Aperture of Time: A participatory performance
Working Title
Questions of Cosmopolitanism and Boundaries of Space in the Academy of Fine Arts Vienna
On Belief: Cultural Heritage
In Conversation, 2017
Ferdinand II., Verfremdung I., Verfremdung II.
Vorarlberg Residency Sketchbook
bodily experience in public and semi public spaces sketchbook
On Perception
Work In Progress
About the artwork
Aperture of Time is a participatory performance that explores the relationship between identity, history, images, and memory through mirrors, smartphone images, bodily movement, and the architectural and historical setting of the Aula. The work invites visitors into a shifting field of reflection in which perception is unstable, relational, and shaped by movement through space and time.
From this emerges what I call Meta–Camera Obscura. The work begins, for me, with the historical concept of the camera obscura, while consciously departing from its classical form. In art history, the camera obscura is often associated with a fixed observer, a stable perspective, and a controlled visual field in which the image is organized through a particular apparatus of seeing. I do not seek to reconstruct that model literally. Rather, I reflect on it critically and rework it as a contemporary, political, open, and participatory image-space.
Through mirrors, smartphone images, bodily movement, and the spatial and historical conditions of the Aula, I propose a meta–camera obscura: not a closed chamber of vision, but a mutable field in which perception shifts with each movement through space. The gaze is not singular or stabilized in advance. It is mobile, embodied, and continually reconfigured through angle, distance, gesture, and the presence of others.
Performance scope
This is a probe performance exploring the relationship between identity, history, images and memory… The script is intended as a flexible and experimental piece, meant to be adapted, interacted, emboding visitors with in the space, the selves and time. The visitors may explore moments of improvisation, others engagement, and spontaneous reflection.
[SETTING: I and the visitors are between two mirrors facing each other—one on the Aula wall and the other in the “Demoraum.” I interact with the mirrors, a smartphone or a camera, a jacket, and the surrounding space.]
[Raise the smartphone and look at their reflection through its camera, then lower it. Move in the Aula, go to the mirrors, turn to see themselves in the mirrors, moving between both reflections.]
“Everything starts with looking,” “Alles geht zuerst über das Schauen…”
I look into my reflection in the screen and ask myself…
Who has been through these walls under this ceiling? How many events took place? Exhibitions, how many people would I meet through these reflections?
Even when I only see my reflection, I see others moving—now and in the past, and to the future.
[Pause, looking thoughtfully into the mirror. Slowly, I begin to take off my jacket, folding it carefully and holding it up, as if examining how this simple action transforms my reflection. I place the jacket down, feeling a sense of exposure and change in my self-image.]
I heard in a meeting in this room of the Aula’s occupation in late October 2009, a protest against the Bologna system and restrictions on higher education. I heard in seminars of the discrimination during the NS time here, and in recent years, I was at the Klima Action Month in October 2022; I witnessed the occupation during the “Uni Brint” protests for climate change.
[With the jacket draped, I move slowly, observing my transformed reflection in the mirror. Then, I put the jacket back on, I take a picture, as if re-assuming a familiar identity, noticing how each small shift affects the person and the many reflection of the selfe and spaces reflected back to me.]
When I enter the Aula, I see the covered statues, the name of an empire. I see my skeptical look when I read that name as I enter this room. I see the iconographical painting on the ceiling.
I wrote a note to look for these myths, but I could not find them online. I lost time in another time loop of daily life and couldn’t find them before tonight’s opening.
[Gestures upward in the mirror, then walks around and gazes toward the ceiling, as if inviting the audience/visitors to look with them.]
But I can describe them, just as you can glance up or observe the figure in your own gaze in the mirror… perhaps in the other work in this room.
“Narcissus does not love himself but succumbs to the seductive power of an image. To question oneself so deeply can make one’s whole worldview tremble.”
In this reflection, I see myself and the other in me, with an interest in who I am and who the people around me are, the hybrid Identities in.
