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Dina HADDADIN
Dina HADDADIN

Interrupted Landscape IV

Mixed media on canvas

54x79 cm

2012

Dina HADDADIN

Suspended Emptiness I

Mixed media on canvas

32x42 cm

2012

 

Born in 1983, Dina Haddadin obtained a B.A. in Architecture from the Jordan University of Science and Technology in 2006. Since her graduation, she has been a practicing architect at Symbiosis Design in Amman. In 2008, she attended courses at the School of Visual Arts in New York and has since held three solo exhibitions, "Monuments: A Refuge in Margins," (2012) at Nabad Art Gallery, "Beyond Emptiness" (2011) and "Transit" (2010). Haddadin has participated in numerous group shows as well as a number of international workshops, most recently at Budapest Art Factory in Hungary, where she created works entitled, “Suspended Uncertainties,” which focused on “questioning the transient urbanity that we belong to through occupying emptiness, deconstructing power and reconstructing it as suspended certainties.” Haddadin is a self-taught multidisciplinary visual artist who uses both traditional and experimental techniques, including installation and video, to create multi-layered works that address the concept of the ‘margins’  in the urban landscape. She lives and works in Amman, Jordan.

 

"While in Budapest, I became intrigued by numerous abandoned edifices built during the Soviet occupation of Hungary. Consequently, the work builds on the concept of construction as a reflection of a society in which one strives to find his place. The work enlivens the aura of those unremembered buildings/spaces which represent an era that has faded away along with its social (dis)order.

  In the Soviet era during the 1930s, Soviet Russia under Stalin used architecture as the greatest form of art like no other, to clearly define the power of the nation state and to embody the political will of its masters. The 1935 General Plan for reconstruction of Moscow was an example. Seeking to establish a new system, they first erased the existing historical texture of their territory, both physically and culturally, before marking it with their own symbol of power. Residues of what remains, empty monoliths of an illusion, fragments of collapsed power, left me wondering about these new spaces, suspended between what was and what will be. My recent work is an attempt to redefine such 'spaces of uncertainty' and to palpate the marks of what has been, while celebrating traces of the missing, the residual, and imagining the whispering narratives of the marginal through what is left of the architecture of power."

 

Dina Haddadin

September 2013

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