{"id":5829,"name":"","email":"","language_id":1,"permalink":"nour-shantout","deleted":false,"legal_status_id":null,"url_1":"https://nourshantout.com/about","twitter":null,"category_id":47,"date_of_birth":null,"place_of_birth":null,"country_of_birth":null,"place_of_residence":null,"country_of_residence":null,"cached_privileges_list":"User","cached_tag_list":"","publishing_process_id":1,"can_log_in":false,"firstname":"Nour","lastname":"Shantout","annotation":"","url_2":"","url_3":"","cached_name":"Nour Shantout","date_of_death":null,"cached_name_asc":"Shantout, Nour","stream_count_app":19,"gender":"other","platform_admin":null,"description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/615/large/2026_We_Tefuse_D_Nour_Shantout_OPB_F002_1_bw.jpeg?1773147013","poster_credits":"© the artist — Photo M HKA","media_count":1,"items_count":11,"translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eNour Shantout is a Syrian-Palestinian artist, researcher, and educator whose multidisciplinary practice spans embroidery, installation, text, and collaborative methods. Grounded in a deep engagement with Palestinian embroidery (\u003ci\u003etatreez\u003c/i\u003e), her work treats this traditional craft not merely as heritage, but as a living, resistant archive, one that embodies identity, counter-memory, and intergenerational knowledge.\u003c/p\u003e\u003cp\u003eHer research-based projects trace intimate personal narratives and collective histories, particularly within contexts of displacement and marginalization, such as the Shatila refugee camp in Lebanon.\u0026nbsp;In \u003ci\u003e\u003cstrong\u003eSearching for the New Dress\u003c/strong\u003e\u003c/i\u003e, Shantout reflects on the transmission of memory and the circulation of embroidered dresses between generations of women in exile, revealing how garments become vessels of everyday survival, counter-mapping, and cultural resilience.\u003c/p\u003e\u003cp\u003e\u003ci\u003e\u003cstrong\u003eEvidence\u003c/strong\u003e\u003c/i\u003e responds to intensified censorship through the emergence of new visual codes. Artists and cultural workers often blur faces in online documentation – a protective gesture that transforms pixelated squares into subtle symbols of an era marked by constraint. This work reflects on the evolving relationship between language, medium, and temporality. As screenshots of social media posts are used to silence or undermine cultural voices, the exhibition space shifts from a mere site of display to one of negotiation, risk, and resistance. It invites us to consider how acts of refusal – of revealing less, of withholding faces – can paradoxically assert presence and agency.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003cspan class=\"text-small\"\u003eText written in the context of the exhibitition \u003c/span\u003e\u003ca href=\"https://werefused.ensembles.org/\"\u003e\u003cspan class=\"text-small\"\u003e\u003ci\u003ewe refuse_d\u003c/i\u003e\u003c/span\u003e\u003c/a\u003e\u003cspan class=\"text-small\"\u003e is produced by Mathaf: Arab Museum of Modern Art, Doha, on the occasion of their 15th anniversary, and presented in partnership with M HKA.\u003c/span\u003e\u003cbr\u003e\u003cspan class=\"text-small\"\u003eCurated by Nadia Radwan and Vasıf Kortun.\u003c/span\u003e\u003c/p\u003e"},{"locale":"nl","short_description":"","description":""},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"locations":[]}