[{"id":37300,"title":"Searching for the New Dress","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":253,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesey of the Artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"searching-for-the-new-dress-series","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/571/medium_500/Schermafbeelding_2026-03-03_110803.png?1772532620","cached_actor_names":"Nour Shantout","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/571/large/Schermafbeelding_2026-03-03_110803.png?1772532620","poster_credits":"© Courtesy the artist","translations":[{"locale":"en","description":"\u003cp\u003e\u003ca href=\"https://files.cargocollective.com/681555/Digital_booklet-SoloShow-Mathaf-Qatar-Searching-for-the-new-dress-Nour.pdf\"\u003eDownload the \u003ci\u003eSearching for the New Dress\u003c/i\u003e\u0026nbsp;booklet!\u003c/a\u003e\u003c/p\u003e\u003cp\u003eThe ‘Camp Dress’ or the ‘New Dress’ is a Palestinian embroidered dress which emerged when women from all over Palestine were suddenly mixed within camps in the neighboring countries, namely Jordan, Syria, and Lebanon, during the aftermath of the 1948 Nakba. The researcher, collector and historian Widad Kamel Kawar named the ‘New Dress’, which was “born of camp life and resistance”. Very little was written about it, and even Kawar ignored it for many years. The ‘New Dress’ was made with cheap materials, the locally woven textile of the traditional peasant dress was replaced by factory manufactured fabric. Women did not have so much time to embroider, so machine embroidery started to replace hand embroidery. Moreover, the embroidery motifs which were specific to each village started to mix, as women were inspired by their neighbours’ embroidery traditions and by the new place.\u003c/p\u003e\u003cp\u003eWith the emergence of ‘The New Dress’, embroidery started to turn from ‘labour of Love’ to ‘labour’. Due to the loss of land and the inability to work in agriculture, many women who needed an income in the new place – the camp – made hand embroidery their profession.\u003cbr\u003eThis is how embroidery turned from an activity which is done at home in free time to labour and the dresses started to move from the bodies of the peasants to the bodies of the urbanites, who could afford wearing these dresses. That is when wearing these hand embroidered costumes became a political statement, and a way of mapping the lost land.\u003c/p\u003e\u003cp\u003eSearching for the New Dress looks at Palestinian embroidery in Shatila, a Palestinian camp in Lebanon. It explores how embroidery is influenced by the migration of Syrian Palestinian and Syrian women who took refuge there after the war in Syria. To create ‘New Dresses’ that reflect the socio-political, economic and demographic changes in the embroiderer’s life in the aftermath of the Syrian revolution (2011), I learned to design new motifs and types of stitches which are usually associated with Syrian and Palestinian embroidery. The research also involves interviews with embroiderers in various embroidery centers in Shatila, identifying designs that reflect the changes in Palestinian embroidery. The project asks, what if a ‘New Dress’ emerges after the Syrian revolution, the destruction of the Yarmouk camp – the capital of the Palestinian diaspora –, and the displacement of thousands of Syrians? What would it look like? Which fabric, colours, threads and techniques would be used? Which political slogans and maps would it have?\u003c/p\u003e\u003cp\u003eThis project was produced thanks to the generous support of AFAC, Culture Resource and Minuseins.\u003c/p\u003e\u003cp\u003eThe pictures are by © Leonhard Hilzensauer\u003cbr\u003e© Nour Shantout\u003cbr\u003e(source: \u003ca href=\"https://nourshantout.com/Searching-for-the-New-Dress\"\u003enourshantout.com\u003c/a\u003e)\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ca href=\"https://files.cargocollective.com/681555/Digital_booklet-SoloShow-Mathaf-Qatar-Searching-for-the-new-dress-Nour.pdf\"\u003eDownload the \u003ci\u003eSearching for the New Dress\u003c/i\u003e\u0026nbsp;booklet!