Presented in parallel with Eltiqa: How to Work Together?, this programme brings together three films: Basma al-Sharif’s We Began by Measuring Distance (2009), Rosalind Nashashibi’s Electrical Gaza (2015), and Oraib Toukan’s When Things Occur (2016). Guest curators, The Question of Funding, have described these films as a showing how Gaza has been subjected to a siege that long predates the present unfolding genocide, and to a regime of images that has repeatedly reduced it to the figure of either hero or victim. The more Gaza is photographed and circulated through the media, the more distant it becomes overexposed yet inaccessible, visible yet profoundly isolated.  

Each film confronts, in a different way, this crisis of representation; the impossibility of communicating an experience shaped by siege, death, destruction, and separation when the available images themselves risk producing further distance. Rather than resolving this impossibility, the works remain within it. They all search for forms of intimacy, mediation, and address that might resist the familiar visual languages through which Gaza has been made legible to the outside world, yet simultaneously making the inability to collapse the impenetrable distance between Gaza and the world visible.  

In Everything and Everyone all the Time is guest curated by The Question of Funding. 

*The title is taken from: Vasey, George. “Gaza: Rosalind Nashashibi Interviewed by George Vasey.” Art Monthly, no. 391, Nov. 2015, pp. 1–4. PDF. Accessed 25 Sept. 2026. 

Content Guidance: This exhibition contains material that some visitors may find distressing. If you have any concerns or would like more information, please speak to a member of the Visitor Engagement Team.  

Films in order of appearance:

Basma al-Sharif’s We Began by Measuring Distance, 19 minutes

Rosalind Nashashibi’s Electrical Gaza(2015), 17:53 minutes

Oraib Toukan’s When Things Occur, 28 minutes

About the films:
Basma al-Sharif
We Began by Measuring Distance, 2009
SD video; 19 minutes
Long still frames, text, language, and sound are weaved together to unfold the narrative of an anonymous group who fill their time by measuring distance. Innocent measurements transition into political ones, examining how image and sound communicate history. Basma al-Sharif’s We Began by Measuring Distance explores an ultimate disenchantment with facts when the visual fails to communicate the tragic.

Rosalind Nashashibi
Electrical Gaza, 2015
16mm film, animation, sound, color; 17:53 minutes
Courtesy the artist and LUX
Electrical Gaza was shot when Israel’s 2014 bombardment and ground invasion, their so called ‘Operation Protective Edge’, was known to be on its way. The seeming calm is charged with the immanence of the violence that would kill 2000 Palestinians. Gaza is shown as a place from myth: isolated, suspended in time, difficult to access and yet magical. The accompanying animation and a distinctive soundtrack add a fictive layer that reflects the contrast between the hope and steadfastness of Gazans and the harshness of their lives under siege.

Oraib Toukan
When Things Occur, 2016
Single-channel video (colour, sound); 28 minutes
When Things Occur is based on Skype conversations with image-producers in Gaza whose images circulated from screen to screen during the 2014 War on Gaza. The film examines the digital embodiment and circulation of mourning and grief by materially exploring how the gaze is mediated through digital technologies. It interrogates the political economy of the image of war by asking: who actually has the prerogative to represent war?

About the Artists:
Using precise visual language, dark humour, and attention to landscape and sound, Palestinian artist/filmmaker Basma al-Sharif works across film, installation, writing and photography. Creating lyrical, poetic works her practice addresses ongoing violence and its representation; she explores the legacy of colonialism within seemingly inescapable power systems.

Major exhibitions include: Colomboscope, the Hannah Ryggen Triennial, the Gothenburg Biennial, Pompidou Metz, de Appel, the Museum of the Art Institute of Chicago, MOMA, CCA Glasgow, SALT Galata, the Whitney Biennial, Here and Elsewhere at the New Museum, Berlin Documentary Forum, and Manifesta 8. Her films have screened in the international film festivals of Locarno, Toronto, Berlin, Mar del Plata, Milan, London, New York, Montreal, and Yamagata amongst others. Basma is based in Berlin and represented by Galerie Imane Farés in Paris. Her new film “Morgenkreis (Morning Circle)” won the Grand Prize at the 39th Internationale Kurzfilmtage Winterthur, the Best Documentary short at the Sharjah Film Platform 8, and ARTWORKS Best FilmAward at the 14th Athens Avant-Garde Film Festival, Best Experimental Film at Curtas Vila do Conde IFF and awarded the Vimeo Candidate for the European Film Awards at Kurzfilm Festival Hamburg in 2026.