[Shift slightly, seeming to reach out toward the mirror before pausing and addressing the audience/visiotrs directly.]
One can travel through their own perception in this room—to the past and to the future.
[Gaze at the mirrors.]
There are many gazes here… This exhibition holds the Mendoza gaze, the gaze that admires, the gaze that is skeptical, the gaze influenced by social and historical forces, the gazes that.... All of them are here, reflected in these mirrors.
What moment of one’s identity exists in this loop? And to what moment in the future does one aspire?
[Take a photo of their reflection in the mirror, then look down at it, almost contemplatively.]
Until we exist, do these images and reflections disappear? Or do they stay with us, in memory? I thought I would capture it—to capture this time loop in a photograph.
[Look out to the audience, visitors with an inviting gesture, as if encouraging them to join.]
Feel free to enter a time loop, past and future… to press the button and share it with the visitors here. And send it to me, it will reappear, and this moment will be captured again and again through many narratives.
[Pause, gazing into the mirror as if seeing countless versions of themselves.]
One identity is so complex to see that this loop of multiple, endless selves emerges. It’s not just one reflection, one image, one identification; it is a loss in time, not only of oneself but through others as well.
[Turn away from the mirror slightly, thinking aloud as if to the audience.]
The mirror is not only a place of meditation, nor photographs only about the self. It is as if these reflections say something beyond ego, more about one's surroundings and the times.
In these mirrors, I am not just pointing to tales of one era; it is about history, personal and public history. The gaze is shaped by social struggles, not merely myths, the weight of past, hopes of future and expectations projected onto us.
[Slowly put the jacket back on, assuming a stance that seems both familiar and changed, as if embodying a new understanding.]
Perhaps the question is the ritual—the gazes, the selves, the time.
[Look deeply into the mirror once more, then close their eyes briefly.]
I see myself and the Aula room reflected though in time, mutable times. I see my reflection in others, and I capture a moment of time—the impossible becomes possible
About the artwork
Working Title: In this work, I reflect on the way in which Wien Museum affirms the position of the Minnesang poet. However, the artist and their social positions in the wall painting / fresco remain anonymous in today’s museum presentation in relation to the social structure of the 14th century.
Working on the historical and social relationship between now and the Middle Ages, I used my smartphone to take photographs (colored, black and white), then drew with chalk pastel colour on the photographs that are details of the wall-painting in the Neidhartfestsaal, with endless possibilities for arranging them.
My aim is to deconstruct the performative narrative of the “play” the museum showed about the painting and social history.
About the artwork
Questions of Cosmopolitanism and Boundaries of Space in the Academy of Fine Arts Vienna: The Relationship Between Art Spaces and the Policy of Inclusion and Exclusion in them, 1994–2020, 2020.
Installation, book, drawings, sketches with different materials, notes & texts. Various sizes and different materials. Exhibition view at Viktoria Space, Vienna.
This thesis investigates how the art context and the educational discourses allow and produce “third spaces” at the Academy of Fine Arts Vienna.
The thesis starts from thinking about the following dualisms in order to blur the lines between them. These dualisms are: art sphere – legal system, art – theory, West – East, exclusion – inclusion, necro-politics – biopower and drawing–writing.
The method is based on the process of drawing, which highlights the possibilities of “the third spaces” that are generated from the similarities among such dualism whether one puts it West-East or drawing-writing.
About the artwork
ON BELIEF: CULTURAL HERITAGE.
(WORK IN PROGRESS, 2024): The sketches and studies presented here are composed of paper, plaster and soft tone. They include part of the text in plaster and one of the United Nations Educational, Scientific and Cultural Organization (UNESCO) Convention on the Protection of Cultural Heritage.
All the materials used in this work are touch-sensitive, fragile and dry in the air.
In these sketches, I am interested in the priority given by UNESCO to tangible cultural heritage (historical buildings, architecture, objects, artefacts) as opposed to intangible cultural heritage (language, oral history/folk tales, performance and dance).
