Sahar Kubba is an architect and installation artist based in New York City.
The source code for this website is available on GitHub.
Unreachable is an installation that attempts to explore the distance between ourselves and the pain of others. Upon entering the room housing the installation, one is faced with a large rectangular structure built from plywood that fills it almost completely. The structure is rotated so as to be slightly askew with respect to the room, with walls rising 8 feet above the ground. The passage to the right is blocked by a corner of the structure, so one must proceed to the left, through a narrowing passage between the walls of the structure and the room. At the far corner of the structure, one discovers an opening in the structure that leads down a narrow corridor. The corridor opens on to a small room with several sleeping mats arranged in a tight grid on the floor, each with a rough sheet and a blanket. At the far end of the room, to the right, is a large plywood cube. To the left of the cube, on one of the mats, lies my father’s account of his detainment, without charge, in a Syrian prison. One approaches to read it, treading on the sleeping mats.
Hors Signal is an audio installation exploring the creation of a suppressive, authoritative space through the production of silence. Produced during a six week artist residency at Eastern Bloc in Montréal.
City of Lost Artifacts is an installation that aimed at documenting and exploring the 2003 looting of the Iraqi National Museum
States of Exception is a reading, through a series of ink drawings, of the US Senate Intelligence Committee report on the CIA torture program that was declassified in December 2014. States of Exception explores the sites of torture as described in the report. These “black sites” were meant not to exist, a point in zero dimensions residing outside of space and history. For the detainees, however, this point becomes an entire universe and an eternity. This point-universe describes a geometry of power, of the infinite reduced to zero, of zero becoming everything. The geometry of power manifests itself most directly within the spaces of torture. These spaces, are built to be absent, forgotten, but they are nonetheless built. They remain. The power that wants to erase is nonetheless leaving artifacts. The detainees, forgotten, are in spaces that, in the stillness and extent of time, become all they can remember.
Ink on Paper
This game was produced during a six week incubator with Pixelles
Right arrow to Move
R to Restart game
Played best with headphones