Rosalind Nashashibi's Proxemic Lens: Sensory Worlds in Early Films

Nav Haq's essay in Afterall Journal 51 examines Rosalind Nashashibi's first decade of solo practice, framing her films as studies in human proxemics—a term coined by cultural anthropologist Edward T. Hall. Nashashibi, who won the Beck's Futures Prize in 2003, uses a 16mm Bolex camera and video to capture social and behavioral phenomena, focusing on space, perception, and communication. Her works from 2000 to 2007, including 'The State of Things' (2000), 'Midwest' (2002), 'Dahiet Al Bareed, District of the Post Office' (2002), 'Blood and Fire' (2003), 'Humaniora' (2003), 'Juniper Set' (2004), 'Park Ambassador' (2004), 'Eyeballing' (2005), and 'Bachelor Machines Part 1 and 2' (2007), portray mundane situations that reveal the in-between relations between individuals, groups, and environments. Haq argues that Nashashibi's lens offers a 'proxemic' perspective, making visible the hidden cultural dimensions that shape reality. The essay also discusses her collaborative work with Lucy Skaer and her artist's book 'Proximity Machine' (2007). Haq positions Nashashibi's work as a form of liberalism that can transform perception and culture.