About the artwork
Conversation, 2017 with: Maren Blume, Peter Haselmayer, valentin häckl, Samuel Hbicht, Laura Nitsch, Ben Owen-Browne.
Photographs: a selection from the series In Conversation — shot with a Sony Alpha.
(c) Marwa Abou Hatab, 2017.
„Ein Zitat von Frantz Fanon aus Black Skin, White Masks tauchte während ihrer Auseinandersetzung mit Texten über das Buch des afro-karibischen Psychiaters und Vordenkers der Dekolonisation immer wieder auf – stets hervorgehoben und deshalb gelb unterlegt.
About the artwork
Using mixed media, photography combined with digital drawing, I engaged with the dynamic interactions between the foreign and the familiar, offering a contemporary perspective on centuries-old narratives. Through visual composition and symbolism, the works invite viewers to critically examine their own perceptions of history, identity, and cultural boundaries.
In 2016, my works Ferdinand II., Verfremdung I., and Verfremdung II. were part of a collaboration with Schloss Ambras Innsbruck and curator Katharina Seidl. Inspired by the historical Ambraser collections of Archduke Ferdinand II., these pieces explore the interplay between identity, cultural displacement, and making meaning.
Mixed media: photography combined with digital drawing.
2016, Mixed Media.
About the artwork
As part of my residency in Vorarlberg, Austira, in the Alps, I worked on this sketchbook while hiking and collecting impressions with colleagues from Klassezeichnen. This sketchbook is part of those experiences—drawings and notes shaped by the landscape and moments shared during our hikes.
During the residency, I wrote a poem, which I later deconstructed and performed as part of my thesis research prologue in 2020.
In the summer of 2018, during the second half of the residency, I had a sunstroke during one of the hikes. This affected my perception and shaped how I drew and wrote; traces of that experience remain in the sketchbook through fragmented lines and thoughts.
For the online presentation, I mixed natural sounds—wind, grass, and trees—drawing on open-access recordings inspired by the nature of Vorarlberg.
About the artwork
Medium: diverse media including pastel, chalk, pen, ink, and colored accents. Size: various formats, including A3 and A5.
This is a drawing exercise of bodily experience that took place in the Museum Quartier as part of the drawing seminar attended in spring 2018. No photographs of the models were taken for privacy reasons.
About the artwork
On Perception: I worked on this drawing series during the pandemic in 2020. It continued my ongoing art practice, but with a deeper focus on body knowledge in relation to the digital realm — specifically, how we perceive performance and cinema through the 2D screen.
During this time, I was also in conversation with two fellow artists, Emilia and Janine, and these exchanges shaped the way I explored perception and presence within digital spaces.
Material: chalk pastel color; ink on cartons 300g.
Dimension: A4, A1, A2.
About the artwork
Participation in the group exhibition Ich kann leider auch nicht. LG.
This page now includes the full public image album currently visible on the linked project page.
CV
1990, SY
Member of IG Bildende Kunst – the advocacy association of visual artists in Austria.
Member of the Research Catalogue – international platform for artistic research.
Short Bio
Marwa Abou Hatab is an artist and researcher working across drawing, installation, photography, text, performance, and moving image. She is currently pursuing Ph.D. studies in Philosophy and Diploma studies in Fine Arts in the Drawing Class at the Academy of Fine Arts Vienna. She holds a Master in Critical Studies from the Academy of Fine Arts Vienna and a Bachelor of Arts from the University of Damascus.
Her work explores hybridity, third spaces, identity, memory, language, perception, cultural heritage, and the relationship between personal experience and public history. She has participated in exhibitions including Liminal Kondition at Kunst:werk St. Pölten and Ich kann leider auch nicht. LG at the Academy of Fine Arts Vienna, and she has received several grants and awards from the Academy, including a project grant and a recognition award for academic work.
