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With Xíloma. MCCCLXXXVI, Kunsthalle Basel presents Dala Nasser’s (b.1990) first institutional solo exhibition in Switzerland. At its center is an immersive installation, a fragmented reconstruction of a Byzantine church and its mosaic floor, spanning three rooms. The Church of St. Christopher, whose ruins are situated on a symbolic site on a contested borderland rooted in the terrain of southern Lebanon, prompts questions about identity, belonging, and the enduring consequences of war and destruction.
At the heart of the exhibition is a reproduction of the sixth-century floor mosaic that, before its removal to the Louvre, had been embedded on this land for 1,386 years, becoming both a lens and a method, framing memory as a constellation of resonant traces rather than a fixed monument. The title Xíloma, from the ancient Greek ξίλωμα, meaning to “rip” or “rupture,” reflects this tension and evokes the fractures...More
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With Xíloma. MCCCLXXXVI, Kunsthalle Basel presents Dala Nasser’s (b.1990) first institutional solo exhibition in Switzerland. At its center is an immersive installation, a fragmented reconstruction of a Byzantine church and its mosaic floor, spanning three rooms. The Church of St. Christopher, whose ruins are situated on a symbolic site on a contested borderland rooted in the terrain of southern Lebanon, prompts questions about identity, belonging, and the enduring consequences of war and destruction.
At the heart of the exhibition is a reproduction of the sixth-century floor mosaic that, before its removal to the Louvre, had been embedded on this land for 1,386 years, becoming both a lens and a method, framing memory as a constellation of resonant traces rather than a fixed monument. The title Xíloma, from the ancient Greek ξίλωμα, meaning to “rip” or “rupture,” reflects this tension and evokes the fractures...More
