https://rimanajdi.com rimana Thu, 18 Sep 2025 08:33:03 +0000 https://rimanajdi.com en https://rimanajdi.com/HOME-1 Fri, 24 Jan 2020 13:39:07 +0000 rimana https://rimanajdi.com/HOME-1 &nbsp;FREE PALESTINEwelcome to nothing!! https://rimanajdi.com/ARTISTIC-WORK-1 Sun, 08 Dec 2019 20:20:47 +0000 rimana https://rimanajdi.com/ARTISTIC-WORK-1 <img width="4724" height="3543" width_o="4724" height_o="3543" data-src="https://freight.cargo.site/t/original/i/3eec828b3bef657c732525c0ed7a9094240a4f5d9c39981adc06c57eefc595ac/Master-visual-1.jpg" data-mid="56282380" border="0" src="https://freight.cargo.site/w/1000/i/3eec828b3bef657c732525c0ed7a9094240a4f5d9c39981adc06c57eefc595ac/Master-visual-1.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e439dafc155975d141cfaf550d7c5a00436bec21080153327a0998a544644da4/IMG_4537.jpeg" data-mid="116046811" border="0" 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data-src="https://freight.cargo.site/t/original/i/c6dae312f20003e3efcaf078b7de3579122982de68ac3fd5aff1506fc5caba2f/prt_250x250_1492610369.png" data-mid="56281770" border="0" src="https://freight.cargo.site/w/250/i/c6dae312f20003e3efcaf078b7de3579122982de68ac3fd5aff1506fc5caba2f/prt_250x250_1492610369.png" /> <img width="1031" height="1458" width_o="1031" height_o="1458" data-src="https://freight.cargo.site/t/original/i/51278f48c5f5eb64fb996ad4937039afe6433c0173127a4456edc805c2e1961b/0.jpeg" data-mid="156358433" border="0" data-marker-id="2" src="https://freight.cargo.site/w/1000/i/51278f48c5f5eb64fb996ad4937039afe6433c0173127a4456edc805c2e1961b/0.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/c36a8cbf38a16f628b2b54f3a82985a90bb799e2f55970bdf23c77669acc4fa8/IMG_2637.JPG" data-mid="238234408" border="0" data-rotation="180" 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data-mid="60109491" border="0" src="https://freight.cargo.site/w/462/i/d0b65a261cf70fe13b8c5d73ab6e789aa05900c631d2ed22160f07ae160d6ab7/FINAL-A-.png" /> https://rimanajdi.com/INFO-1 Tue, 10 Sep 2019 12:01:09 +0000 rimana https://rimanajdi.com/INFO-1 ABOUT&nbsp; Rima has lived in Beirut, New York and is now settled in Berlin. She speaks French in an Arabic accent, English in a French accent and Arabic in a Lebanese accent.Even though Najdi is a modern day polyglot, for some reason, she has difficulty finding the words to describe herself as an artist.The first time Rima felt she was a remarkable, exceptional, amazing, astonishing, astounding, marvelous, wonderful, incredible, unbelievable, phenomenal, outstanding, unusual performer was when she stepped off the airplane onto US soil where she was randomly selected for a security check. She knew she had to be attractive considering this continued to be the case at JFK airport. Najdi first felt influential when she was dancing on stage and her professor suddenly started to cry, though she learned shortly after that it was because of the breaking news that the prime minister of Lebanon was assassinated. Regardless, the experience still encouraged, boosted, pumped, inflated her ego, and gave her the impression that she was destined to move people.Rima Najdi's work occupies and (re)negotiates in-between spaces. She grapples with the ways in which identity is constructed and perceived, focusing on the lived experience of the body. She is interested in the vulnerability of the body in relation to the politicized tropes of gender, safety, mobility and representation. She thinks it is much more interesting and rewarding to change a performance process live than to have everything memorized, regurgitated, restated, reiterated, recited, parroted. She would rather play, replay, re-re-play, re-re-re-play, re-re-re-re-replay, re- re-re-re-re-replay... CONTACT rima.najdi@gmail.com <img width="2955" height="1934" width_o="2955" height_o="1934" data-src="https://freight.cargo.site/t/original/i/b00b1fe9ea32e335775742b405cc8467601dbf652ed5315b2e9507b08c78cf8c/I-am-not-real-just-like-you.jpg" data-mid="56252523" border="0" data-scale="47" src="https://freight.cargo.site/w/1000/i/b00b1fe9ea32e335775742b405cc8467601dbf652ed5315b2e9507b08c78cf8c/I-am-not-real-just-like-you.jpg" /> https://rimanajdi.com/If-suicide-Bombers-looked-like-you-I-would-love-to-die Mon, 15 Sep 2025 10:40:46 +0000 rimana https://rimanajdi.com/If-suicide-Bombers-looked-like-you-I-would-love-to-die I was invited to give a workshop on Madame Bomba. The invitation brought