architect . designer . visual artist

/August 2019
Solo exhibition at Nabad Gallery
"In a city that is exposed to a continuum of development and re-development, the subject of displacement renders its spaces its margins  and its people, in constant flux under an imposed system of order, of regularity, of certainty and of uniformity, where intangible boundaries and margins are also in constant mutation and formation. 
The stone quarries in this body of work are a metaphor for the concept of displacement. The system that is imposed; the grid that is a symbol of modernity dressed onto the mountain, cutting it into fragments like Lego pieces, systematically ordered, and patiently waiting in line for their assembly. 
This is what we are left with, then, a negative space that by itself is a geometric ensemble of grids, layers and fragments. A symbol of a fabricated reality that artificially structures and holds its own determination and potentiality. A symbol of the alien inserted into the familiar landscape—flattened, geometricized, ordered, anti-natural, anti-mimetic, anti-real."
/May 2018
Link here
Architects Dina Haddadin and Rasem Kamal have designed a hybrid shelter and water tower that could provide drinking water, as well as shade in the summer and warmth in the winter.
/October 2017
// Dina Haddadin as the principle architect of Amman Design Week 2017.
The lead designer for the Hangar exhibition space along side the curator Ahmad Humeid. As well as the architect of the Amman design week Hub master planning, outdoor space and functional installations. 
The 2017 Hangar Exhibition, curated by Ahmad Humeid, presents work by local and regional designers in response to the theme of ‘movement’, whether physical, intellectual, cultural, or social. © Amman Design Week 2017

The official launch of Amman Design Week 2017's program took place at the Grand Hyatt Amman © Amman Design Week 2017
/August 2016
 //The Craft District at the fist Amman Design Week (ADW) designed and curated by Dina Haddadin
The first of its kind, in a country that knows art, knows tradition, but is still discovering design, the Amman Design Week (held from 1st to 9th September) aimed at initiating the conversation around design, its role in today’s society, its hidden presence over the centuries, and how it can create a positive impact in a way no other profession can.
Amman Design Week 2016 announces its curators; The Hanger Exhibition will be designed and curated by architect Sahel Hiyari, and the Craft District will be designed and curated by architect Dina Haddadin. 

Sahel Al Hiyari and Dina Haddadin, the curators of two of Amman Design Week’s exhibitions
Amman Design Week, which will take place from 1 to 9 September, is set to be an important addition to the city’s creative calendar. Co-directed by Abeer Seikaly and Rana Beiruti, Amman Design Week will activate various participating spaces around the city, with exhibitions held in locations in Downtown Amman. The extensive programme will feature a series of exhibitions that highlight the work of designers from around Jordan and the region, as well as an educational aspect, a local food component and much more, establishing it as an interactive platform for exchange and growth.
As part of this rich and varied calendar of events, three main exhibitions will take place in the so called “Cultural Corridor” of Ras Al Ain and Downtown. The MakerSpace will be located within the Jordan Museum, giving visitors a unique opportunity to experiment with the latest methods of making in the context of some of the earliest examples of tools from the region. The Crafts District, curated by Dina Haddadin, is a social space for crafts that places traditional skills within a modern design context. The Hangar Exhibition, under the watchful eye of Sahel Al Hiyari, will present a broader view of design in Jordan, situating it within the wider region as a cross-border and inter-cultural discipline.


/October 2016
//Symphony of Emptiness featured in the Arab Creativity and Entrepreneurship Fund  ACEF Book 2015 - Oct 2016, link here
/December 2015
//Symphony Of Absence 861 : Wining project for the Arab Fund for Arts and Culture
Category: Visual Arts
Year: 2015

A public urban intervention, part of a larger on-going project titled "Island 861 How to disappear". A transient monument of nothingness, a spatial manifestation of urban political power, where the city betrayed its own inhabitants. The story is told in an Ammani neighborhood, representing the symbolic cleansing of a marginalized "informal" settlement.
Press release:
AFAC announces twenty new grantees for Visual Arts
20 Jul, 2015

 The Arab Fund for Arts and Culture –AFAC is happy to announce the selection of the newest group of grantees for its Visual Arts General Grants program.
 The 2015 Visual Arts jury committee, which met at the AFAC offices in Beirut on July the 9th, included experts from different backgrounds and nationalities:Jurors: Reem Fadda (Palestine), Kader Attia (Algeria), Marwan Rechmaoui (Lebanon).
 The open call for The Visual Arts Category was launched on February 1, 2015 and closed on May 1, 2015. AFAC received this year 164 applications of which 20 projects were selected to receive the grant. Commenting of this year’s selected projects, the jury stated that:
“In reflecting on the multiple applications submitted in the category of Visual Arts for the Arab Fund for Arts and Culture (AFAC) 2015, we have found a tendency of works that tackle a similar trajectory of subjects and viewpoints. The plights of the Third world (not exclusive to Arabs) are presented through concepts of disappearance and change be it through immigration, transformations in the urban landscape, blockades, and of course tragedies of wars. We believe that to move responsibly forward in society, one should start critically from the self and not exclude it. Through the works of these artists, we felt we are leaving the materiality of the modern and concrete worlds to reclaim and capture the immaterial, through the digital, the gesture, the action, the book and the other manifolds of contained expression. We also looked towards the artists that advanced ideas and mechanisms to push the frontiers of art into a borderless terrain, where art intermingles responsibly with life, and where art and poetics become essentially integrated and useful to a society, be it as a wake up call to our surroundings or a creative manual to show us how to improve it. We are proud to have selected applicants from a diverse variety of countries, and our selection was consciously gender-balanced, however, its worthwhile to mention that merit in the end was the most important deciding factor based on all the above takeaways.”

