94fde65816638521d70875d38edb/0S0A4155.jpg" data-mid="218076528" border="0"  src="https://freight.cargo.site/w/1000/i/cb93d05d641ad2232cd5f8a0e3deb90df8eb94fde65816638521d70875d38edb/0S0A4155.jpg" /&#62;&#60;img width="2999" height="2000" width_o="2999" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a75aba4e27b401d2df0ccef3bb7968c32bd0aedcc1fe49eaebc58793a959a6e8/0S0A4055.jpg" data-mid="218076513" border="0"  src="https://freight.cargo.site/w/1000/i/a75aba4e27b401d2df0ccef3bb7968c32bd0aedcc1fe49eaebc58793a959a6e8/0S0A4055.jpg" /&#62;&#60;img width="1334" height="2000" width_o="1334" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f5f9358ee8b606d9b1c9b7427dc5098ec5beef61db5064ac2bae47a3743250df/0S0A4061.jpg" data-mid="218076517" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f5f9358ee8b606d9b1c9b7427dc5098ec5beef61db5064ac2bae47a3743250df/0S0A4061.jpg" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>Sour Things: The Pantry</title>
				
		<link>https://mirnabamieh.info/Sour-Things-The-Pantry</link>

		<pubDate>Fri, 24 Nov 2023 08:01:42 +0000</pubDate>

		<dc:creator>Mirna Bamieh</dc:creator>

		<guid isPermaLink="true">https://mirnabamieh.info/Sour-Things-The-Pantry</guid>

		<description>
	Sour Things: The Pantrymultimedia installation 

Wooden structure, 2 videos, soundscape, ceramics, glass, drawings, wallpaper, salt.




Sour Things: The Pantry, emerged in the midst of war. After the bombardment of Gaza in October 2023. While houses were being flattened. While families were forced to flee without time to gather the smallest things. While homes were reduced to rubble and kitchens buried in dust. Around me, around us, the structures that hold life, walls, shelves, floors, routines, were being broken.


I emptied my own pantry in Ramallah before leaving. I unscrewed jars I had tended for years. I poured brine into the sink. What I felt in my own kitchen was only a small echo of what was happening on a mass scale. But it was real, visceral, it shattered something. The jars, once vessels of continuity, became reminders of everything that could no longer be held.


To ferment, you need stillness. You need rootedness. But preservation is a technique of displacement. It belongs to those who must prepare without knowing when, or if, the jar will ever be opened again. In times of unrest, salt becomes more than mineral, It becomes a form of belief, a preparation for return. Salt is hope, Salt is future time, that os a gathering when opening a jar of ferment is possible again. 


How does the pantry of the uprooted and displaced looks like? 
How would preservation practices look when you are in a no-place, residing in liminality and in-betweenness. How would your pantry space feel like, when the walls have one foot in construction, and the other in demolition? What would it say? 


This pantry is political. It is what remains when the architecture of daily life collapses;&#38;nbsp; gesture of care placed in full view, surrounded by the silence of what has been lost.


Comissioned and produced by Noordbrabants Museum/ Netherlands, for Imagine Home exhibition Curated by Nina Folkersma. &#38;nbsp;
Glass produced by Marc Barreda, courtusy of NIKA Project Space.

	











Sour Cities,&#38;nbsp;stereo,, 15-min loopSoundscape composition and design by Isaac SullivanText and voice of Mirna Bamieh

Sour Cities mediates a text entitled “When life gives you lemons over and over again," in which the artist looks at traces and imprints of her life, with its constant movement and rootlessness, in the way it made her body sour, amidst a world that continually feels on the verge of collapse. Here, Bamieh's vocals – multiplied, fragmented, and recorded in varying sonic registers to imply a polyphonic subjectivity, interwoven with Sullivan's textural swarms of noise, which consolidate field recordings, vocal sampling, and granular synthesis.