She participated in the Art Mentoring Program of the Academy of Fine Arts Vienna as a mentee of Nela Eggenberger.
Education
Awards & Grants (Selection)
– 01 / 2024
Exhibitions & Artistic Activities (Selection)
Language Skills
Other
– 09 / 2023
1990, SY
Mitglied der IG Bildende Kunst – Interessenvertretung der bildenden Künstler:innen in Österreich.
Mitglied des Research Catalogue – internationale Plattform für künstlerische Forschung.
Kurzbio
Marwa Abou Hatab ist Künstlerin und Forscherin und arbeitet mit Zeichnung, Installation, Fotografie, Text, Performance und Bewegtbild. Derzeit absolviert sie ein Ph.D.-Studium in Philosophie sowie das Diplomstudium Bildende Kunst in der Zeichenklasse an der Akademie der bildenden Künste Wien. Sie hat einen Master in Critical Studies an der Akademie der bildenden Künste Wien und einen Bachelor of Arts der Universität Damaskus.
Ihre Arbeit befasst sich mit Hybridität, dritten Räumen, Identität, Erinnerung, Sprache, Wahrnehmung, kulturellem Erbe und dem Verhältnis zwischen persönlicher Erfahrung und öffentlicher Geschichte. Ihre Arbeiten waren unter anderem in Liminal Kondition im Kunst:werk St. Pölten und Ich kann leider auch nicht. LG an der Akademie der bildenden Künste Wien zu sehen. Zudem erhielt sie mehrere Förderungen, Stipendien und Auszeichnungen der Akademie, darunter eine Projektförderung und einen Würdigungspreis für wissenschaftliche Arbeiten.
Von 2023 bis 2024 nahm sie am Art Mentoring Program der Akademie der bildenden Künste Wien als Mentee von Nela Eggenberger teil.
Ausbildung
Auszeichnungen & Förderungen (Auswahl)
– 01 / 2024
Ausstellungen & künstlerische Tätigkeiten (Auswahl)
Sprachkenntnisse
Sonstiges
– 09 / 2023
Blog
In solidarity with civilians and children under armed conflict
In solidarity with civilians and children under armed conflict
A message of solidarity with civilians and children living under armed conflict in the Middle East and around the world. Every civilian life matters. Every child deserves safety, dignity, and peace.
For support: UNICEF and child protection partners for children and caregivers; UNHCR and partners for refugees and displaced adults; ICRC / Red Cross / Red Crescent for separated families; and WHO-supported mental health and psychosocial services for people affected by conflict.
Thank you, GC Arbenz, for your care and support in sharing this message.
#Solidarity #Peace #Civilians #Children #Humanity
رسالة تضامن مع المدنيين\ات والأطفال الذين يعيشون تحت وطأة النزاع المسلح في الشرق الأوسط وحول العالم. حياة كل مدني\ة مهمة، وكل طفل\ة تستحق الأمان والكرامة والسلام
للدعم: اليونيسف وشركاء حماية الطفل للأطفال ومقدّمي الرعاية؛ المفوضية السامية لشؤون اللاجئين وشركاؤها للاجئين والبالغين النازحين؛ اللجنة الدولية للصليب الأحمر / الصليب الأحمر / الهلال الأحمر للعائلات المشتتة؛ وخدمات الصحة النفسية والدعم النفسي الاجتماعي المدعومة من منظمة الصحة العالمية للمتأثرين بالنزاع.
شكراً لـ GC Arbenz على الرعاية والدعم في مشاركة هذه الرسالة.
#تضامن #سلام #أطفال #إنسانية
Statements
Artist Statement
I am an artist and researcher working across drawing, photography, text, installation, performance, and moving image. My practice is rooted in hybridity and in forms that move through and beyond fixed oppositions. I am interested in how identities, languages, images, and bodies are shaped in relation to space, memory, institutions, and historical conditions.
