Shuruq Harb

The Jump

Constructions of Truths

Museum of Contemporary Art and Design in Manila

06.02.2020 – 12.04.2020

The Jump

NTU Centre for Contemporary Art Singapore

11.02.2020 – 25.03.2020

Exhibition: Constructions of Truths

06/02/2020 – 12/04/2020

Museum of Contemporary Art and Design in Manila

Opening: 06/02/2020 from 5 to 8.30 pm

The exhibition will include also two other productions of the Han Nefkens Foundation: “From Sea to Dawn” by Ramin Haerizadeh/Rokni Haerizadeh/Hesam Rahmanian and “Becoming Alluvium” by Thao Nguyên Phan,  together with works by Martha Atienza, Minerva Cuevas, Luay Fadhil, Shuruq Harb, Ho Tzu Nyen, Maria Taniguchi, James N. Kienitz Wilkins.

Exhibition: The Jump

11/02/2020 – 25/03/2020

NTU Centre for Contemporary Art Singapore 

Opening and artist talk: 11/02/2020 from 7 to 8.30pm 

© Shuruq Harb, The Jump, 2020, produced by the Han Nefkens Foundation

The MCAD in Manila and the NTU Centre for Contemporary Art in Singapore present The Jump, the new video work by Shuruq Harb.

The Jump is the outcome of Shuruq Harb winning the Han Nefkens Foundation – Fundació Antoni Tàpies Video Art Production Award 2019, in collaboration with the Museum of Contemporary Art and Design in Manila; the NTU Centre for Contemporary Art Singapore; WIELS in Brussels, and Jameel Arts Centre in Dubai.

Set within the tectonic rift of the Jordan Valley and weaving multiple storylines that are joined through a robotic narrator, 'The Jump' explores the psychological terrains of leaping into the void. 

Dizzying shots of the sublime landscape that itself becomes a protagonist in the story are interwoven with intimate monologues. The idea of jumping into the unknown is paralleled to a rush to take a chance, the physical thrill it entails, and how our perception and sense of time can radically shift in an instant. When we jump, we are in the moment yet outside of time, between acceleration and suspension, defying while adhering to gravity and the laws of nature. The fearless jump as a desire for adventure, a wish to fly, a longing for freedom.

Interested in acceleration, history, survival, and escapism in relation to narratives that provide agency in thinking about the future, the artist looks at the possibility of storytelling through fragmentation. She views fragmentation as a technological condition of our contemporary era— the way we navigate our lives virtually online through our devices, our condition of short attention spans. It also references the condition of geography and history as a Palestinian. Without giving up on the possibility of narratives, the artist is committed to finding new ways of narration that present sound and image without the total blur and abstraction of the human subject. 

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