Haitham Haddad's installation brings together a banner (Pointers), an animated film (Throwing), and a stack of newsprints (Read While Holding Me to the Sun). Revisiting imagery from An Echo in Search of Its Shadow: Aesthetics of the Repressed (2024), developed with writer and curator Adam HajYahia, the works explore an aesthetic theory of Palestinian revolt through gesture, image-making, and song. Together, they examine how images mediate between virtual and material realities while resisting dominant regimes of representation.
Balloon Act
Installation, 2023
Fabric Banners, Industrial Fans, Monitors.
Set in a speculative future where digital and material realities have merged, Balloon Propaganda imagines a collective that disrupts standardized visual culture through analogue banners. Produced from recycled toxic waste, the brightly colored banners function as coded messages that evade digital control while acknowledging their own fragility and eventual disappearance. The work reflects on ephemeral forms of communication, political expression, and resistance under technologically mediated systems of power.
+ Digital Collage, Essay.
Sifting through ancient life lessons and wisdom, perforating previous generations with a full ‘hard drive’ of emotional baggage, twirling in an endless loop (.gif) of attempts to change what we know as our reality, we end up living in an adjusted version of what we read in the Resistance Manual for Beginners throughout our childhood—whether at family gatherings, in hidden messages within the occupier’s school curriculum or through news platforms.
A chain of creatures regurgitate their offspring, passing their stories and life wisdom on while carrying the weight of future reality. A visual metaphor of a plant growing as an act of resistance, each leaf and stem crucial to its existence and each bud a golden medal of survival. This work questions our lifestyle and takes a step back to reflect on our hectic stress-infused days. It allows a moment to stand in a dark box and contemplate.
Photographs, video work, embroidery mask, drawings, writings.
Set in a speculative dystopian future where automated surveillance punishes political expression with termination, The New Mode imagines coded forms of resistance and new symbolic languages through which political subjectivity survives. The installation reflects on the body and performance as the first and last frontiers of politics, and on forms of collective life that persist despite the isolating force of state repression.
Drawings, video work, Quilts.
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.
Acrylic paint on Cardboard,Brown Cardstock, Raincoats.
This installation examines the contradictions of exhibiting culturally specific art within the global art world. As artists are increasingly compelled to circulate through financial and institutional centers, cultural meanings are often lost in translation. An overcrowded environment of illustrations, colors, furniture, clothing, and scents presents images that signify nothing specific while remaining rooted in vernacular experience. Rather than representing culture directly, the installation abstracts its textures and excesses.
The work was part of a solo show by the same title.
This video reflects on memory, loss, and what survives erasure. The artist digitizes analogue photographs of deceased family members, tracing and distorting their figures before saving them to a hard drive in an attempt to preserve what inevitably escapes documentation. Named after the artist's late grandmother, the work is accompanied by a synthesizer composition built through repeated attempts to recreate a melody he remembered from her home—or perhaps only imagined.
What happens to the subject when their identity is reduced to a symbol? A room is covered with a recognisable pattern covering its details.
Various Clients
2012 - 2026
Stedelijk Museum
2020
Artist portraits
Link
The Poetry Project
2025
Branding and Ilustrations
Mophradat
2025
Graphic Design, Visual Identity, Poster Design
Photographs by Zach Hussein
https://zhusse.in/homepage
Bilnaes Press
2024
“To all those we are indebted to” brings together poetry, critical writing, image-making, drawing, and song in a multidisciplinary series that examines the politics of refusal in Palestine. Composed of four contributions assembled through paired collaboration, the contributors explore and develop novel ways of producing knowledge.
Alia Al-Sabi and Amany Khalifa take apart Palestinian ‘return’ through a conversation that unfolds across literary, temporal, and spacial registers. Amr Amer and Laura al-Tibi weave together song and critical analysis, unsettling colonial conceptions of Palestinians’ relation to their land economically and existentially. Basel Abbas and Ruanne Abou-Rahme offer a comprehensive hypothesis of the “negative,” unfolding across poetry, images, and illustration. Adam HajYahia and Haitham Haddad formulate an aesthetic theory of revolt, examined through text, images, and illustration. By focusing on the interplay between text and artistic form, “To all those we are indebted to” proposes new methods of thinking and creating, aesthetically and politically.
Various Clients
2012 - 2026