\u003c/a\u003e\u003c/p\u003e\u003cp\u003eThe ‘Camp Dress’ or the ‘New Dress’ is a Palestinian embroidered dress which emerged when women from all over Palestine were suddenly mixed within camps in the neighboring countries, namely Jordan, Syria, and Lebanon, during the aftermath of the 1948 Nakba. The researcher, collector and historian Widad Kamel Kawar named the ‘New Dress’, which was “born of camp life and resistance”. Very little was written about it, and even Kawar ignored it for many years. The ‘New Dress’ was made with cheap materials, the locally woven textile of the traditional peasant dress was replaced by factory manufactured fabric. Women did not have so much time to embroider, so machine embroidery started to replace hand embroidery. Moreover, the embroidery motifs which were specific to each village started to mix, as women were inspired by their neighbours’ embroidery traditions and by the new place.\u003c/p\u003e\u003cp\u003eWith the emergence of ‘The New Dress’, embroidery started to turn from ‘labour of Love’ to ‘labour’. Due to the loss of land and the inability to work in agriculture, many women who needed an income in the new place – the camp – made hand embroidery their profession.\u003cbr\u003eThis is how embroidery turned from an activity which is done at home in free time to labour and the dresses started to move from the bodies of the peasants to the bodies of the urbanites, who could afford wearing these dresses. That is when wearing these hand embroidered costumes became a political statement, and a way of mapping the lost land.\u003c/p\u003e\u003cp\u003eSearching for the New Dress looks at Palestinian embroidery in Shatila, a Palestinian camp in Lebanon. It explores how embroidery is influenced by the migration of Syrian Palestinian and Syrian women who took refuge there after the war in Syria. To create ‘New Dresses’ that reflect the socio-political, economic and demographic changes in the embroiderer’s life in the aftermath of the Syrian revolution (2011), I learned to design new motifs and types of stitches which are usually associated with Syrian and Palestinian embroidery. The research also involves interviews with embroiderers in various embroidery centers in Shatila, identifying designs that reflect the changes in Palestinian embroidery. The project asks, what if a ‘New Dress’ emerges after the Syrian revolution, the destruction of the Yarmouk camp – the capital of the Palestinian diaspora –, and the displacement of thousands of Syrians? What would it look like? Which fabric, colours, threads and techniques would be used? Which political slogans and maps would it have?\u003c/p\u003e\u003cp\u003eThis project was produced thanks to the generous support of AFAC, Culture Resource and Minuseins.\u003c/p\u003e\u003cp\u003eThe pictures are by © Leonhard Hilzensauer\u003cbr\u003e© Nour Shantout\u003cbr\u003e(source: \u003ca href=\"https://nourshantout.com/Searching-for-the-New-Dress\"\u003enourshantout.com\u003c/a\u003e)\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003ca href=\"https://files.cargocollective.com/681555/Digital_booklet-SoloShow-Mathaf-Qatar-Searching-for-the-new-dress-Nour.pdf\"\u003eDownload the \u003ci\u003eSearching for the New Dress\u003c/i\u003e\u0026nbsp;booklet!\u003c/a\u003e\u003c/p\u003e\u003cp\u003eThe ‘Camp Dress’ or the ‘New Dress’ is a Palestinian embroidered dress which emerged when women from all over Palestine were suddenly mixed within camps in the neighboring countries, namely Jordan, Syria, and Lebanon, during the aftermath of the 1948 Nakba. The researcher, collector and historian Widad Kamel Kawar named the ‘New Dress’, which was “born of camp life and resistance”. Very little was written about it, and even Kawar ignored it for many years. The ‘New Dress’ was made with cheap materials, the locally woven textile of the traditional peasant dress was replaced by factory manufactured fabric. Women did not have so much time to embroider, so machine embroidery started to replace hand embroidery. Moreover, the embroidery motifs which were specific to each village started to mix, as women were inspired by their neighbours’ embroidery traditions and by the new place.\u003c/p\u003e\u003cp\u003eWith the emergence of ‘The New Dress’, embroidery started to turn from ‘labour of Love’ to ‘labour’. Due to the loss of land and the inability to work in agriculture, many women who needed an income in the new place – the camp – made hand embroidery their profession.\u003cbr\u003eThis is how embroidery turned from an activity which is done at home in free time to labour and the dresses started to move from the bodies of the peasants to the bodies of the urbanites, who could afford wearing these dresses. That is when wearing these hand embroidered costumes became a political statement, and a way of mapping the lost land.