Installation view - “Protocols and other Formal Agreements” solo show at Museum Rijswijk, 2025
Photo credit: Bas Czerwinski
75 years of being looked at upside down, 2024, khayamiya hand-sewn appliqué, embroidery, and akhmim hand-woven cotton, 162 × 120 cm.
The Second Royal Declaration, 2024, machine and hand sewn hand-sewn appliqué, embroidery, and textile, 141 × 127 cm.
Installation view - “Protocols and other Formal Agreements” solo show at Museum Rijswijk, 2025
Photo credit: Bas Czerwinski
I had to take a third paracetamol to carry this sword, 2024, khayameyya hand-sewn appliqué, embroidery, and textile, 202 × 61 cm.
The Scandal, 2024, khayamiya hand-sewn appliqué, embroidery, and akhmim hand woven cotton, 201 × 137 cm.
Army of Protestors, 2024, khayamiya hand-sewn appliqué, embroidery, and textile, 209 × 140.5 cm.
Launching Soon (Head of Wisdom), 2024, khayamiya hand-sewn appliqué, embroidery, and akhmim hand-woven cotton, 186 × 128 cm.
Silent Protestors, 2024, khayamiya hand-sewn appliqué, embroidery, and textile, 160 × 98.5 cm.
Installation view - “Protocols and other Formal Agreements” solo show at Museum Rijswijk, 2025
Photo credit: Bas Czerwinski
Melly, 2021-2022, cloth, thread, appliqué, machine embroidery and sewing 108 × 95 cm.
Drive Them Out, 2021-2022, cloth, thread, acrylic paint, appliqué, machine embroidery and sewing
142 × 160 cm.
Drive Them Out, 2021-2022, cloth, thread, acrylic paint, appliqué, machine embroidery and sewing
142 × 160 cm.
Things and Needs (Hagaat w’ Mehtagaat), installation shot, Artopia Gallery, Milan, 2022.
Three Suited Stars, 2021-2022, cloth, thread, appliqué, machine, embroidery and sewing, 180 × 143 cm.
Iron Man, 2021-2022, embossing and machine embroidery on velvet, 50 × 40 cm.
Things and Needs (Hagaat w’ Mehtagaat), installation shot, Artopia Gallery, Milan, 2022.
Coat of Irons, 2022, embossing on velvet 50 × 40 cm.
Things and Needs (Hagaat w’ Mehtagaat): the Hair, the Deal, the Hands, installation shot, Artopia Gallery, Milan, 2022.
Sports Memorabilia, Signed and Everything, installation shot, Stigter van Doesburg, Amsterdam, 2018.
Sports Memorabilia, Signed and Everything, installation shot, Stigter van Doesburg, Amsterdam, 2018. Composed of folded canvas, acrylic paint, and wood, 2017-2018, 70x40cm each.
Sports Memorabilia, Signed and Everything, installation shot, Stigter van Doesburg, Amsterdam, 2018. Composed of folded canvas, acrylic paint, and wood, 2017-2018, 70x40cm each.
Sports Memorabilia, Signed and Everything, installation shot, Stigter van Doesburg, Amsterdam, 2018. Composed of folded canvas, acrylic paint, and wood.
Dina Danish and Jean-Baptiste Maitre, Medieval Carved Skin, 2018, carved linoleum, 120x120 cm.
Dina Danish & Jean-Baptiste Maitre, A Cocktail, Moses and Winged Sandals, 2019, embossed velvet and carved linoleum mounted on wood, dimensions variable.
Dina Danish and Jean-Baptiste Maitre, Winged Sandals, Moses and a Cocktail, 2019, carved linoleum mounted on wood, 150 x 210 cm.
Dina Danish and Jean-Baptiste Maitre, A Cocktail, Moses and Winged Sandals, 2019, embossed velvet
200 x 300 cm.
Dina Danish and Jean-Baptiste Maitre, Egyptian Blue Velvet Skin, 2018, embossed velvet, 130x130 cm.
Seventy-Seven Benev..., 2015 (from a series on alternatives to the utterance of tongue-twisters), carpet, hand brushing against carpet grain, vacuum cleaning, 226 x 160cm.
Dina Danish and Jean-Baptiste Maitre, Victor Hugo Was Here, 2020, silk thread embroidery on tulle, 85 × 50 cm.
Dina Danish and Jean-Baptiste Maitre, Victor Hugo Was Here, 2020, silk thread embroidery on tulle, 85 × 50 cm.
All My Life I Had To Fit Cheese on Toast, 2008, single-channel video, 1’7”.
Practicing Foreign Languages, 2007, single-channel video, 2’35”.
Live From The Aquarium, 2013, a project commissioned by Art Dubai: a sports commentator is hired to describe the physical movement of an audience look- ing at works at the art fair, single-channel video, 10’30”.
Tongue-Twister: Stupid Superstition and the Dots And Crosses of Stupid Superstition, 2008, Ink on legal paper.
Molloy Re-translated to French, 2008, mixed media variable dimensions.
Couch Swimming, 2009, single-channel video, 1’50”.
Chaliff Dance: in collaboration with Farley Gwazda, 2007, two-channel video, 6’17”.
Chaliff Dance: in collaboration with Farley Gwazda, 2007, two-channel video, 6’17”.
Chaliff Dance: in collaboration with Farley Gwazda, 2007, two-channel video, 6’17”.
Type Sonata, 2011, single channel video, 4’56” .
One to Three, 2011, White-out on paper.
Lip Sinking in Water, 2008, single channel video, 1’33”.
Halim: The Dark Whistling Nightingale, 2011, single channel video, 10’10”.
Gum Studies, 2013, folded aluminum, oil paint, dimensions variable. Image courtesy of Barbara Seiler.
To Be a Pinball, 2015, variable materials and dimensions. Photo by Jean-Baptiste Maitre.
Seventy-Seven Benevolent Elephants (from a series on alternatives to the utterance of tongue-twisters), 2015, 77 benevolent looking elephant figurines.
Seventy-Seven Benevolent Elephants (from a series on alternatives to the utterance of tongue-twisters), 2015, 77 benevolent looking elephant figurines.
Ursonate in Arabic Pronunciation, 2016, audio and written translation.
The Witch and a Shipwreck Full of Paintings, 2013, overhead projector, magnifying glass, paper and sound.
A Simultaneous Poem by Kurt Schwitters, Charlie Chaplin, I.K. Bonset, the ridiculously good-looking Lettrist International (and Everybody Else), 2014, performance as a press conference with props, Stedelijk Museum Amsterdam.
Ursonate in Arabic Pronunciation, 2016, audio and written translation.
Installation view - “Protocols and other Formal Agreements” solo show at Museum Rijswijk, 2025
Photo credit: Bas Czerwinski
Fake Documents, 2009, ink on paper.
Counting (Dac Dac Dactylonomy), 2009, single-channel video, 1’50”.
You’ve Crossed the Line, 2012, vinyl on floor, dimensions variable.