United Screens for Palestine – Table Session with Dina Mimi

MORPHO and Kunsthal Extra City warmly invite you for a screening and dining experience in honour of Dina Mimi on Saturday 17 February. During this evening, Dina will be present to introduce her video works in conversation with Brussels-based filmmaker Reem Shilleh. Michelle Woods and Hafsa Elazzaoui will prepare special dishes to taste and share. Sadrie Alves will sell posters by Bulbul Collective in solidarity.

Dina Mimi (1994, Palestine) is a visual artist and filmmaker who works and lives between Jerusalem and Amsterdam. Using video, text, sound and performance, she explores themes of mourning, death, memory and the colonial past, asking questions like: How does grief sound? What happens to the body before the vanishing point?
Dina was a participant at De Ateliers from 2020-2022. Her work was previously shown in Belgium at Kunstenfestivaldesarts in 2021 and Kaaitheater in 2023. She is shortlisted for the 2024 Future Generation Art Prize.

This screening is part of United Screens for Palestine, an initiative by an open collective of programmers which serve as a platform for substantive discussions and an earnest exploration of the historical narrative of Palestine.
Book your tickets here and make a donation! We suggest donations of € 8, €15 and € 30. Proceeds will go to various families and friends of the artist in Gaza. The conversation will be in English.

Film programme
The Melancholy of this Useless Afternoon, chapter 2 (2023, 11:25) explores the shared gestures between the fugitive and the smuggler, and their relationship to being seen. Divided in two chapters, it suggests how the movement of bodies can become acts of decolonising or revenge.

The Eyes that Never See (2021, 11:47) is a short film that tells the story of Ram(z)i, a lonely working-class man who died twice. It exposes the obsessions of a settler state that continuously digs up artifacts in order to erase and rewrite history.

In Order to Talk with the Dead (2018, 04:39) examines the relationship between Algerian ‘trophy’ skulls taken by the French colonial army and the museum visitor’s gaze. It intertwines archival footage and scenes shot by the artist in the Jericho desert, the Musée de l’Homme and the Catacombs in Paris.