back a range of emotions. I did not hesitate to accept. Madame Bomba is a persona I created in 2014, when I walked through the streets of Beirut wearing a fake bomb—protesting death and staging an intervention during a new wave of violence. Since then, I have repeatedly refused invitations to “do” Madame Bomba in Western contexts. Context is not transferable. representation is exhibitionist in such context. The violence of Lebanon in 2014 is not the violence are witnessing today across Lebanon, Palestine, Yemen, Syria, Iraq and an ongoing genocide. This time, I accepted and &nbsp;chose to stay with her differently. The workshop took place during a four-day research week at HZT in Berlin (Shooting, curated by Janez Janša and Sandra Umathum), in the middle of an ongoing genocide, and within a censored institutional atmosphere where people were being silenced, fired, and disciplined for pro-Palestinian positions; where even the word genocide was avoided. Instead of performing Madame Bomba, we built the costume. We stayed inside the studio. We talked while making. The workshop then became what we jokingly call in Arabic circles of revolutionary culturalism. Each day followed a theme. The rule was simple: we build the costumes together, we wear them only inside the studio. We watched, read, and talked while making. Once the costumes are on, we dance and warm up to Arabic pop songs. We wore the costumes only there. We danced to Arabic pop songs. We watched films and materials on memory and the struggle against zionism, the history of clothing as protection and signifier in protest, and the military appropriation of such tactics. We watched interviews and statements by revolutionary figures; from the Zapatistas to Soha Bechara, to Ghassan Kanfani and Baader Meinhof group. We read poetry from Palestine. We memorised lines, forgot them again, and that was a small artistic stretgy... We spoke about censorship, humour, fear, and tactics.&nbsp; We did mini-performances every day. Nothing was polished; every action remained tentative. I consider this workshop a long performance, unfolding over four days, with eight participants. The costume was worn, then removed. Some destroyed it. Some kept it. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/87cef957cfa5671253b8db98614c6c6614d6cb2ed75844fc65cf34fd602e9d42/IMG_2503.JPG" data-mid="238319508" border="0" src="https://freight.cargo.site/w/1000/i/87cef957cfa5671253b8db98614c6c6614d6cb2ed75844fc65cf34fd602e9d42/IMG_2503.JPG" /> “IF SUICIDE BOMBERS LOOKS LIKE YOU, I WOULD LOVE TO DIE” Day 1: Costumes, perfromance and censorship. On Day 1, we met and I introduced the persona of Madame Bomba, and the intervention that happened in 2014. I also made clear the problematics of speaking about such an intervention, in an artistic space, at a German institute, in Berlin, during an ongoing genocide, within a climate of censorship. We told different narratives of how the German state is engaging with tactics of violence and censorship, and how this could be a ground to inspire performance strategies. In the second half of the day, I introduced what we will do in the workshop in general, to make this workshop ok: each participant will create their costume, and we can wear them only inside the studio space. Participation should end at the workshop if one doesn’t feel comfortable wearing the costumes. Everyone agreed to continue. While we started creating the costumes, with minimum budget and tools, we also started talking about costumes and apparels. We spoke about IDF soldiers wearing Gazan and Southern Lebanese women’s clothes and lingerie, posing with them and displaying them. Then we spoke about how apparel and objects become extensions of bodies, amplifying them or exposing them, and the affect that comes with it. Later, we hosted curator Racha Gharbieh, who read for us letters from artists responding to censorship in Germany.Then we took the costume off. <img width="3672" height="2066" width_o="3672" height_o="2066" data-src="https://freight.cargo.site/t/original/i/f0d238bfb2185cdb3071c070ae780f35a936b3d7260cae81cf4c8b2c89ab13dd/IMG_2587.JPG" data-mid="238274913" border="0" src="https://freight.cargo.site/w/1000/i/f0d238bfb2185cdb3071c070ae780f35a936b3d7260cae81cf4c8b2c89ab13dd/IMG_2587.JPG" /> “IF SUICIDE BOMBERS LOOK LIKE YOU, I WOULD LOVE TO DIE” Day 2 : Performance, reading together, memorizing, and reading aloud alone. On day two we finished the costume and wore it. Then we began to read poems and texts by Palestinian poets and writers, alongside Facebook statements and first-person accounts from people in Gaza. Each participant chose a poem or text and attempted to memorize it. With a microphone in hand they tried to deliver the piece without looking at the page; when a word slipped, the group supplied it.