In her research, Nada focuses on gentle trespassing and structured cacophony as means for bridging her social concerns of co-habitation between people and her crash-disciplinary artistic practice. Nada is interested in exploring how artistic methods can be used as tools to elastisize rigid systems and institutions, both within and outside of the arts. She looks for non-binary and non-dualistic working strategies (avoiding the ‘this or that, here or there’ approach) that can accommodate a meshwork of relations between people, things, concepts, contexts and ideas.
During her time in workspacebrussels she will further develop her writing as well as study kintsugi, the Japanese art of repairing broken claypots and vases with lacquer dusted or mixed with powdered gold, silver or platinum. Kintsugi treats breakage and repair as part of the history of an object, rather than something to disguise.
Nada is interested in transferring this philosophy to writing, co-creating and conversing. What is original and what has been broken then fixed? We live in a world where everything has history so when we speak of originals, what we really mean is the one that came before. At what point does breaking divide us from the before to an extent that we must find new vocabularies, new relations, new reference points? If breaking is needed to create change, how can we deal with the apparent cruelty of it, which will always be an inherent part of it? If we take time to “bother” each other in constructive ways what is produced, what are the effects and affects? What can be learnt in this process of hybridization?