Rosalind Nashashibi is a London-based painter and filmmaker of Palestinian and Northern Irish heritage. Her practice depicts moments of collective intimacy and fragments of contemporary life through the lens of history. Born in London, Nashashibi received a BA in Painting from Sheffield Hallam University and an MFA from Glasgow School of Art, including an exchange at CalArts in 1999. She was the National Gallery’s artist in residence in 2020, was nominated for the Turner Prize in 2017, represented Scotland at the 52nd Venice Biennale, and was the first woman to win the Beck’s Futures prize in 2003.

Her work has been presented at Documenta 14, Manifesta 7, Sharjah Biennial 10, the Gothenburg Biennial, and the Nordic Triennial. Solo exhibitions include Km21 The Hague, Kunstinstituut Melly, Basque Museum of Contemporary Art, Vienna Secession, the Art Institute of Chicago, ICA London, Imperial War Museum, The High Line, and Carré d’Art, Nimes. Her work has also appeared in group exhibitions at Tate, Centre Pompidou, Whitechapel Gallery, Museo Tamayo, and the Hammer Museum.

Oraib Toukan is an artist, writer, and educator working across film, photography, text, and printed matter. Her practice explores alternative, native, and vernacular understandings of images, often drawing on the Arabic language and its material and theoretical registers.

Toukan’s recent exhibitions include Mathaf: Arab Museum of Modern Art, the A. M. Qattan Foundation, The Whitney Museum of American Art, KW Institute for Contemporary Art Berlin, M HKA Museum of Contemporary Art, and the Kyiv Biennial 2025. Her films have been presented at the Museum of Modern Art Warsaw, BOZAR, Musée Cinéma du Bruxelles, Curzon DocHouse, the Kochi-Muziris Biennale, and Festival Ciné-Palestine, Cinéma du Réel, among others. Recent publications include Things Bigger Than What Can Be Seen (Archive Books, 2026) and Sundry Modernism (Sternberg Press, 2017). Toukan holds a PhD from the University of Oxford, Ruskin School of Art. She teaches at the MFA program of Bard College, New York.

About the Invited Curator:
​​​​The Question of Funding (QoF) started through decentralized conversations in Ramallah, Palestine, where a large community of artists and cultural practitioners were frustrated with working and critiquing the monoculture produced by years of conditional international funding. The individuals, coming themselves from different NGOs, formed a collective to find affirmative ways to confront this culture of constant funding crises. They have worked collectively on grassroot economics in different ways. Through developing ​​dayra​​ in Palestine, a currency, or an economic medium, they make use of available resources through trust systems within small communities based on blockchain technologies. The collective collaborated with storytellers, designers, and illustrators in the Arab region, producing four children’s books, published by Koenig Books, on issues related to labor, communal resources, and value. In Kassel for documenta fifteen, QoF extended the invitation to Eltiqa, a twenty-year-old artist collective from Gaza and presented their paintings within a matrix of a timeline and research material as a model for economic and artistic resilience.​​​​     ​​​​​​​​​​​​     ​​​​​​     ​​​​​​​​​​​​     ​​​​​

The Question of Funding members, curators for this exhibition:
Yazan Khalili is a Researcher, Visual Artist, Cultural Producer. He works in and out of Palestine, currently based in Amsterdam, Netherlands, where he is a PhD candidate at Amsterdam School for Cultural Analysis (ASCA), University of Amsterdam. In 2020 he co-founded Radio Alhara, and in 2019 he co-founded The Question of Funding collective.

Lara Khaldi is from Jerusalem, Palestine and currently based ​​between​​​ Amsterdam​ and Jerusalem​. She is the director of the contemporary art space de Appel. She was part of the curatorial team of documenta 15, and the head of the Media Studies Program at Alquds Bard College, Jerusalem, and a tutor in the Disarming Design MA program at Sandberg Institute, 2020-2022.

To mark Palestine Cinema Days, Living Canvas at IMMA will screen a series of documentaries by Gazawyat, produced by Filmlab Palestine, directed byKhaled Tuaima, Moayed Abu Ammouneh, Shorouq Al-Aila and Aisha Adly.

About the films 

Gazawyat: Fidaa
Khaled Tuaima
Documentary, 11 min
The film follows Fidaa Abu Maryam as she uses storytelling as psychological first aid, gathering testimonies from women in Gaza and transforming their voices into a living archive of feminist memory that resists erasure and reclaims the self amid devastation.

Gazawyat: Noor
Shorouq Al-Aila
Documentary, 7 min
The film follows Nour, a Palestinian journalist living through genocide between frontline reporting and displacement, as life inside a tent exposes the fragility of privacy, the body, and marriage, turning her daily existence into a silent struggle for dignity, voice, and humanity under constant threat.