&nbsp;Then we took the costume off. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/10799f28972ea3f00d7cab811881ed37551e75f6c71482f2498a52038de1f791/IMG_2658.JPG" data-mid="238532209" border="0" src="https://freight.cargo.site/w/1000/i/10799f28972ea3f00d7cab811881ed37551e75f6c71482f2498a52038de1f791/IMG_2658.JPG" /> “IF SUICIDE BOMBERS LOOK LIKE YOU, I WOULD LOVE TO DIE” Day 3 : Performance, resistance statements, “the narrative” On the third day we put the costume on, warmed up, and moved through the space to the music of Sha’aban Abdel Rahim’s Ana Bakrah Israel. We watched a range of Palestinian and Lebanese films that depict the massacres carried out by the IDF against Palestinian and Lebanese communities, alongside interviews with freedom fighters and writers. We read statements by university professors condemning the genocide and returned to the question of language; how it is inseparable from the struggle, and how bodies are inseparable from language. We discussed fighters’ tactics and, finally, each participant described in detail an imagined performance inspired by the day. Then we took the costume off. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e753ca361ca563291336088a7b7e52c62e1a5f09b31c2a423a12064086104e74/IMG_2696.JPG" data-mid="238532210" border="0" src="https://freight.cargo.site/w/1000/i/e753ca361ca563291336088a7b7e52c62e1a5f09b31c2a423a12064086104e74/IMG_2696.JPG" />“IF SUICIDE BOMBERS LOOK LIKE YOU, I WOULD LOVE TO DIE” Day 4: Performance, protest, resistance, bang bang.&nbsp;On our last day we put the costume on, warmed up to La Bombe by Al Rahel Al Kabir, and spent some time reflecting on the days before. Then I handed each participant three boxes of bang bang. We began with a poem by Musaab Abu Toha. One person read, and when another wanted to take over the microphone, they had to throw a bang onto the table. Disrupt and take over. After the reading we moved into discussion — violence, protest, strategies, resistance — following the same rule: to take the mic, you had to throw a bang. We closed the day by taking off the costume. Some took it home. Some destroyed it. https://rimanajdi.com/DAY-1 Thu, 18 Sep 2025 08:33:03 +0000 rimana https://rimanajdi.com/DAY-1 “IF SUICIDE BOMBERS LOOKS LIKE YOU, I WOULD LOVE TO DIE” Day 1: Costumes, perfromance and censorship. On Day 1, we met and I introduced the persona of Madame Bomba, and the intervention that happened in 2014. I also made clear the problematics of speaking about such an intervention, in an artistic space, at a German institute, in Berlin, during an ongoing genocide, within a climate of censorship. We told different narratives of how the German state is engaging with tactics of violence and censorship, and how this could be a ground to inspire performance strategies. In the second half of the day, I introduced what we will do in the workshop in general, to make this workshop ok: each participant will create their costume, and we can wear them only inside the studio space. Participation should end at the workshop if one doesn’t feel comfortable wearing the costumes. Everyone agreed to continue. While we started creating the costumes, with minimum budget and tools, we also started talking about costumes and apparels. We spoke about IDF soldiers wearing Gazan and Southern Lebanese women’s clothes and lingerie, posing with them and displaying them. Then we spoke about how apparel and objects become extensions of bodies, amplifying them or exposing them, and the affect that comes with it. Later, we hosted curator Racha Gharbieh, who read for us letters from artists responding to censorship in Germany. https://rimanajdi.com/I-Grew-An-Alien-Inside-of-Me Tue, 04 Oct 2022 14:22:59 +0000 rimana https://rimanajdi.com/I-Grew-An-Alien-Inside-of-Me I Grew An Alien Inside of Me&nbsp; Multi Media Perfpermance (2022) In this multi-media performance, Rima Najdi explores birth and revolution in tandem. Drawing from the remembered, felt experiences of mothers in