Drawing is central to my practice, not only as a medium but as a way of thinking. I work with drawing as a method that allows me to move between image and text, reflection and analysis, embodiment and distance. Rather than reinforcing binaries, I am drawn to in-between states, transitional forms, and third spaces in which categories become unstable and can be rethought.
My work often develops from personal, biographical, and subjective experience, while remaining connected to broader sociopolitical structures. I am interested in how art, education, and institutional frameworks shape what can be seen, said, valued, or remembered. In this sense, I approach artistic practice as a space where perception can shift and where dominant structures can be questioned rather than simply repeated.
I am especially interested in hybrid artistic forms. In my diploma work, I engage a “Zwischen-Kunst” medium, such as photography-drawing, as a method for reflecting on cultural goods, their production of value, and their reception. This interest in hybridity is not only formal; it is also conceptual. I work through spaces where meanings are not fixed, where identities remain relational, and where oppositions can be exceeded through layered, unstable, and shifting forms.
I understand art as a place for inquiry: a place to inhabit complexity, to remain with ambiguity, and to create forms that allow for reflection rather than closure.
Short Statement
I am an artist and researcher working across drawing, photography, text, installation, performance, and moving image. My practice explores hybridity, third spaces, identity, memory, language, perception, and the relationship between personal experience and public history.
Extended Bio
Marwa Abou Hatab is an artist and researcher based in Vienna. Her practice moves between drawing, installation, photography, text, performance, and moving image, and is grounded in questions of identity, memory, perception, language, migration, and historical space. She works with drawing both as a medium and as a method of inquiry, often developing works that move between visual form, critical reflection, and embodied experience.
She is currently pursuing Ph.D. studies in Philosophy at the Institute for Art and Cultural Studies and Diploma studies in Fine Arts in the Drawing Class at the Academy of Fine Arts Vienna. She completed a Master in Critical Studies at the Academy of Fine Arts Vienna and holds a Bachelor of Arts from the University of Damascus. Her education also includes graphic design training in Adobe at the New Horizon Institute in Damascus.
Her work has been shown in group exhibitions including Liminal Kondition at Kunst:werk St. Pölten and Ich kann leider auch nicht. LG at the Academy of Fine Arts Vienna. Earlier activities include the workshop series Drawing is Political at SOHO STUDIOS, Release Big Critical Energy in connection with the MA Critical Studies program, the Rundgang exhibition of the Drawing Class, and the workshop Wissen with Lisl Ponger as part of Wienwoche.
Abou Hatab has received a project grant from the Academy of Fine Arts Vienna, a recognition award for academic work, a student grant from the Vienna Scholarship Office, and the 2nd Year Scholarship of the Academy. From 2023 to 2024, she participated in the Art Mentoring Program of the Academy of Fine Arts Vienna as a mentee of Nela Eggenberger. She is also a member of IG Bildende Kunst and the Research Catalogue.
Confession
this Disposition is ideal for Digital Display.
When printing; the content on the margins bewusst/ unbewusst becomes transparent to the naked eyes.
consciously/ unconsciously
deliberately/undeliberately
willingly/unwillingly
recklessly/ carefully
daringly/ carefully
indecorously/ demurely
pretentiously/ politely
unrefinedely/ courtly
News
“DANCING WITHIN DANCING WITHOUT,” The symposium was held last month. It included a lecture performance on cosmopolitan norms and third spaces in Akbild, with lectures by Sarah Kolb on identities and performance, and Flavia Mazzanti on post-anthropocene.
The performance by Sara Lanner was followed by a keynote address by Ruth Sonderegger, which reflected on Fred Moten’s writings. The event was held at Viktoria, Vienna (Viktoriagasse 5, 1150, Wien) and was curated by Guilherme Mata and Sarah Kolb.
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Email: marwa.a.hatab@gmail.com
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E-Mail: marwa.a.hatab@gmail.com
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Email: marwa.a.hatab@gmail.com