{"id":101856,"date":"2026-10-08T06:57:00","date_gmt":"2026-10-08T06:57:00","guid":{"rendered":"https:\/\/gulftimes.ae\/?p=101856"},"modified":"2026-10-08T06:57:00","modified_gmt":"2026-10-08T06:57:00","slug":"arab-news-highlights-from-new-media-showcase-continuum-26-in-diriyah","status":"publish","type":"post","link":"https:\/\/gulftimes.ae\/?p=101856","title":{"rendered":"Arab News | Highlights from new-media showcase \u2018Continuum \u201926\u2019 in Diriyah"},"content":{"rendered":"


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RIYADH: \u2018Echoes of the Unseen\u2019<\/strong><\/p>\n

Harpreet Sareen<\/strong><\/p>\n

NYC-based artist Sareen\u2019s piece \u201cexplores captivity as one of the oldest and most familiar arrangements through which humans organize relationships with other species,\u201d according to the show notes. The work examines the ethics of those relationships, questioning whether the cage that \u201cconfines a parakeet in a Hyderabad living room or a finch in\u00a0a Brooklyn pet shop\u201d \u2014 usually seen as \u201ccare, as ornament, as commerce, as inheritance,\u201d or as something more violent and transgressive. Rather than an image \u2014 \u201cwhich can be looked away from\u201d \u2014\u00a0Sareen addresses this question \u201cthrough an embodied act of attention that the visitor must construct, hold, and eventually choose to release.\u201d<\/p>\n

\u2018Echoes of the Unseen.\u2019 (Supplied)<\/figcaption><\/figure>\n

\u00a0<\/p>\n

\u2018The Farm\u2019<\/strong><\/p>\n

Foreseen Agency<\/strong><\/p>\n

Foreseen Agency is artist duo Kachi Chan and Shan Wong. Here they present an artwork comprising 18 one-meter data stacks, each hosting a fragmented\u00a0human body across six screens. \u201cHead, torso, and limbs are distributed and\u00a0isolated; no single screen presents a complete figure,\u201d the notes state. \u201cThe body exists only as a dispersed system, split across surfaces and synchronized through motion. Arranged concentrically into a monolithic tower, the\u00a0installation strikes the viewer, producing a field of synchronized yet disjointed movement.\u201d<\/p>\n

\"\u2018The
\u2018The Farm.\u2019 (Supplied)<\/figcaption><\/figure>\n

\u00a0<\/p>\n

\u2018Suspended Memory\u2019<\/strong><\/p>\n

Fai Ahmed<\/strong><\/p>\n

Ahmed\u2019s work \u2014 consisting of a desk surrounded by large-scale projections of shifting digital landscapes reminiscent of an old-school video game \u2014 is intended to question how \u201cwe hold what was never written down,\u00a0recorded, or formally preserved \u2014 the small rituals, the unknown events, the fragments that disappear without leaving an institutional trace,\u201d according to the notes. \u201cOral storytelling\u00a0has long been a primary form of archiving: fluid, situated, and very dependent on human connection. Yet every act of archiving is also an act of selection.\u00a0Memory operates the same way. It doesn\u2019t preserve; it selects, distorts, forgets, and reshapes.\u201d\u00a0<\/p>\n

\"\u2018Suspended
\u2018Suspended Memory.\u2019(Supplied)<\/figcaption><\/figure>\n

\u00a0<\/p>\n

\u2018The Time That Remains\u2019<\/strong><\/p>\n

Omar Adel<\/strong><\/p>\n

Adel\u2019s single-channel video installation is part of the artist\u2019s larger research project focusing on the end of time as a catalyst for sociopolitical transformation. This piece, according to the notes, \u201cbegins from a consideration of the human condition historically sedimented. The project asks what forms of consciousness emerge\u00a0in places undergoing rapid transformation, where social, economic, and cultural change unfold faster than they can be collectively absorbed.\u201d<\/p>\n

\"\u2018The
\u2018The Time That Remains.\u2019 (Supplied)<\/figcaption><\/figure>\n<\/div>\n