\u003c/p\u003e\u003cp\u003eSearching for the New Dress looks at Palestinian embroidery in Shatila, a Palestinian camp in Lebanon. It explores how embroidery is influenced by the migration of Syrian Palestinian and Syrian women who took refuge there after the war in Syria. To create ‘New Dresses’ that reflect the socio-political, economic and demographic changes in the embroiderer’s life in the aftermath of the Syrian revolution (2011), I learned to design new motifs and types of stitches which are usually associated with Syrian and Palestinian embroidery. The research also involves interviews with embroiderers in various embroidery centers in Shatila, identifying designs that reflect the changes in Palestinian embroidery. The project asks, what if a ‘New Dress’ emerges after the Syrian revolution, the destruction of the Yarmouk camp – the capital of the Palestinian diaspora –, and the displacement of thousands of Syrians? What would it look like? Which fabric, colours, threads and techniques would be used? Which political slogans and maps would it have?\u003c/p\u003e\u003cp\u003eThis project was produced thanks to the generous support of AFAC, Culture Resource and Minuseins.\u003c/p\u003e\u003cp\u003eThe pictures are by © Leonhard Hilzensauer\u003cbr\u003e© Nour Shantout\u003cbr\u003e(source: \u003ca href=\"https://nourshantout.com/Searching-for-the-New-Dress\"\u003enourshantout.com\u003c/a\u003e)\u003c/p\u003e"}]},{"id":37272,"title":"Map of the 64 Official and Unofficial Palestinian Camps in Lebanon, 2021–2022 Syria, Jordan and Palestine (from the Searching for the New Dress series)","dimensions":"155 x 77 cm","date_begin":"2021-01-01","material":"Hand embroidered cotton panel","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":253,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2022-01-01","reference":"","stream_count_app":14,"permalink":"map-of-the-64-official-and-unofficial-palestinian-camps-in-lebanon-syrria-jordan-and-palestine","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/539/medium_500/2025-mathaf-we-refuse-d-1360.jpg?1772204977","cached_actor_names":"Nour Shantout","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/539/large/2025-mathaf-we-refuse-d-1360.jpg?1772204977","poster_credits":"© the artist — photo: Ali Al-Anssari, courtesy of Qatar Museums ©2025","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":37273,"title":"The Yarmouk Camp Dress (from the Searching for the New Dress series)","dimensions":"145,3 (length) x 46,7 (shoulders) x 63,2 (arms) cm","date_begin":"2021-01-01","material":"Dress","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":253,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2022-01-01","reference":"","stream_count_app":19,"permalink":"the-yarmouk-camp-dress","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/540/medium_500/2025-mathaf-we-refuse-d-1349.jpg?1772205233","cached_actor_names":"Nour Shantout","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/540/large/2025-mathaf-we-refuse-d-1349.jpg?1772205233","poster_credits":"© the artist — photo: Ali Al-Anssari, courtesy of Qatar Museums ©2025","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":37274,"title":"My grandmother's Embroidered Map. How Fabric Protects our Home (from the Searching for the New Dress series)","dimensions":"","date_begin":"2020-01-01","material":"Polaroid pictures","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2022-01-01","reference":"","stream_count_app":12,"permalink":"my-grandmother-s-embroidered-map-how-fabric-protects-our-home","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/541/medium_500/2025-mathaf-we-refuse-d-1364.jpg?1772204116","cached_actor_names":"Nour Shantout","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/541/large/2025-mathaf-we-refuse-d-1364.jpg?1772204116","poster_credits":"© the artist — photo: Ali Al-Anssari, courtesy of Qatar Museums ©2025","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":37276,"title":"Map of Military Influence in Syria, September 2015 (from the Searching for the New Dress series)","dimensions":"31 x 36 cm","date_begin":"2021-01-01","material":"Hand embroidered cotton on cotton","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":253,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2022-01-01","reference":"","stream_count_app":14,"permalink":"map-of-military-influence-in-syria-september-2015","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/543/medium_500/2025-mathaf-we-refuse-d-1358_03.jpg?1772203770","cached_actor_names":"Nour