[9] In 2014 she curated shows at Sharjah Art Gallery at the American University of Cairo and film program in Wiener Festwochen at Künstlerhaus in Vienna.
[11] Currently Maamoun co-curates the exhibition How to Maneuver: Shape-Shifting Texts and Other Publishing Tactics that takes place at Warehouse421 in Abu Dhabi till 16 February 2020.
[9] Maamoun is specifically interested in urban fabric of her home city Cairo, drawing attention in her photographic works to the visual contradictions that surround her.
[6] Domestic Tourism I is the photographic series where the genres of touristic images of Egypt provided a formal reference for actually exploring a more psychological experience of the city.
Domestic Tourism: Cairo by Night offers a noctural view of one of the capital’s major Nile bridges where then-President Mubarak’s disembodied smile replaces the ads on many of the illuminated signboards lining the streets, recalling the former president’s irreverent popular alias: la vache qui rit (the laughing cow) and his rapacious neo-liberal economic policies.
Domestic Tourism I: Felucca presents a touristic image of an eponymous sail boat plying the Nile with carnivalesque landscape of signboards celebrating then-President Mubarak in the background.
Domestic Tourism I: Park depicts young couples huddled on benches in front of the state headquarters for public administration at one end of Tahrir Square, at the symbolic heart of the capital and the site, six years later, of Egypt’s 2011 revolution.
The street lights with an abnormal intensity in the daytime scene and the oversaturated color of well-worn grass and strangled foliage looks unnatural in this notoriously polluted urban hub.
[18] To create Domestic Tourism II Maamoun looked for films that had a scene with the pyramids to see how different their cinematic representations are, and how they are implicated in the Cairo’s ongoing negotiations and active struggle over the past and present.
[1] The film was shot between Cairo and different locations in India weaves together a story by writer Haytham El-Wardany "Lord of the Order of Existence" about a drug dealer who turns into a strange animal, and a selection of letters written by Azza Shaaban, a director-producer involved with the Egyptian revolution who now lives in India, from where she sends notes about her travel and healing process after the revolution.
[3] Occupying disparate temporal and spatial registers, Dear Animal aimed to raise thoughts about our relationship to power, violence, and the unfamiliar.
[21] The film appeared as a result of a regular visit by Maamoun to one of the many public notary offices in Egypt when she saw state functionaries saying prayers from soiled and aging sheets of paper.