Fareed Armaly

Armaly's work is unique in confounding genre, his focus on artistic practice is methodologically expansive, including a range of interdisciplinary-based exhibitions, collaborative projects as well the longer-term roles and positions within the art institutional framework.

He sets this in relation to issues pertaining to culture, identity, nation and narration, by initially establishing key thematic lines of enquiry, which create a network of correspondences.

The publication's assemblage of archival material, essays, oral histories with seminal musicians reflects the artist's generational identity politics, through positions that allow to be brought together in “thought-communities”, and link the everyday- and pop-culture through specific terms like 'nation' and 'narration'.

From/to (1999 Witte de With /2002 documenta11), the large-scale, institutional project series, combined exhibition, panels, screenings, and commissions from different fields, in order to materialize the speculative charting of paradoxical discourses generated by post-1948 Palestinian refugee movement: a 'map unfolding in real time'.

haus.0 (1999–2003) which drew together earlier experiences into Armaly's four-year, international programming concept as Artistic Director for the institution Künstlerhaus Stuttgart, an artists-space founded in the 1980s and by 1999 in transition.

Armaly's solo and collaborative works include his production of video, soundworks, architectural interventions, design, sculpture, installation, performative and event, as well as publications.

A 2007 publication on Armaly's practice by the art historian Helmut Draxler, aptly sums up the works’ unique attitude and the artist's overall sensibility by the books title, Coercing Constellations.

In 2024 Armaly rejected the Academy of Arts, Berlin's Käthe Kollwitz prize, citing as his reasons "a disturbing trend of censorship in Germany" and a "reactionary shift in official cultural policies, aimed at silencing advocates for Palestinian rights.