Huda Takriti



  1. Anatomy of an Endless Scene
  2. On Another Note
  3. Revisitation. In Three Acts
  4. Clarity is the Closest Wound to the Sun
  5. Notes on/for a Film
  6. Fluid Grounds I
  7. Fluid Grounds II
  8. Against Nostalgia
  9. Refusing to Meet Your Eye
  10. Of Cities and Private Living Rooms
  11. Les Yeux Dans Les Yeux
  12. The Euphoric Nights in Vienna: Here and Elsewhere
  13. Starry Nights
  14. A Storytelling; I only wish I could be there...

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Anatomy of an Endless Scene


Still, Anatomy of an Endless Scene, Video, 11’30”, 4k, Color, Black&White, Sound, 2025

In Anatomy of an Endless Scene Takriti addresses the function of the archive in her own work on a meta-level, initiating a kind of selfreflection through artistic means. She brings together the archive and the ruin as sites of knowledge and memory. She understands ruins as endless places that do not necessarily need to be rebuilt. As material remnants of a conflict-ridden human history, they become sites of memory that function as markers of a present past.
Archives and theater, in turn, are places that provide a stage for the dominant narrative. The video begins with the prologue from Kenneth Branagh’s 1989 film adaptation of Shakespeare’s Henry V, embedded in a bright red background. The actor addresses his audience directly on behalf of the author, referencing the role of the chorus in Greek tragedy as an omniscient, mediating authority. As he wanders through the recognizable film sets, he apologizes for the sparse resources available and invites the audience to use their own imagination to compensate. The play is exposed as an illusion, the construction of fiction is exposed, and the fourth wall is broken. This reflexive text form finds its continuation in a dialogue between a floating eye and a stage light, presented only as subtitles. It culminates in a monologue about ruins and new beginnings, and the eye reflects on its role in the play. If the eye can help determine its content, we, as the audience or artists themselves, can revise history.

On the archive’s stage, the objects contained within it become actors who appear in short sequences, seemingly following the artist’s stream of consciousness. Responding to the context of the dialogue, the found footage material opens up a space of associations or a narrative, composed of historical documents, news reports, or films that Huda Takriti collected online for her personal image archive.
Can we even trust the images we see? Is there a truth in images, a truth in documents? Huda Takriti repeatedly questions image production and its claim to factuality, both on a textual and visual level. Thus, she confronts the viewing eye with dazzling light or inversion: alienation effects that disturb vision and test our gaze. The stylistic device of film montage itself also provokes a shift in context, making the media images appear as flowing or living objects, as performative documents that are in a constant state of change.

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Stills, Anatomy of an Endless Scene, Video, 11’30”, 4k, Color, Black&White, Sound, 2025
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