Sour Wall, Sour Wall, wallpaper, 9x5 meters&#38;nbsp; Collaborarion with Dima Bamieh, 2024.A wallpaper design that suggests domesticity from a distance, but becomes more unsettling the closer you look; a geometric concrete branch of a tree with lemons, eyes, leaves, human backs, and lots of rot. It marks the pantry space, making it inhabit the liminality of past and present, being and non-being. The wallpaper treads in its design, along concealing and revealing, all things sour, all things hidden, all things decaying. 


Sour Lives, ceramic and glass, 25x20x13cm, 32 unique pieces, 2023.
Glass produced specifically for Sour Lives by Marc Barreda, 2024
Turtle creatures, with human body parts, registering pain and trauma in their chests and guts that can only be seen by looking closely at their reflection in the mirrored floor. &#38;nbsp;They are the survivors, the immigrants, the ones who will return, carrying a handful of salt in their glass vessel home, heavy on their backs, moving slowly toward a future arrival, a future moment when these jars will be filled with ferments and the initiation into home and life will be possible again. 

Sour Jars, watercolor, ink,brine on artisanal coton paper, 21.5x29cmcm, 22 drawings, 2023
A sentence written by a thirteen-year-old Gazan girl and shared on the Palestinian Museum's social media, "Would I be free if I were an object?" This sentence felt so heavy on my heart, the helplessness inscribed in it was immense. I made this series of drawings to understand it. My object of questioning was the jar, and the phrase runs through the drawings in different permutations, trying to understand if freedom is ever attainable.

His/story, video, 14’40, 2023. 
I place pieces of archaeological shards of pottery vessels, collected from different over many years, from different sites of Palestine that were sometimes hidden, and other times are left uncared for. A lover of mine collected them over a decade, he entrusted them to me before he left Palestine and immigrated for good. The camera moves between a close-up of my face and a man's body, which I cover with shards of pottery. If archaeology is about unearthing artifacts, this looks more like a burial in which the body extends into the landscape and the landscape into the body. Are these shards seeds for building a future, or is it a post-apocalyptic gesture of banality and total loss?

Tayammum II, video, 8’30, 2023. 
A ghostly video, installed on a translucent fabric at the window of the wooden structure, shows an overhead view of my hands washing the archaeological ceramic shards one by one. This repetitive and meditative cleansing ritual is soothing, but carries a darker undertone. 

These fragments of pottery are forever broken, and no amount of water can wash away the violence that has gone before.
&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/1f384105f7dc184957e4059e4db440f87600a54343de8206575a39ebddb2e176/z91_5729_lr-3000.jpeg" data-mid="204490992" border="0"  src="https://freight.cargo.site/w/1000/i/1f384105f7dc184957e4059e4db440f87600a54343de8206575a39ebddb2e176/z91_5729_lr-3000.jpeg" /&#62;



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&#38;nbsp;
	


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	<item>
		<title>Bitter Things: in the name of an orange</title>
				
		<link>https://mirnabamieh.info/Bitter-Things-in-the-name-of-an-orange</link>

		<pubDate>Sat, 11 May 2024 17:10:04 +0000</pubDate>

		<dc:creator>Mirna Bamieh</dc:creator>

		<guid isPermaLink="true">https://mirnabamieh.info/Bitter-Things-in-the-name-of-an-orange</guid>

		<description>
	Bitter Things: In the name of an orange.&#38;nbsp;multimedia installation, 2024&#38;nbsp;
Powder-coated Metal kitchen structure, 20 ceramic orange sculptures, 6 videos on clay, video projection, soundscape, photography collage, concentrated bitter orange juice, marmalade, orange blossom water, clay.





Bitter Things is a multimedia installation of a kitchen through which I write stories of oranges, of bitter oranges from the museum's frontyard, to the sweet oranges from Jaffa. A storyline goes from ancient times to histories of wars and occupation and how they all found their way to my body. 

When an orange became a kitchen, it became a story of light, clay, and fire, infinite glasses of juice concentrate, and jars of sweet, bitter orange marmalade. Bitter Things is my father's story of an orange growing in his garden, an orange from Jaffa.
A raw clay landscape spills from the kitchen of Bitter Things, expanding beyond it like a shadow. Six videos* are staged in different manners on this landscape, the videos look at the traditional Andalusian and Levantine methods of harvesting and processing bitter oranges, while intertwining the imagery with tales of wilderness and dispossession. Engulfed in the clay landscape, are around twenty ghosty ceramic sculptures of Shammouti Jaffa oranges, whispering of a time once been. 


