Kani Marouf

Kani Marouf (1991) works with film, writing and photography. She is guided by the subject's imprisonment, rooted in the punctuality of the still image. Her research focusses on the fostered distraction, triviality and passivity by image habituation.



2012-2016 Bachelor of Fine Arts, Bauhaus Universität Weimar
2017-2019 Master of Fine Arts and Design, Sandberg Instituut, Amsterdam
Course: Shadow Channel — Film, Design & Politics


Konrad-Adenauer Scholarship, 2017-2019
Artist in Residence, WOW, Amsterdam (NL), 2017-2019
Artist in Residence, PAF, Saint-Erme (FR), 2018
Research Residency, Philosophy Center Hawraman, Khormal (KRG/IRQ), 2019


All I see is you (2019, 56 min)

All I see is you is an intimate look into modern Kurdistan, following a teenage girl uncovering her interest for filmmaking, a lonesome widow singing the songs of her life and a group of philosophy students working as butchers and beekeepers. The hybrid film deals conceptually with glorification as acts of intervention in the protagonists everyday life. A distracted eye that only rest when it encounters pure beauty. Creating cinematic scenes becomes a tool of analysis to experience cinema’s impact on the people it wishes to narrate.

Journey towards Nullity (2019, 9 min, single-channel loop)

«Journey towards Nullity» is a screen-based installation, exploring the cloud image in its placeholder characteristics and mundanity. In its inability to settle into one place, the cloud is morphing from one form to another. As it is subjectived by the visitors' imagination, the cloud settles into a resembling image.

in collaboration with Michael Weber

Images of a favour (2018, 23 min, single-channel)

He was asked for a favour: to film his hometown Kirkuk, a city in turmoil. So he filmed Kirkuk, in juxtaposition to Baghdad. The footage arises from this seemingly banal encounter of a favour. The only thing one can provide are speculations, drawn from ending realities that appear as fragments on the screen. The images opaque quality confuses expectations from ones inner imagination of the witnessed locations and their final portrayal. In the urgency of a blinking blue light on a bridge, the thought awakens: one might be standing right next to the camera’s eye, looking over the river Tigris.

shot by Shaho Abdulkadr

Skins (2018, 7 min, multi-channel loop)

«Skins» is a multichannel installation digging into the cultural rituals of sunflower seed eating as a conversation tool. The haptic waste of those conversations, piles of skins, are the artifacts for the installation and work as the aesthetic object for the visual work.

in collaboration with Elif Özbay for Sonic Acts Academy 2018

EXXON(2017, 3:54 min, single-channel)

EXXON was produced during a one-day workshop with Gaika and is featuring his track Building. The geopolitical design of the Middle East, drawn by western foreigners using a ruler and pen underlines the narration. It follows the curse of sitting atop of resources that undermine self-determination because of larger political interests. Someone else creates the plan. EXXON sneaks itself between the outcomes of failed geopolitical plans and fluctuates in the poetry of anger.

premiered during Sonic Acts Academy 2018

Versus Eternity — A short motion on cultural images (2016, 9 min)

Multidisciplinary work about fallen monuments in collaboration with Michael Weber

Mesopotamians lived their lives in the quest for immortality and hoped through their monuments to ultimately become immortal. As these structures disappear, through their recreation via digital media, are we helping to fulfil their ancient desires?

More writings, films and commemoration hall can be found at www.versuseternity.com


«Melancholie — Form folgt Gefühl», Neues Museum, (Weimar, DE), 2012
«Galerie Rothamel, (Frankfurt, DE), 2012
«Über das Klandestine», Galerie Eigenheim, (Berlin, DE), 2014
«Boots on the Ground», Lichthaus Kino, (Weimar, DE), 2015
«Versus Eternity», Q3, (Weimar, DE), 2016
«Your Voice, Uma», Academie voor Beeldvorming, (As-Suwayda, SYR), 2017
«WOW Masquerade 48H West», WOW, (Amsterdam, NL), 2018 «Hidden Layers», Sonic Acts Academy, (Amsterdam, NL), 2018
«HALF TIME», FC HYENA, (Amsterdam, NL), 2018
«Journey towards Nullity», Rietveld Pavilion, (Amsterdam, NL), 2019
«As real as it can get», MACA, (Amsterdam, NL), 2019
«Visions from Shadow Channel curated by Kate Cooper», 65th International Short Film Festival Oberhausen (DE), Betty Jane, Amsterdam (NL), Dortmunder U (DE), East China Normal University, Shanghai (CN), Mu, Eindhoven (NL), Museum Hilversum (NL), De School (NL)


Dissidents of the Present (2019, ENG)

The gaze we cast upon our present consciousness ousted its historical predecessor, the despotic eye of linear vision. It is yet another state of ocularcentrism to awaken to, enabling a radical shift in how we look at the world and how the world is looking back at us. In this paper I argue that three gazes, namely the distraced, passive and trivial dominate present ocularcentrism, hence are constituting present consciousness.

Email for PDF

Es hofft, wer baut. (Vom Bleiben) (2018, DE)

in Protocol Magazin für Architektur im Kontext, Universität der Künste Berlin
find it at: BooksPeoplePlaces, Buchhandlung Walther Koenig Museumsinsel, Bücherbogen Savignyplatz, Kiepert Buchhandlung, Pro qm, Roundkiosk, TU-Berlin Architekturgebäude, Mzin Leipzig

Versus Eternity (2016, DE)

Monuments are the materialized memory of humankind. For the general public their fragility is often recognized in moments of threat. The destruction of monuments implies their initial exposure: archeological excavations. In the 2016 workcycle Versus Eternity functions as the visual vocabulary to the hypothesis that the culture of preservation destroys in order to preserve. Its way of doing so on the ground is archeology. Archeology destroys in order to preserve. It exposes territories of history, allowing rain to wash it off, looters and imperialists to steal it away.

with Michael Weber, Publication

Email for PDF

Published by

Protocol Magazine, STILL Magazine, Die Epilog, DOMUS, Der Greif, Zeit ONLINE, Future Vintage, Vice, Bauhaus Journal, Design made in Germany, zenith.digital, Horizonte Magazin, Grove Magazin.