labour and protesters in the street, I Grew an Alien Inside of Me asks how the body is able to subvert, circumscribe, and repurpose meanings of the event. Digitized loops play with rhythm, repetition, breath, and expectation and invite audiences to engage and interact with testimonies of giving birth and participating in protest. Far from following a linear logic or a singular ontology, the cyclical, chaotic experiences of labour and of finding and losing comrades in the street point to a different kind of clarity and vision that cannot be reduced to outcomes. The resulting choreography invites reflections on the most powerful of human experiences – those of giving birth and participating in revolution. Created by Rima Najdi //&nbsp;Visuals&nbsp;Ana Nieves Moya //&nbsp;Light designer, technical director Carola Caggiano // Music Kathy Alberici //&nbsp;Additional music, sound design&nbsp;Sary Moussa (Tunefork studios) //&nbsp;Sound consultant&nbsp;Sandy Chamoun // Costume designer Hagar Ophir //&nbsp;Dramaturge&nbsp;Rayya ElZein, Elisa Liepsch //&nbsp;Outside eye&nbsp;Tania El Khoury, Yalda Younes //&nbsp;Graphic designer&nbsp;Maria Kassab // Production Racha Najdi, Björk Margarit Roi //&nbsp;Tour manager&nbsp;Nara Hawi //&nbsp;Curated by&nbsp;Tania ElKhoury and Bochra Triki . A production by Rima Najdi in co-production with Tashweesh Festival, Akademie der Künste – INITIAL Programm (Berlin), L’Art Rue (Tunis), Beursschouwburg (Brussels), Goethe-Institut (Brussels), Tanzquartier Wien (Vienna). In cooperation with SOPHIENSÆLE (Berlin). Supported by the Berlin Senate Department for Culture and Europe and by the Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media as part of #takecare. Tashweesh is funded by the Creative Europe Programme of the European Union and the Austrian Federal Ministry of Arts and Culture, Civil Service and Sport. https://rimanajdi.com/Three-Colors Tue, 04 Oct 2022 14:22:56 +0000 rimana https://rimanajdi.com/Three-Colors <img width="2688" height="4032" width_o="2688" height_o="4032" data-src="https://freight.cargo.site/t/original/i/8c23df167967f017a32fe9d178074160f18c19fbe60f6e04f6a1b4aaa33b49e3/img-1.jpg" data-mid="156358573" border="0" src="https://freight.cargo.site/w/1000/i/8c23df167967f017a32fe9d178074160f18c19fbe60f6e04f6a1b4aaa33b49e3/img-1.jpg" /> <img width="2688" height="4032" width_o="2688" height_o="4032" data-src="https://freight.cargo.site/t/original/i/2d69ffdee6cc16aec9e40ce6fc178732a571f3b37e1d6788de36717d9d956f7c/img-2.jpg" data-mid="156358574" border="0" src="https://freight.cargo.site/w/1000/i/2d69ffdee6cc16aec9e40ce6fc178732a571f3b37e1d6788de36717d9d956f7c/img-2.jpg" /> <img width="2688" height="4032" width_o="2688" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a149c4dac6c3a46bccff8106793705a46f8da0772ace18142aa48a9bcd94fd23/img.jpg" data-mid="156358572" border="0" src="https://freight.cargo.site/w/1000/i/a149c4dac6c3a46bccff8106793705a46f8da0772ace18142aa48a9bcd94fd23/img.jpg" /> Commissioned by PSI #27: HUNGER 2022One video Channel Each time I want to cook in Berlin, I call my mom for ingredients and directions. And though we can’t share the meal, we do share conversations of our daily lives. In an attempt to map the economy of mjadara hamra, a southern Lebanese dish, I invited my mother, Rabiha Tawil, located in Sarifa, southern Lebanon, and my sister Racha Najdi, located in Istanbul, Türkiye, to cook the same dish together on a video call. What does it mean to cook together across different geographies, when we can’t eat together? What are the economics of the different countries, the values of their currencies, and the sources of the ingredients for the same meal? Through this video call, we talk about gas, a devastating economical crisis, and lentils. https://rimanajdi.com/LiBa-NoN-Productions Tue, 10 Aug 2021 20:20:06 +0000 rimana https://rimanajdi.com/LiBa-NoN-Productions When they asked me to do work for Lebanon, I spent the day making beauty shots of hummus, pita, labneh, and arak. The performance took place in Berlin, following the August 4, 2020&nbsp;explosion at the Port of Beirut, which caused significant loss of life, injury, and destruction during an economic collapse and a pandemic. Alongside these “Lebanese” products, often used internationally as identity signifiers. I added yellow cheese and canned meat, which many Lebanese recognise as part of aid boxes distributed