* Filmography by Lourdes Cabrera, featuring La Fresnedilla collection in Cordoba.&#38;nbsp;**excerpt from Mahmoud Darwish’s poem, Lover from Palestine.


Comissioned and produced by TBA21 , displayed at Ecologies of Peace exhibition, curated by Daniela Zayman, Centro De Creaction de Andalucia, Cordoba.&#38;nbsp;



	



Asking the wisdom of our forefathers:How can the ever-verdant orange grove be dragged To prison, to exile, to a port, and despite all her travels, Despite the scent of salt and longing, Remain evergreen?I write in my diary: I love oranges and hate the portI write further:On the dock, I stood watched the world through winter’s eyes. Only the orange peel is ours, and behind me lay the dessert.**




Part of the installation of Bitter Things, serving as its backgroung and soundscape, is Interrupted Biographies, a video I created in 2014.&#38;nbsp;It attempts to highlight an almost forgotten period of history when the borders between Palestine and Lebanon were permissible, a period that made it possible for my mother and father to meet and start a family. This work is a visitation to incidents in my family history, where the ever-shifting possibilities and impossibilities of politics intervene in Lebanese and Palestinian family members' choices and choices thay politics dictated onto them.&#38;nbsp;

At an adjunction space, two red photography collage works are on display, one of archival document from 1946 addressing the losses the Palestinian orchard farmers &#38;nbsp;suffered from during the Second World War. After the 1948 Nakba, most of the Palestinian owned orange groves were taken by force by the new Israeli state.
 
The second collage, displays spreads from the first histography book on Yaffa written by a Palestinian, one of the spreads is &#38;nbsp;a recollection by Najat Bamieh one of my family members, written in 1987, about her life in Jaffa before Nakba, the loss of their house, and their forced exile along the rest of Bamieh family members, a very touching testimony weaving the city into oranges and the losses it bared with the forced exile of its inhabitants.


Through this combination of mediums and techniques I try to build a visual spatial language that expands history into materiality, highlighting the value of the lived and the intimate. 





	
	

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&#38;nbsp;&#60;img width="6336" height="8448" width_o="6336" height_o="8448" data-src="https://freight.cargo.site/t/original/i/05805d6692fd3b8ed578d714a25c5a7451265734e25310dd87f5fa22d5cb7aa7/bitterweb2.jpg" data-mid="210719333" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/05805d6692fd3b8ed578d714a25c5a7451265734e25310dd87f5fa22d5cb7aa7/bitterweb2.jpg" /&#62;&#60;img width="4115" height="5487" width_o="4115" height_o="5487" data-src="https://freight.cargo.site/t/original/i/c3cd07cfd649869ae77915bf124dd7cd14ea5d236d5b32ba2c637f125b72cd40/bitterweb9.jpg" data-mid="210721921" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/c3cd07cfd649869ae77915bf124dd7cd14ea5d236d5b32ba2c637f125b72cd40/bitterweb9.jpg" /&#62;
	


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	<item>
		<title>Sour Things: The Kitchen </title>
				
		<link>https://mirnabamieh.info/Sour-Things-The-Kitchen</link>

		<pubDate>Tue, 05 Sep 2023 16:41:20 +0000</pubDate>

		<dc:creator>Mirna Bamieh</dc:creator>

		<guid isPermaLink="true">https://mirnabamieh.info/Sour-Things-The-Kitchen</guid>

		<description>
	Sour Things: The Kitchenmultimedia installation 


Powder-coated metal, 3 videos, soundscape, textile, ceramics, plaster, ferments, lemon, egg white and salt.



Sour Things: The Kitchen is the second installation of an iterative form. The first was Sour Things: The Souq, commissioned for Sharjah Biennial 15. 

Where the former was situated outside, in an abandoned 1970s marketplace in Sharjah, this version is more internal, mapping the functions and mechanics of my body (both as an individual and as part of a collective) into the&#38;nbsp;structure of&#38;nbsp;a kitchen.
 
