Taking its title from a poem by Seher Shah, We Saw an Endless Cycle explores how artists engage with the city through intimate gestures. Featuring works that reflect acts of walking, crawling, photographing, painting, drawing, sculpting, and counter-mapping, the exhibition traces echoes of these practices across decades and geographies. Together, the works capture the dynamism, contradictions, and politics of urban life through repetitive, intimate, and sometimes disruptive actions.
Dima Srouji’s The Rule of Superposition is a standout piece in the exhibition. The work challenges the violent application of archaeological practices in Jerusalem by shifting perspectives and rethinking the city’s surface. By blending memory, spirit, and tactile ground traces, Srouji questions the assumed linear narrative of time and the dominance of homogenized urban representations.
Her mapped surfaces present a fragmented network—a fabric of traces that critique scientific processes and expose alternative understandings of Jerusalem. The installation juxtaposes the aerial perspective of cartography with subterranean levels, inviting viewers to excavate the city’s hidden layers and confront the politics of what lies beneath. Through reconfigured artifacts and distorted archaeological practices, The Rule of Superposition questions dominant narratives and unveils deeply personal and emotional records of the city.