Fadl Fakhouri

Fadl Fakhouri is an artist, writer and curator whose work centers on dots, lines and color as a method of pursuing definition and positionality. Through the utility of body, images and contextualized objects, they formulate poetic statements of determination. Fadl has exhibited work at SFAI (San Francisco), A.I.R. (New York), Times Square (New York), Jacobs Institute (Berkeley), The Poetry Project (New York), The Cincinnati Art Museum, Abrons Art Center (NY), Fringe! Film Festival (London) and The Jewish Museum (New York). They hold a BA in Molecular and Cell Biology from the University of California Berkeley and an MFA in Visual Arts from Columbia University.

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Performance
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Performance








No Aesthetic Outside My Freedom, 2024
Group Performance at The Poetry Project New York co-hosted by Jewish Currents Magazine
youtube.com/watch?v=LkBd2WPbEw4

A group performance featuring myself, Leila Awadallah, Noel Magathe, Rasha Abdulhadi, and Fargo Tbakhi, interpreting performance scores written by Brandon Shimoda, Christina Sharpe, and Natalie Diaz. Invited artists engaged in public mourning of Palestinians martyred by Israel over the last year, reckoning with the immense scale of annihilatory colonial violence while centering the need for ongoing and escalating resistance to the forces of empire across the globe. For this performance, I took apart a Palestinian and American flag to create a hybrid flag, symbolizing my positionality to the genocide. I shouted poetry while erratically, cacophonously stomping clad in tap shoes.
























SCATTER PLOT, 2022 
multimedia performance 
duration variable; 15-30 min
vimeo.com/723456620

Three characters visualize how positionality can determine one’s identity and relationship to others by constructing a border in which not all can cross.


































MAP, 2022
multimedia performance
~15 min

A performance that took place at Abrons Art Center New York as part of the 12 hour performance marathon, From Light Til Night, curated by Jenna Hamed. I migrate between various objects placed on the floor with the intent to demonstrate and queer the usage of different objects with instilled symbolism either by what they are or characteristics such as color and volatility.

























Assimilation, 2021 
single-channel video with sound 
2:22 min
vimeo.com/533683336

A video performance in which I conceal and spray paint my face the colors of the American flag to reference the loss of my family’s heritage and a necessity to assimilate into Western culture without complaint due to the privilege of American citizenship.

























Digestion, 2021
single-channel video with sound 
4:59 min
vimeo.com/510964642

Part of a series of video performances where I engage with a canvas in various ways such as becoming the canvas, eating the canvas, singing to the canvas, etc. A remark on the strings of art making, the predatory apriorism of creation, and the efficacy of the tools one is provided to package oneself into a palatable format.






















Wine, lemon, egg, gasoline, 2021 
single-channel video with sound
1:37 min
vimeo.com/504597321

To make one’s situation difficult is an absurd thing to do; however, it only appears so once it is self-inflicted. To make things unnecessarily difficult for others is considered natural in what is deemed the unfairness of life, dog-eat- dog world. Considering the aforementioned, it may be wise to think about the permeability of objects and subjects the same. Approaching all entities with an equal, yet inequitable procedure may only cause damage (read: absurdity).




















Progressing Backwards, 2020
single-channel video with sound
3:10 min
Watch/Read the collaboration with MODA Critical Review, Columbia University

A livestream performance lecture in which I walk 1 mile backwards in San Francisco’s tech district to point to the regression of humanity as a consequence of tech’s displacement of lower income communities. I navigate by streaming footage from a phone attached to my back that is viewed on an iPad in my hands. In the work, I draw comparisons between high rise tech headquarters in San Francisco and British colonial aerial surveillance of Iraq, both violently utilizing distance.