Gazawyat: Hadeel
Aisha Adli
Documentary, 6 min
In displacement camps across central and southern Gaza, women gather spontaneously to share how genocide strips away their humanity and privacy, forcing them to revive old rituals to reclaim their bodies and dignity amid exposed tents.

Gazawyat: Maha
Moayed Abu Ammouneh
Documentary, 4 min
The film tells the story of Maha Abu Ammouneh, a displaced mother who, in the heart of genocide, becomes a mother, teacher, doctor, and refuge, reinventing life for her children from nothing through imagination and play to shield them from fear and create a safer world within the ruins.

About the makers

Khaled Tuaima is a Palestinian filmmaker from North Gaza known for his documentary work capturing life under siege. A self‑taught director, he documents the reality of survival and resilience in Gaza amid the ongoing war. His work has been included in international art and film programs highlighting Gaza’s creative resistance and artistic testimony from within the war.

Aisha Adly, born in Gaza, is a Palestinian journalist and documentary filmmaker. Starting her journey as a photographer, she held three solo exhibitions that captured the human dimension of life in Gaza before transitioning into cinema, earning a diploma in directing and screenwriting. After her debut documentary, “Yalla ‘Aldabkeh”, supported by the Palestinian Ministry of Culture, Adly pivoted to documenting the unseen scars of the current conflict. Her recent work includes the feature documentary “+477 Nights” and the film project “Wahn”, a poignant examination of the harrowing experience of pregnancy under genocide.

Moayed Abu Amouna is a Gaza-based artist, holds a BA in Media (Radio and Television) from Al-Aqsa University. His practice spans multiple mediums, including filmmaking, photography, and experimental visual production. Through his work, Moayad explores concepts of land, collective memory, and displacement, navigating social and historical traumas alongside the systems that shape the future. He employs his creative practice to deconstruct these themes and reproduce them visually. Moayad has produced numerous artistic projects that have been showcased in local and international art exhibitions and film festivals.

Shrouq Aila is a Palestinian journalist and documentary filmmaker from Gaza, and an award-winning correspondent whose work illuminates life under siege and war. Her reporting focuses on human resilience amidst devastation, employing a narrative style that blends profound emotional truth with journalistic rigor to give voice to the silenced and marginalized. Over the years, Shrouq’s courageous work has earned global acclaim, most recently garnering an Emmy Award and the CPJ International Press Freedom Award in recognition of her exceptional coverage.

This year, Beta Festival explores how technology is reshaping how we sense, perceive and understand the world around us. Bringing together artists working across installation, performance, sound, games, AI and digital media; the programme asks what happens when we de-centre the human perspective and begin to consider the intelligence of landscapes, plants, animals and machines.  

Through immersive experiences and participatory artworks, audiences are invited to encounter technologies as systems that shape our relationships with each other and with the environments we inhabit. From biofeedback and environmental sensing to artificial intelligence, speculative ecologies and multispecies collaboration, this year’s festival explores the entangled boundaries between the digital and the living.  

Roisin Agnew
Bog Communism
Bog Communism is a term the Roisin Agnew began to use in relation to her PhD research into data centre expansion in Ireland and how this works with a colonial logic. Bog Communism refers to an indigenous form of resistance to tech imperialism through land rights, looking specifically at how this relates to the reconceptualisation of wastelands. After writing an essay on this for eco-socialist journal The Breakdown, the article was widely shared and Agnew was commissioned to make a film on the subject by CCA Warsaw.

Sound and Music designed by Felicita.
CGI by Rob Heppell.

Beta Festival is co-founded by The Digital Hub, an associate festival with Project Arts Centre and research partner with Research Ireland’s ADAPT Research Centre. In addition the festival in 2026 is supported by Dublin City Arts Office, Creative Europe, the Franco-German Cultural Fund 2026, the French Embassy Ireland, Alliance Française Dublin, German Embassy Dublin, Goethe-Institut Ireland, British Council in Ireland, Arts Council of Ireland funding festivals, Kunstverein Aughrim and RTÉ Supporting the Arts. With collaborations with NCAD School of Media, the M.Phil in Digital Art & Intermedia Practices in TCD, Fire Station Artists’ Studios, IMMA’s Living Canvas and European projects through Creative Europe Realities in Transition and Studiotopia. 

Beta Festival will take place across The Digital Hub Campus, Project Arts Centre, IMMA’s Living Canvas, Goethe Institut Irland, Alliance Française and Lucky’s. 