A kitchen structure becomes the setting&#38;nbsp;for Sour Things. It is my attempt to encapsulate a raw approach to ingestion/digestion, looking at&#38;nbsp;human and non-human&#38;nbsp;processes of control and overflow. The body expands into a kitchen, in which revealing and confessing is staged over notions of&#38;nbsp;eating, preservation, transformation and decay.
Sour Things takes fermentation as a metaphor for micro-worlds in order to comment on cities, people, relationships and daily occurrences. In every form the series takes — the pantry, the table, the bed, the washroom, the baggage, the door — it will serve as a fragment of dwelling, a response to the specific political conditions in Palestine that have prevented me from settling and resting, rendering me nomadic for the past decade. Sour Things as a home, a Total work made up of models of domesticity, emerges&#38;nbsp;from an&#38;nbsp;introspection on notions of&#38;nbsp;transformation, time, labor, and&#38;nbsp;a slower&#38;nbsp;mode of&#38;nbsp;consumption.&#38;nbsp;It is&#38;nbsp;an approach that resides between excess and restraint, home and body.

Produced by Nika Project Space.&#38;nbsp;Photography Ivan Erofeev

Sour Things: The kitchen, was shown at:

 I Can No Longer Produce the limits of my own body, curated by Nadine Khalil, Nika project space, Dubai. 
 Art Dubai 2024, Nika Project Space booth.




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Open Your Mouth, 2023
Quadraphonic composition, 15-min loop
Soundscape composition and design by Isaac Sullivan
Text and voice of Mirna Bamieh


Open Your Mouth mediates a text entitled "Staging Gluttony," in which a deep, incessant hunger accompanies the speaker's negotiation of repetitive quotidian occurrences alongside her sense of a world continually on the verge of collapse. Here Bamieh's vocals – multiplied, fragmented, and recorded in varying sonic registers to imply a polyphonic subjectivity – range across a four-channel, surround sound environment, interwoven with Sullivan's textural swarms of noise, which consolidate field recordings, vocal sampling,&#38;nbsp;and granular synthesis.

Sour Things, under sink curtains, 2023
Text by Mirna Bamieh
Design by Engy Aly
Digital printing on linen, 8&#38;nbsp;pieces
81 x 40 cm and 81 x 50 cm

Curtains obscure what they reveal, prompting the viewer’s curiosity to peek underneath the sink, to the concealed landscape of salt with all things sour, all things hidden. 
The words on the curtains are excerpted from my text When life gives you lemons over and over again.

 
Tayammum, 2023
Under kitchen counter video on flat screen, 5’11 

I obsessively rub salt on my hands and arms over and over, in a gesture that recalls ablution rituals in preparation for praying. Sand is used when water is absent, and salt or air are used at times of desperate measures. 

 

Body of Others, 2023
Inside sink video projection, 5’9


I tended to this Symbiotic Culture of Bacteria and Yeast (SCOBY) kombucha for five years. It was a consistent practice of care both for myself and those who rely on my supply of kombucha for their gut health, as the sole home-brewing kombucha producer in Ramallah and Jerusalem. The video is a farewell gesture to this dear SCOBY. I made it before I left my house and kitchen studio in Ramallah during the 7th October War, not knowing when I could return, and if the SCOBY would survive my absence.

A Brief Commentary on Almost Everything, 2012
One-channel video wall projection, 3’33 

Intended to function as an intimate self-portrait, I have greatly slowed down the motion of one single yawn to the point that it almost comes across as a photographic still. In doing so, the scene acquires an atemporal quality whereby the most intricate of details assume the kind of monumentality associated with grand gestures. This video is reflective of my practice through which I deconstruct various phenomena and behaviors, transforming them from trivial events into brief commentaries on almost everything in my life.

Haamed, 2023
Yellow glass LED neon
100x x 25 x 6 cm

A neon sign in Arabic that translates to the English meanings of both ‘sour’ and ‘lemons’.




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	&#38;nbsp;



	
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