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E18 - I Miss You Deeply (Khaled Hussein)
As part of the GAZA BIENNALE BERLIN PAVILLION we present a short extract of the sound of Khaled Hussein's installation "I Miss You Deeply". The sculptures at the center of his installation speak to Palestinian "sumud" (steadfastness) in the face of genocide. The artist creates his sculptures with clay made from mud - an impermanent material also used for making stoves and fire pits. His process is not complete when he finishes his sculptures. Instead, the documentation of the creation, destruction and recreation of the sculptures continues in a neverending process of indefinite dimensions. "I Miss You Deeply" is Khaled Hussein’s response to the loss of his home, studio and workspace after Israeli bombings. He explains:
"My research continues to investigate the state of loss, forming a completely new condition different from previous experience. Using clay, which is easy to shape and recycle, I express the suffering of the displaced, the fragility of the soul and body, and the loss of one’s surroundings."
Khaled Hussein (b. 1975 in Rafah; displaced in Gaza)
Khaled Huseyin’s work is a profound formal and emotional intervention. We are dealing here with the emotional essence of art, the life of forms, and the relationship between the body and traditions in sculpture. Huseyin’s investigation began as a response to the Great March of Return (2018 to 2019), demonstrations that resulted in an overwhelming number of amputations. His work delved into the physical and psychological experiences of amputees, and its effects within society and within their families. Sculptures of body parts took on an entirely different significance in this context. Artistic form seemed to hold in it not so much representations of forms of life, but of absence, loss, alienation, and escape. The evolution of Khaled Huseyin’s work took an even more remarkable turn in the face of the horrors of this war. An evolution that cuts to the bone of art itself. What is there to cherish in art amidst total brutality? How can art exist during or in the wake of genocide? The intensity of these questions and the impossibility of assimilating this reality have resulted in the invention of an immaterial sculptural form.
GAZA BIENNALE BERLIN PAVILLION, November 21 to December 21, 2025
Exhibitions: Flutgraben, Khan Aljanub, AGIT, MBC
Public programs: Galerie & Atelier Arabisk, Casino for Social Medicine, Spore Initiative, and KM28
The Gaza Biennale, an art project rooted in displacement, scatters like seeds around the world to create new hybrids. Through repetition and reproduction, artworks survive the destruction of a genocidal war machine and reappear by virtue of partnerships in different parts of the world. Transcending territory, the Gaza Biennale expands through a human topography that cannot possibly be besieged.
Defying genocide, Gazan artists have continued creating, resisting seemingly endless displacements, bombardments, and forced starvation through their art. Initiated in partnership with the Al Risan Art Museum (Forbidden Museum) in the West Bank, the Gaza Biennale sends their message out into the world.
Arriving in Berlin on November 21, 2025, the Berlin Pavilion will open across different venues in the city to show the works of over thirty artists. It unfolds with exhibitions at sites including Flutgraben, Agit, and Khan Aljanub, and with programs hosted at Galerie & Atelier Arabisk, Casino for Social Medicine, Spore Initiative, and KM28, as well as around the streets of Berlin.
With a collaboratively curated public program, it invites people of all ages and backgrounds to join in these gatherings to practice listening, healing, and mourning; to share joy and sorrow; and to cultivate a communal strength that will ultimately be the key to dismantling oppressive systems based on fragmentation and extractivism—structural relics that lie at the root of the occupation of Palestine and colonial violence worldwide.
The Berlin Pavilion seeks not to become a static exhibition but an evolving platform that continuously initiates its own actions. Refusing to lament the failure of official infrastructures, the Berlin Pavilion builds a new one: an infrastructure made from and by the community, small in its constituent parts, but endlessly expansive in its unity.
"My research continues to investigate the state of loss, forming a completely new condition different from previous experience. Using clay, which is easy to shape and recycle, I express the suffering of the displaced, the fragility of the soul and body, and the loss of one’s surroundings."
Khaled Hussein (b. 1975 in Rafah; displaced in Gaza)
Khaled Huseyin’s work is a profound formal and emotional intervention. We are dealing here with the emotional essence of art, the life of forms, and the relationship between the body and traditions in sculpture. Huseyin’s investigation began as a response to the Great March of Return (2018 to 2019), demonstrations that resulted in an overwhelming number of amputations. His work delved into the physical and psychological experiences of amputees, and its effects within society and within their families. Sculptures of body parts took on an entirely different significance in this context. Artistic form seemed to hold in it not so much representations of forms of life, but of absence, loss, alienation, and escape. The evolution of Khaled Huseyin’s work took an even more remarkable turn in the face of the horrors of this war. An evolution that cuts to the bone of art itself. What is there to cherish in art amidst total brutality? How can art exist during or in the wake of genocide? The intensity of these questions and the impossibility of assimilating this reality have resulted in the invention of an immaterial sculptural form.
