Altered i

Where do -I- exist? Is this question existential or political?

Sargon - 1996/2021

Shivers - 2018-2023

NOT LAILA - 2019

AGE: 60

Pronouns: she/her

BIRTH: X

(Projects)

(IDs)

AGE: 42

Pronouns: She/Her

BIRTH: Lattakia, Syria

AGE: X

Pronouns: IT

BIRTH: Instagram Filter, Lockdown 2020

AGE: 25

Pronouns: He/Him

BIRTH: ID card

AGE: 25

Pronouns: She/Her

BIRTH: Arnhem, Netherlands

AGE: 16

Pronouns: They/Them

BIRTH: Bathroom

Asmahan

Goredealer alien baby - 2020

Ra'sh - رعش

Sarjon@mail.com +31618332088 IG@_sarjon_

BIMBO ZYGOTE - 2022

the BimboZygotes are an army
of genetically modified sex workers
many of all ages live under different names and pronouns

Khanees al 3issam
خَنيس العِصام

The Blue Anger is a video reading of the last chapter of the book by Mustafa Khalifah 'The Shell', visually and sonically capturing the chapter’s emotional weight in relation to freedom. The Shell is a diary novel of the Syrian political prisoner of (the author) who was an atheist mistaken for a radical Islamist and was locked up for 13 years without trial in one of the most notorious prisons in the Middle East, Tadmour, Syria. With this video reading i attempt finding visual and sonic ways to experience the last chapter of the book wherein Moustafa Khalifa illustrates the void of nothingness he felt experiencing freedom outside the Tadmour prison after 13 years of unjust incarceration. Aligning with the type of powerless anger and nothingness i felt reading this diary book as a Syrian teenager at age 16 as the revolution broke out with war that followed, imagining what national identity meant under dictatorship for us. This is the type of anger that is blue, it doesn’t explode out with red clouds, it sinks in instead, spreading horizontally into a rooted void, it is the type of anger that isn’t allowed to take space so it transforms within into glitches, pixels and blurry visions. It’s the type of anger that transpires in an unjust manner when beings are forced to erase themselves into nothingness in order to survive.

Character design in identity politics allows the artist and the spectators to use the subject of art as an example for social experiments, acting as a safer way for engagement. Mirroring and relating to fictional beings lowers the risk when assessing ones socio-political urgencies. The artist performs over 10 different alter egos while curating events that make them grow in real time through real life quests, forming a performance method of immediate research in various pressing social topics.