About artist:
Roisin Agnew is an Italian-Irish filmmaker and researcher. She is the director of The Ban, long-listed for a BAFTA and acquired by The New Yorker and AlJazeera. Her films have been screened at Tribeca, CPH Dox, IDFA, The Barbican, BAFTA, ICA London, DokuFest, CCA Warsaw, Irish Film Institute, Docs Ireland, etc. She is currently in production with a feature about data centres. She’s a PhD student at the Centre for Research Architecture, Goldsmiths and an Associate Lecturer at Ravensbourne University.

MOVING SIGNATURES began in 2025 as an interdisciplinary collaboration between IMMA Horizons and CoisCéim Broadreach in celebration of the exhibition IMMA Collection: Art as Agency.

This collaborative, movement-based project invited participants to capture and share their unique moving signature in response to selected works in the exhibition, while exploring how lived experience, intergenerational exchange, and creative expression can open up new forms of agency, presence and participation in the museum.  

Together, they asked: how can we expand our understanding of health to include the spaces we occupy, the histories we inherit, and our relationships with the natural world?  In addition to the artworks on display, the performance piece was also informed by the museum itself – its architecture, its history, and its role as a public space – engaging with place in ways that were grounded, situated, and deeply felt in the body. 

The project began in the galleries of IMMA where participants of all ages took part in a series of Saturday afternoon slow-art tours designed to provoke the senses and deepen connections with selected works from the museum’s permanent collection.  Then, guided by choreographer Jonathan Mitchell, participants responded physically to an artwork that resonated with them, to capture their own moving signature or physical phrase 

These moving signatures were filmed and the short films became the building blocks of a new dance work, co-created during Sunday sessions at CoisCéim Dance Theatre’s Fairview Studio. This collective response to the artworks was performed at IMMA on 16 November 2025  

Project Film created by Eoghan O’ Brien (Dobol Media) and edited by Gary Sherdian 

 MOVING SIGNATURES Montage film: 

A series of still images by choreographer Jonathan Mitchell. Extracted from the initial moving signature films, this montage featured as part of the project’s culmination performance at IMMA on 16 November 2025.  

CoisCéim BROADREACH 

BROADREACH is CoisCéim Dance Theatre’s pioneering participation initiative that has been redefining access and community engagement in dance for decades. Designed to ignite curiosity and creativity, it brings the artform to every body in fresh and unexpected ways.     

CoisCéim Dance Theatre is led by David Bolger, a member of Aosdána. It produces exceptional, inclusive, and sustainable dance theatre in line with its values of integrity, vibrancy, connection, and joy.  A registered charity, the company is strategically funded by the Arts Council of Ireland and supported by Dublin City Council and Culture Ireland. 

www.coisceim.com 

IMMA Horizons: Lifelong Creativity for the Curious 

IMMA Horizons aims to contribute to new thinking on how creativity can positively impact health and wellbeing through programming and partnerships. 

Extensive research has identified the role of the arts and creative engagement in the promotion of wellbeing across the life course. Building on the strong history of arts and health in Ireland, IMMA Horizons contributes to new research and ongoing conversations in Ireland and globally, advocating for arts experiences to be recognised as an important part of a healthy life. 

IMMA Horizons provides free creative experiences and events for adults to meet and explore art together at a relaxed pace, in a sociable and supportive environment that encourages active participation by all. 

Mairéad McClean
No More, 2013
Found footage, vhs, digital video and sound
Duration: 16 min
Purchase, Hennessy Art Fund for IMMA Collection, 2017
Collection Irish Museum of Modern Art 

About the film

No More (2013) deals with the subject of internment in the context of Northern Irish history of the 1970s. In Northern Ireland one man authorises imprisonment without trial, while at the same time, elsewhere in Europe another explores freedom of expression through mind and body connection. The piece won the inaugural MAC International Ulster Bank Art Prize in 2014. In 2015 McClean was commissioned by The National Museum of Ireland, to work with a group of migrant women to produce a film for an exhibition entitled Migrant Women: Shared Experience which was screened in the National Museum of Country Life (2015).

About the Artist

Mairéad McClean is a visual artist with a career spanning more than 30 years, working across various media such as film, photography, drawing and installation. She frequently incorporates found footage, historical and family archives, filmed performances, and televisual material into her work. Her art explores themes such as how individuals navigate systems of control, the ways we remember and how the language of filmmaking influences our perception of what we see. McClean was a Reader in Film and Video Arts at The University of Greenwich, London where she taught Documentary, Experimental film and photographic practice for 12 years. She left academic life to pursue her own work in 2012. Since then she has won prizes (MAC INTERNATIONAL ART PRIZE, 2014 Belfast, Kinoskop 6, Experimental Film Festival, Curator’s Award , 2024) and has presented work in the Turkey, Poland, USA, Germany, France, Italy, Russia and in museums across the UK and Ireland.