Sulaïman Majali | Glasgow International

objects including a white towel and oranges are strewn across a concrete floor space. In the background a dark print is pasted to the wall

objects including a white towel and oranges are strewn across a concrete floor space. One side of the space is open to the outside. In the background a dark print is pasted to the wall

a rock, orange, puddle of pink stained water, mirror and palm leaves are placed across a gallery floor. On a wall a dark print is pasted up.

dried palm leaves are placed in the corner of a gallery space. A dark print with black background, white gloved hands and an orange peel, is pasted on the wall

a rock with an 'x' carved into it sits on a gallery floor

a print is pasted on a white wall. On a black background, a half peeled orange, white gloves and black snake float in space.

a small mirror is propped against the wall of a gallery. There is a stripe of grey paint on it and the reflection of a rock in it.

a terracotta tile sits on bars of beeswax

a pink stained puddle on a gallery floor. petals of hibiscus sit at the edges

oranges and dried hibiscus petals are strewn across a gallery floor

a pile of iridescent bookmarks showing a figure in suit of armour sit on a gallery floor

a pile of dried palm leaves sit in the corner of a gallery

a white towel with black text that reads 'horizons our imagined sleep' is spread across a puddle of water on a gallery floor'

a bird feeder hangs from the ceiling of a gallery. One side of the gallery is open to the outside.

close up of bird seed and a cigarette butt. Inside the roll of the cigarette paper is text that reads 'listen.'

in a patch of plant growth through concrete there is an orange and a dirty white cap with embroidery that reads 'Petra, Jordan'

Studio Pavilion at House for an Art lover

false dawn was an exhibition developed for Glasgow International 2021, located in Bellahouston Park at Studio Pavilion, House for an Art Lover. The show took its name from a zodiacal light visible on the horizon before sunrise and was installed on the former location of the 1938 Empire Exhibition. Considering the site as one of fissure, the artists built on a body of research that deployed rupturing, grieving and dreaming as methodologies of disruption and collapse.

Supported by Glasgow International