(Arabic, 'The Mother of the World')

Oum El Dounia, (Arabic, 'The Mother of the World'). Digitally woven tapestry, 2007. Installation view, Smithsonian Museum, Freer & Sackler gallery, 2015-16. From the photo-collage, Oum El Dounia, commissioned by and collection La Fondation Cartier pour l’Art Contemporain, 2000. © Lara Baladi.



(Arabic, ‘Tower of Hope')

Borg El Amal, (Arabic, ‘Tower of Hope'). Sound and architectural ephemeral installation in situ . First Prize, Cairo Contemporary Art Biennale, Egypt, 2008/9 © Lara Baladi.


Above: Donkey Symphony. Excerpt. Donkeys, cello, soprano and violin. 19 mins. Donkeys recorded in Burrolandia, Sound component of Borg El Amal (Tower of Hope) composed by Nathaniel Robin Mann, Madrid, Spain, 2008. © Lara Baladi.

Above left:  Donkey Symphony performed in collaboration with the Kiev Kamera Orchestra, Kiev Contemporary Art Biennial, 2012. 



(Arabic, The ‘Tomb of Time’)

Qabr El Zaman, (Arabic, The ‘Tomb of Time’). Architectural Installation. Grey raw marble, photographs printed on porcelain, trompe l’oeil wall paintings and permanent pigment print of digital photo-collage on gesso-coated aluminum panel. Commissioned for and collection of  Mathaf: Arab Museum of Modern Art, Doha, Qatar, 2010. © Lara Baladi.


83-Cover-full-res mere noire NOIR fixed.jpg

[...] Black veins—rivulets—interlaced at the bottom and all around the insides of the cups, each line telling a story to those who knew how to decipher the secret language. This tradition is so anchored in our culture that turning the cup upside down, even if no one around can read it, has become part of the coffee-drinking ritual. Alone, or together, we automatically look into the bottom, hoping to find answers to the questions our soul is asking. Every day, I carried the tray with the used and labeled cups outside to the table in that garden of my childhood. There, I photographed the inside of each cup—and the labels, at first, to keep track of whose each one was. But my eyes were so close to my subject, I fell into a kind of timelessness. I followed the ants walking on the saucers, became obsessed with the tiniest details, how the wet coffee dregs made patterns on the labels or how some of these labels were cut from my grandmother’s stack of hieroglyph-printed stationery, the same that she’d used for as long as I could remember [...]

Vodka Camomile, Cocktail for a Revolution. Excerpt. Essay published in Agni, Boston University, 2016.  



(Italian, Ragman)

Roba Vecchia, (Italian, Ragman). Installation view, Townhouse Gallery of Contemporary Art. Life size kaleidoscope, rear projection on mirrors, specially written software. 1120X245CM. Egypt, 2006. © Lara Baladi.



(Arabic, ‘The World in a Box’ and also the name of the precursor to the moving image)

Sandouk El Dounia, (Arabic, ‘The World in a Box’ and also the name of the precursor to the moving image). Digitally woven tapestry. 780X650 CM. 2007. Installation view, Penelope's Labour, Cini Foundation, Venice Biennale, 2011. From the reproduction of the original photo-collage, Sandouk El Dounia. © Lara Baladi.



(Arabic, ‘The Magic Lantern’)

Al Fanous El Sehry, (Arabic, ‘The Magic Lantern’). Installation view, Townhouse Gallery of Contemporary Art. 9 meter diameter iron Islamic star, 16 light boxes, acetate prints, 29 meter circumference. Egypt, 2002. © Lara Baladi.



Filming Revolution, Alisa Lebow, 2015

Lara Baladi: Narrator of Invisible Things, Dior Magazine, n12, 2015

Summer Autumn Winter and Spring: Conversations with Artists from the Arab World, 2015

Before and After: and the Suspension of Breath in Between, Positionen, Steidl, 2013

A Conversation with Lara Baladi, Afterimage, Vol. 39 n5, 2011

Lara Baladi: Rituals of Hope, Nafas Magazine, Universe in Universe, 2011