Spotlight

Fadl Fakhouri

March 6, 2025

Fadl Fakhouri is an artist, writer and curator whose work centers on dots, lines and color as a method of pursuing definition and positionality. Through the utility of body, images and contextualized objects, they formulate poetic statements of determination. Fadl has exhibited work at SFAI (San Francisco), A.I.R. (New York), Times Square (New York), Jacobs Institute (Berkeley), The Poetry Project (New York), The Cincinnati Art Museum, Abrons Art Center (NY), Fringe! Film Festival (London) and The Jewish Museum (New York). They hold a BA in Molecular and Cell Biology from the University of California Berkeley and an MFA in Visual Arts from Columbia University.

Tell us a little bit about yourself and what you do.

My name is Fadl Fakhouri. I am an artist, curator and writer whose work centers on lines through poetic means. Lines, to me, can be state borders, gender definitions, interpersonal boundaries and linguistic borders.

What are some recent, upcoming or current projects you are working on?

Text2Speech is a curatorial project I’ve been cultivating. It is a performance and exhibition series highlighting artists and writers whose work centers on borders. I’m fortunate to be surrounded by such talented people and have opportunities to carry this project out at various venues. March 7 6:30pm-8:30pm is the next event at Brief Histories Gallery 115 Bowery, New York. Another project I am pursuing is a novel called Spinning the Moon. I am really excited about this project because I am addressing the role of performance in reading. You know when you are reading a book and you get super into the protagonist’s world? Basically, I am trying to extend that and have readers perform parts of the novel. It’s really interesting and I’m still figuring it out, but I’m very excited. I might treat it like a play too and get a cast together.

A Banned Surveillance, 2018, single-channel video

What is one of the bigger challenges you and/or other artists are struggling with these days and how do you see it developing?

It depends what type of artist you are. There’s 3 ways things can pan out. Either you are an artist with a day job, an artist chasing the academic route, or an artist seeking gallery representation. Or you stop pursuing art entirely, which to me is not an option. I’d say the biggest challenge is money, but I’ve learned that you can make art without spending money. It’s not really the art making that needs money, but the basic necessities like housing, food and transportation. We can find alternative venues to exhibit our work, like the streets or raves.

How do you see your work evolving in parallel to things that are going on around you right now?

My work is always in response to the world. I am always adjusting my role in the revolution because, as a Palestinian, it can be offensive to focus on conceptual ideas rather than the material world. Art has a role in the revolution, but sometimes I think about becoming a mechanic or construction worker so I can truly feel helpful to my community. Thankfully, you can do both.

Sitting in the blue chair while the world burns, 2021 spray paint, popcorn bucket, popcorn, adhesive 41” x 20” x 19”

You work in a lot of different mediums. Do you consider them to converge in any way or are they more separate?

They all converge and it’s my refusal of borders that is to explain…or it’s my refusal to be an expert in anything hahaha. I think it’s fun to mix and match. I mean even in an exhibition, there tends to be a wall text. I think we’re allowed to play with that a little. I just hate rigid borders.

Do you have a specific routine when you first enter the studio?

I’m really bad at maintaining a strict routine for too long, but I’ve been getting better at having a rhythm that responds to my changing needs. I’m typically project based so I don’t like to maintain a studio practice unless I have a big project, which is often.

MAP, 2021, multimedia performance ~15 min

Does your work come from any one place or environment?

Yes, but it’s always changing. I don’t really do anything in the same place for too long. I’ve been bouncing around a lot lately, mainly between Oakland and New York, so a lot of my work deals with mobility and positionality. Depending on where I am, I have varying degrees of privilege/oppression or responsibility, which greatly influences my work. We are different people in different places and that’s ok.

Is there a specific source you go to for inspiration?

Mainly good conversation, books, films and exhibitions. Otherwise, it’s just the crazy events of life or my little sentimental moments in the mundane.

No Aesthetic Outside My Freedom | 2024 | Group Performance at The Poetry Project New York co-hosted by Jewish Currents Magazine

Do you conjure a narrative when making certain pieces?

Definitely. That is what my Spinning the Moon project is about. It’s a speculative memoir that is partially autobiographical. It can be therapeutic to me to write about my life’s past and ideas of the future had I taken a different route. The protagonist’s name is Francisco Mohamed who is also from San Francisco, California and chases the dream of participating in some sort of arts olympics circus. They also like going to degenerate parties with friends.

What’s your process like in terms of curation?

Since curation isn’t my main practice, I can be more patient and selective. I try to curate artists that I have a meaningful relationship with or whose practices I am genuinely invested in. Certain artists need to be uplifted and also held to good standards. We shouldn’t rely strictly on identity politics of course, but select the artists from minority communities who are talented, of which there are many!

Highway | 2021 | gaffer tape, reflective road markers | dimensions variable

What was the last show you saw that stuck out to you?

I recently went to the San Francisco Museum of Modern Art and there is an exhibition on play and sports. Amazing artworks like a 10-person foosball table and 4-person table tennis. There is also a Unity show, which is a local queer skateboard company. It was great seeing some homies on the museum walls, even though I am highly critical of such institutions.

Do you consider collaboration an important part of making?

It can be. Some people don’t like to collaborate much and I respect that because you don’t want to force things that aren’t meant to be. I’d say in general that we all need to get in touch with our community because things are really bad right now and people/connections are important for your and others survival.

Nowhere, Somewhere & In-Between | 2022 | 47 keffiyeh scarves | 6’11” x 15’6” x 3’

What are you really excited about right now?

I’m excited to see Americans’ response to the political dilemma we are in now. I’m especially curious how liberals will react. Fascism is really in right now, unfortunately.

In regards to your making, what is something that you’ve always wanted to do and are working towards achieving it?

I want to be a professor! I want to work in the arts industry, produce work, get through the tail end of these cursed 20s and pass on that knowledge to the next generation. I’ve taught courses before, but as an adjunct. I want that cush tenure life, but I’m not gonna force it.

Can you share one of the best or worst reactions you have gotten as a result of your work?

My favorite reaction to my work was when my parents came to my first solo exhibition at Abrams Claghorn in Albany, California. I usually keep my family separate from my art life, but it’s cute when they merge. They were really proud of me and convinced that I can make it as an artist. I was supposed to be a doctor and even did my bachelors in pre-med so it’s been a learning curve for them.

 

Interview conducted and edited by Liam Owings