GAZA BIENNALE BERLIN PAVILLION, November 21 to December 21, 2025
Exhibitions: Flutgraben, Khan Aljanub, AGIT, MBC
Public programs: Galerie & Atelier Arabisk, Casino for Social Medicine, Spore Initiative, and KM28
The Gaza Biennale, an art project rooted in displacement, scatters like seeds around the world to create new hybrids. Through repetition and reproduction, artworks survive the destruction of a genocidal war machine and reappear by virtue of partnerships in different parts of the world. Transcending territory, the Gaza Biennale expands through a human topography that cannot possibly be besieged.
Defying genocide, Gazan artists have continued creating, resisting seemingly endless displacements, bombardments, and forced starvation through their art. Initiated in partnership with the Al Risan Art Museum (Forbidden Museum) in the West Bank, the Gaza Biennale sends their message out into the world.
Arriving in Berlin on November 21, 2025, the Berlin Pavilion will open across different venues in the city to show the works of over thirty artists. It unfolds with exhibitions at sites including Flutgraben, Agit, and Khan Aljanub, and with programs hosted at Galerie & Atelier Arabisk, Casino for Social Medicine, Spore Initiative, and KM28, as well as around the streets of Berlin.
With a collaboratively curated public program, it invites people of all ages and backgrounds to join in these gatherings to practice listening, healing, and mourning; to share joy and sorrow; and to cultivate a communal strength that will ultimately be the key to dismantling oppressive systems based on fragmentation and extractivism—structural relics that lie at the root of the occupation of Palestine and colonial violence worldwide.
The Berlin Pavilion seeks not to become a static exhibition but an evolving platform that continuously initiates its own actions. Refusing to lament the failure of official infrastructures, the Berlin Pavilion builds a new one: an infrastructure made from and by the community, small in its constituent parts, but endlessly expansive in its unity.
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By firefly frequenciesAs part of the GAZA BIENNALE BERLIN PAVILLION we present a short extract of the sound of Khaled Hussein's installation "I Miss You Deeply". The sculptures at the center of his installation speak to Palestinian "sumud" (steadfastness) in the face of genocide. The artist creates his sculptures with clay made from mud - an impermanent material also used for making stoves and fire pits. His process is not complete when he finishes his sculptures. Instead, the documentation of the creation, destruction and recreation of the sculptures continues in a neverending process of indefinite dimensions. "I Miss You Deeply" is Khaled Hussein’s response to the loss of his home, studio and workspace after Israeli bombings. He explains:
"My research continues to investigate the state of loss, forming a completely new condition different from previous experience. Using clay, which is easy to shape and recycle, I express the suffering of the displaced, the fragility of the soul and body, and the loss of one’s surroundings."
Khaled Hussein (b. 1975 in Rafah; displaced in Gaza)
Khaled Huseyin’s work is a profound formal and emotional intervention. We are dealing here with the emotional essence of art, the life of forms, and the relationship between the body and traditions in sculpture. Huseyin’s investigation began as a response to the Great March of Return (2018 to 2019), demonstrations that resulted in an overwhelming number of amputations. His work delved into the physical and psychological experiences of amputees, and its effects within society and within their families. Sculptures of body parts took on an entirely different significance in this context. Artistic form seemed to hold in it not so much representations of forms of life, but of absence, loss, alienation, and escape. The evolution of Khaled Huseyin’s work took an even more remarkable turn in the face of the horrors of this war. An evolution that cuts to the bone of art itself. What is there to cherish in art amidst total brutality? How can art exist during or in the wake of genocide? The intensity of these questions and the impossibility of assimilating this reality have resulted in the invention of an immaterial sculptural form.
GAZA BIENNALE BERLIN PAVILLION, November 21 to December 21, 2025
Exhibitions: Flutgraben, Khan Aljanub, AGIT, MBC
Public programs: Galerie & Atelier Arabisk, Casino for Social Medicine, Spore Initiative, and KM28
The Gaza Biennale, an art project rooted in displacement, scatters like seeds around the world to create new hybrids. Through repetition and reproduction, artworks survive the destruction of a genocidal war machine and reappear by virtue of partnerships in different parts of the world. Transcending territory, the Gaza Biennale expands through a human topography that cannot possibly be besieged.
