Architectures of Suspended Time examines the expanding system of roads, checkpoints, gates and territorial divisions governing Palestinian movement across the occupied West Bank. Centred on Route 60, the research traces how infrastructures presented as security mechanisms operate through blockage, delay, detour and uncertainty.

Developed through cartographic research, objects, images, testimonies, social media documentation and open-source data, the work reveals an architecture that seizes not only land but also time. These infrastructures reorganise everyday life around waiting, producing conditions of constrained movement, economic precarity and restricted access to essential services.

The research takes the form of a spatial installation in which mapping, archival material and architectural elements allow visitors to encounter the mechanisms of territorial control. By making these often fragmented systems visible together, the work examines how architecture can suspend both the present and the possibility of a Palestinian future.

On view

International Architecture Biennale Rotterdam (IABR), Rotterdam, NL — until 29 November 2026

Photography

Jacqueline Fuijkschot

Flour is a fundamental material of life. Its container, the flour bag, carries histories of cultivation, labour, logistics and exchange. Across contemporary political landscapes, images of flour bags appear stacked on fortified pallets, waiting at military checkpoints or scattered across the ground. These images reveal how food infrastructures become instruments of political control, exposing the weaponisation of hunger and dependency.

Flour Must Be Cheap reconstructs these histories through the material that carries them. Collected flour bags are transformed into a suspended tapestry and one hundred weighted sacks, forming an environment visitors can enter, inhabit and gather within. The bags function simultaneously as sculpture, architectural elements, seating and pedagogical tools.

Activated through collective learning sessions, the installation becomes a space for discussion, reading and shared inquiry. Gathering is both its subject and method, proposing learning as a collective spatial practice.

Public Programme

Flour Must Be… — collective learning sessions exploring food infrastructures, extraction, and hunger: 24 May 2026; 28 June 2026

Selected Presentations

Flour, Water, Soil, W139, Amsterdam, NL (2026) BASECAMP, Utrecht, NL (from September 2026)

Photography

Sander van Wettum

Firearms Prohibited begins with a warning sign at the entrance of the UNRWA primary school in Dura, Palestine, where I spent nine years of my childhood. Returning as an adult, I encountered the words FIREARMS PROHIBITED at the same gate I had crossed daily. I photographed the entrance and reproduced its signs through screen printing on metal, retaining their bureaucratic visual language and material presence.

The work was developed for Prospects at Rotterdam Ahoy, a venue that also hosts an annual weapons fair, a connection I discovered only after submitting the proposal. A warning against firearms at a Palestinian school was thus reproduced inside a building where weapons are exhibited and traded.

Between proposing and exhibiting the work, I returned to Palestine. During my departure from the West Bank, a rifle was pointed at me. The sign, the weapon, my body and the exhibition venue were no longer distant from one another.

The installation traces how militarisation moves between seemingly separate spaces while becoming ordinary within each.

Selected Presentation

Prospects, Mondriaan Fund, Art Rotterdam, Rotterdam Ahoy, Rotterdam, NL (2026)

Acquisition

Private Collection, 2026

Photography

Tommy Smits

Mapping Solidarity (2025–)

Mapping Solidarity is a collective artistic research initiative developed by a working group of artists, cultural workers and activists following an invitation from Platform BK. As a founding member, I have contributed to developing its participatory counter-mapping methodology, initially tracing Palestine solidarity networks in Amsterdam and the relationships, absences and fractures between them.

The work has taken different forms, from facilitated workshops and collective assemblies to spatial installations, always centred on the map as an object that facilitates conversation and collective inquiry. Rather than treating mapping as a means of producing a definitive representation, the map becomes a prompt through which knowledge is shared, questioned and developed collectively. Its value lies not in the finished map, but in the relationships, conversations and forms of understanding generated through the process.

As the project evolved, its focus expanded towards the infrastructures that condition solidarity, including institutional governance, funding, censorship and accountability. Together with other members of the working group, I am developing a contribution to the Stedelijk Museum Amsterdam’s municipal acquisitions exhibition, where private mapping assemblies turn this methodology towards the museum itself, investigating its institutional structures and responses to the Palestine solidarity movement.

Upcoming Presentations

A Rose Is a Rose Is a Rose, Rozenstraat, Amsterdam, NL — 3 September–4 October 2026 Proposals for the Museum Collection 2026: Collaborative Artistic Practices, Stedelijk Museum Amsterdam, NL — 28 November 2026–April 2027

Remove the Dot takes its name from a request made by Palestinian political prisoner Zakaria Zubeidi, who, arrested before completing his thesis, asked his lawyer to remove the final dot from the last paragraph he had written. The gesture becomes a refusal of closure, insisting that knowledge and political struggle remain unfinished.

Developed with Wassila Abboud, the project responds to the censorship and alteration of political language within European cultural institutions by constructing a living curriculum around writings produced through imprisonment, resistance and revolutionary struggle.

Through texts, diagrams, archival material, video and spatial interventions, the work takes the form of a multimedia installation and collective study environment. Public learning sessions activate the installation, allowing participants to encounter, discuss and expand the curriculum rather than translate it into established institutional frameworks.

Remove the Dot treats collective study and its material display as an artistic practice through which suppressed knowledge can remain alive, shared and unfinished.

Public Programme

Learning sessions at Gemaal op Zuid with Dr. Layal Ftouni and Zaydoun Hajjar, centred on writings around Walid Daqqa and Basel al-Araj

Selected Presentations

New Radicalism Festival, Rotterdam, NL — October 2024 (first iteration) Love, Labour, Liberate, Gemaal op Zuid, Rotterdam, NL — December 2024–April 2025 (expanded installation, study space and public learning programme)

Ongoing Development

BASECAMP, Utrecht, NL — 2026; residency dedicated to developing the project’s next iteration