Breath of an arabian body by Abderrahmane Doukkane
Dissect the Insects by Dalia Yassin
Dramatic Episodes about locomotion by Mohamed Abdul-Karim
Geography of tears by Lara Tabet
Not dispersed but assembled by Nour Bishouty
PainFortable by Mohamad Abusal
Palestine tracks by Iyad Issa
Power to the people by Khaled Malas
Sparkling City by Inass Yassin
Symmetric, Isometric and Equivalent by Imane Ibrahim
Symphony Of Absence 861 by Dina Haddadin
The after by Fakhri Ghezal
The body and Space-time by Mohammed El Makouti
The Forgotten Ruins (working title) by Yazan Al-Khalili
The Lion’s share by Ymane Fakhir
The Tone So Prolonged - Interrupted by Kinda Hassan
Waiting for the Elephant to Alight on a Tree by Mohamed Abdulla
Art exhibition during the Second Comics Week in Egypt by Sefsafa Culture and Publishing
Cairo Video Festival 7 and Cairo Video Festival Archive by Midrar for Contemporary art
Program of contemporary arts – Gaza by Eltiqa of contemporary dance


Island 861 - an ongoing research project
 Residue mixed media on canvas 

Pencil drawings on paper, 16cm x 6cm

"Guilty Landscapes at Nabad December 2015
Adolfo Natalini wrote in 1971 “…if design is merely an inducement to consume, then we must reject design; if architecture is merely the codifying of bourgeois model of ownership and society, then we must reject architecture; if town planning is merely the formalization of present unjust social divisions, then we must reject its cities…"
…Architecture is one of the superstructures of power. This is a rejection of the power and its grid; a symbol of the alien inserted into the familiar landscape; flattened, geometricized, ordered, anti-natural, anti-mimetic, anti-real. An order of regularity, certainty and uniformity.
Stone, metal and concrete abstracted into a singular geometric form, to create the cell of the system, woven into, interlocked, stacked or aligned to.. You have the power to shape that system of whatever order, in our guilty landscapes."

Thursday, Oct. 11 at 6PM

Public discussion with Mario Gooden, Dina Haddadin, Saba Innab andJack Persekian: What are the conceptual grounds for Architecture in the creation of new spaces for the engagement with and interpretation of Contemporary Arab Art in the Middle East?


Reports about the arts in the Arab region assert a ‘booming’ state of affairs. Ambitious plans for art museums in the Gulf, new faculties of art and design, the influence of diaspora artists, and an unprecedented increase in artists’ residencies created opportunities and exposure for Arab artists internationally and for international artists to work in the region. The Arab region’s hierarchical relationship to the global network has stealthily been forming through the burgeoning market for Middle Eastern and Contemporary Arab Art. Yet the effect of the market on informing or misinforming knowledge of the art production of the region – particularly in view of the absence of a scholarly discourse – is problematic and alarming.
The Arab world with its socio-political tensions and contradictions provides a rich laboratory of young Arab artists, who are looking for answers to the ever more complex trajectories of (Post)Modernity than one might find at the major auction houses. While an expansive cultural art territory forms the new links between the local topology and the global network extending from important galleries and institutions in Beirut like the Ayyam Gallery and the Beirut Art Center through Amman’s Darat Al Funun and Makan House to the Guggenheim and the Louvre in Abu Dhabi, what is new in Contemporary Arab Art is not just the mediums being deployed. Rather it is the image in all its forms that Arab artists have subverted while creating spaces for the interpretation and engagement with the arts.
If Architecture is a form of knowledge and the materialization of concept, then how does Architecture materialize in an emergent ‘space of flows’ – the spatial logic that does not upend the city but rather provides a reflexive lens by which to critique the flows of information, capital, markets, technology, interaction, flows of images, sounds, and symbols as well as power structures and political systems embedded in urban morphologies? What is the conceptual ground for Architecture where identity and image seek to be subverted by Arab artists while creating new spaces for the production, criticism and consumption of Contemporary Arab Art?

This event is organized in partnership with Darat Al Funun/The Khalid Shoman Foundation.

5th Beijing International Art Biennale, China 2012 Future and Reality

I was pleased to receive notice from the Beijing International Art organization Committee, that the painting “Occupied Omissions ” is selected for the 5th Beijing International Art Biennale, National Art Museum of China, China 2012
Dina Haddadin
Selected Visual Art Projects Portfolio

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