Defying genocide, Gazan artists have continued creating, resisting seemingly endless displacements, bombardments, and forced starvation through their art. Initiated in partnership with the Al Risan Art Museum (Forbidden Museum) in the West Bank, the Gaza Biennale sends their message out into the world.
Arriving in Berlin on November 21, 2025, the Berlin Pavilion will open across different venues in the city to show the works of over thirty artists. It unfolds with exhibitions at sites including Flutgraben, Agit, and Khan Aljanub, and with programs hosted at Galerie & Atelier Arabisk, Casino for Social Medicine, Spore Initiative, and KM28, as well as around the streets of Berlin.
With a collaboratively curated public program, it invites people of all ages and backgrounds to join in these gatherings to practice listening, healing, and mourning; to share joy and sorrow; and to cultivate a communal strength that will ultimately be the key to dismantling oppressive systems based on fragmentation and extractivism—structural relics that lie at the root of the occupation of Palestine and colonial violence worldwide.
The Berlin Pavilion seeks not to become a static exhibition but an evolving platform that continuously initiates its own actions. Refusing to lament the failure of official infrastructures, the Berlin Pavilion builds a new one: an infrastructure made from and by the community, small in its constituent parts, but endlessly expansive in its unity.
"My research continues to investigate the state of loss, forming a completely new condition different from previous experience. Using clay, which is easy to shape and recycle, I express the suffering of the displaced, the fragility of the soul and body, and the loss of one’s surroundings."
Khaled Hussein (b. 1975 in Rafah; displaced in Gaza)
Khaled Huseyin’s work is a profound formal and emotional intervention. We are dealing here with the emotional essence of art, the life of forms, and the relationship between the body and traditions in sculpture. Huseyin’s investigation began as a response to the Great March of Return (2018 to 2019), demonstrations that resulted in an overwhelming number of amputations. His work delved into the physical and psychological experiences of amputees, and its effects within society and within their families. Sculptures of body parts took on an entirely different significance in this context. Artistic form seemed to hold in it not so much representations of forms of life, but of absence, loss, alienation, and escape. The evolution of Khaled Huseyin’s work took an even more remarkable turn in the face of the horrors of this war. An evolution that cuts to the bone of art itself. What is there to cherish in art amidst total brutality? How can art exist during or in the wake of genocide? The intensity of these questions and the impossibility of assimilating this reality have resulted in the invention of an immaterial sculptural form.
GAZA BIENNALE BERLIN PAVILLION, November 21 to December 21, 2025
Exhibitions: Flutgraben, Khan Aljanub, AGIT, MBC
Public programs: Galerie & Atelier Arabisk, Casino for Social Medicine, Spore Initiative, and KM28
The Gaza Biennale, an art project rooted in displacement, scatters like seeds around the world to create new hybrids. Through repetition and reproduction, artworks survive the destruction of a genocidal war machine and reappear by virtue of partnerships in different parts of the world. Transcending territory, the Gaza Biennale expands through a human topography that cannot possibly be besieged.
Defying genocide, Gazan artists have continued creating, resisting seemingly endless displacements, bombardments, and forced starvation through their art. Initiated in partnership with the Al Risan Art Museum (Forbidden Museum) in the West Bank, the Gaza Biennale sends their message out into the world.
Arriving in Berlin on November 21, 2025, the Berlin Pavilion will open across different venues in the city to show the works of over thirty artists. It unfolds with exhibitions at sites including Flutgraben, Agit, and Khan Aljanub, and with programs hosted at Galerie & Atelier Arabisk, Casino for Social Medicine, Spore Initiative, and KM28, as well as around the streets of Berlin.
With a collaboratively curated public program, it invites people of all ages and backgrounds to join in these gatherings to practice listening, healing, and mourning; to share joy and sorrow; and to cultivate a communal strength that will ultimately be the key to dismantling oppressive systems based on fragmentation and extractivism—structural relics that lie at the root of the occupation of Palestine and colonial violence worldwide.
The Berlin Pavilion seeks not to become a static exhibition but an evolving platform that continuously initiates its own actions. Refusing to lament the failure of official infrastructures, the Berlin Pavilion builds a new one: an infrastructure made from and by the community, small in its constituent parts, but endlessly expansive in its unity.