during and after wars. The work moved between food, aid, and display, flexing an economy where identity circulates as something packaged, supplemented, and consumed. "شحادة واعاشة" // "Ration &amp; Supplication” For us kids of war, For the freefall of us, wandering around, For the now, kids of war, of the now, For our collective zombiness, For our numbness, For all of us, the then kids of Lebanon, The now kids, teenagers, old, young ... Receiving mortadella , spread cheese &amp; Panadol… &nbsp; For all of us "helping" since 19 xoxo Money, medication, supplements… For the country with the biggest hummus plate in the world. A video by Rima Najdi @2021 Camera by Leil Zahra Mortada https://rimanajdi.com/DR-SAMAHER-The-best-worst-Tarot-reader Tue, 10 Sep 2024 14:38:00 +0000 rimana https://rimanajdi.com/DR-SAMAHER-The-best-worst-Tarot-reader Famous for her Xanax and wine readings, Dr. Samaher is hailed from the sandy lands of Aladdina &amp; ja’afarina.The Dr. hosted weekly posdcast on Hammam Radio, (A feminist participatory radio, launched from Berlin. ) where she did readings for different political figures in Lebanon and the world, played 90’s Arabic pop music, and a reading for her fans on special requests. She discussed the lockdown, moth in the closet, and beauty trends. Then, of course, she moved u the ladder and hosted a weekly soire at Al Berlin.&nbsp;VERY TAROT.VERY DR SAMAHER, PHD in tarot. <img width="4032" height="4032" width_o="4032" height_o="4032" data-src="https://freight.cargo.site/t/original/i/7798d8584b062f4bdb63eb3b72b88e9075f0268ce5fca093f38fe3c61c9e00bc/C3C7966B-E55A-405E-BAB5-FF96F2C0A826-E5D30D9D-9342-4DCC-9DDE-DC545BB2EAFD.jpg" data-mid="217825947" border="0" src="https://freight.cargo.site/w/1000/i/7798d8584b062f4bdb63eb3b72b88e9075f0268ce5fca093f38fe3c61c9e00bc/C3C7966B-E55A-405E-BAB5-FF96F2C0A826-E5D30D9D-9342-4DCC-9DDE-DC545BB2EAFD.jpg" /> . https://rimanajdi.com/Think-Much-Cry-Much Sat, 22 Jul 2017 11:07:02 +0000 rimana https://rimanajdi.com/Think-Much-Cry-Much Think Much. Cry Much. Participatory performance “OK. Whatever. We're just anti-politically romantic about actually existing social life. We aren't responsible for politics. We are the general antagonism to politics looming outside every attempt to politicize, every imposition of self governance, every sovereign decision and its degraded miniature, every emergent state and home sweet home."The UndercommonsStefano Harney &amp; Fred Moten &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Think Much. Cry Much. was created after six months of intensive research of borders. Rima Najdi made a series of artistic residencies in Maribor, Tallin, Udine, Dro, Muenchen, Helsinki … where her main occupation was searching for and researching borders – in Slovenia for example, she was researching the barb wire on Slovene border and the experiences of refugees. The performance, which is created as a complex choreography, executed by the performance participants with help of instructions, received through a set of headphones, is a two-hour group experiment about the ways our bodies understand and execute various roles in border processes: being a refugee, a social worker, a policeman, a border officer… Rima Najdi is one of the Urban Heat network’s artists and the theme for her performance was created and researched during the artistic laboratories, conducted by the network partners in different cities. Concept and realization Rima NajdiDramaturgy Nadine Vollmer
Music &amp; Sound design Farahnaz Hatam &amp; Colin Hacklander 
Graphic design Maria Kassab Technical director Federico Nitti
Production manager Sigurdur Finnsson 
 CO-PRODUCERS Centrale Fies Art Work Space, SAAL Biennaal, Baltic Circle International Theatre Festival , SPIELART Festival München, Bunker – Festival Drugajanje. In collaboration with Dialoghi – Performing Arts Residencies at Villa Manin/CSS Udine The work takes place within the URBAN HEAT project initiated by FIT / Festivals In Transition network. Supported by Creative Europe program of the European Union PERFORMANCES Premiere: 23 July 2017, Villa Manin, Udine, Italy Past performances: 27 July 2017, Centrale Fies, Drodesera, Italy22 – 26 August 2017, SAAL Biennaal, Tallin, Estonia6 – 11 November 2017, Spielart Festival, Munich, Germany15 – 17 November 2017, Baltic Circle Festival, Helsinki, Finland28 November 2017, Festival Drugajanje, Maribor, Slovenia