Shantout","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/543/large/2025-mathaf-we-refuse-d-1358_03.jpg?1772203770","poster_credits":"© the artist — photo: Ali Al-Anssari, courtesy of Qatar Museums ©2025","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":37297,"title":"Evidence","dimensions":"127 cm ×  70 cm (canvas)  30 ×  20 cm (circuit board)","date_begin":"2025-01-01","material":"2 hand embroidered cotton panels,  printed circuit board","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":253,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"evidence-f0d0030e-0a12-4930-a2c8-3124e9e63bcf","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/562/medium_500/2025-mathaf-we-refuse-d-1341_02.jpg?1773323832","cached_actor_names":"Nour Shantout","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/562/large/2025-mathaf-we-refuse-d-1341_02.jpg?1773323832","poster_credits":"© the artist — photo: Ali Al-Anssari, courtesy of Qatar Museums ©2025","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003eEvidence\u003c/i\u003e responds to intensified censorship through the emergence of new visual codes. Artists and cultural workers often blur faces in online documentation – a protective gesture that transforms pixelated squares into subtle symbols of an era marked by constraint. This work reflects on the evolving relationship between language, medium and temporality. As screenshots of social media posts are used to silence or undermine cultural voices, the exhibition space shifts from a mere site of display to one of negotiation, risk and resistance. It invites us to consider how acts of refusal – of revealing less, of withholding faces – can paradoxically assert presence and agency.\u003c/p\u003e\u003cp\u003eSound hardware design: David Scheßl\u0026nbsp;\u003cbr\u003eSound editor: Ramy Ghanem\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003eEvidence\u003c/i\u003e is een reactie op de toegenomen censuur door de opkomst van nieuwe visuele codes. Kunstenaars en culturele werkers vervagen vaak gezichten in online documentatie – een beschermend gebaar, met gepixelde vierkanten die staan voor subtiele symbolen van een tijdperk dat wordt gekenmerkt door inperking. Het werk is een reflectie op de evoluerende relatie tussen taal, medium en tijd. Terwijl screenshots van berichten op sociale media worden gebruikt om culturele stemmen het zwijgen op te leggen of te ondermijnen, verschuift de tentoonstellingsruimte van een loutere tentoonstellingsplek naar een plek van onderhandeling, risico en verzet. Ze nodigt ons uit na te denken over hoe daden van weigering – minder onthullen, geen gezichten tonen – paradoxaal genoeg net een afirmatie kunnen zijn van aanwezigheid en agency.\u003c/p\u003e\u003cp\u003eSound hardware design: David Scheßl\u0026nbsp;\u003cbr\u003eSound editor: Ramy Ghanem\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003eEvidence\u003c/i\u003e [Preuves] répond à l’intensification de la censure à travers l’émergence de nouveaux codes visuels : souvent, les artistes et les travailleurs culturels floutent les visages dans la documentation en ligne, un geste protecteur qui transforme les carrés pixélisés en symboles subtils d’une époque marquée par les contraintes. Cette œuvre réfléchit à l’évolution des relations entre le langage, le média et la temporalité. Alors que les captures d’écran de publications sur les réseaux sociaux sont mises en œuvre pour faire taire ou affaiblir des voix culturelles, l’espace d’exposition glisse d’un simple lieu d’exposition à celui de négociation, de risque et de résistance. Il nous invite à considérer à quel point les actes de refus – révéler moins, cacher les visages – peuvent paradoxalement affirmer la présence et l’action.\u003c/p\u003e\u003cp\u003eSound hardware design: David Scheßl\u0026nbsp;\u003cbr\u003eSound editor: Ramy Ghanem\u003c/p\u003e"}]},{"id":37275,"title":"They Call it the Civil War Map (from the Searching for the New Dress series)","dimensions":"31 x 28 cm","date_begin":"2021-01-01","material":"Hand embroidered cotton on cotton","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":253,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2022-01-01","reference":"","stream_count_app":14,"permalink":"they-call-it-the-civil-war-map","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/542/medium_500/2025-mathaf-we-refuse-d-1358_02.jpg?1772203573","cached_actor_names":"Nour Shantout","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/542/large/2025-mathaf-we-refuse-d-1358_02.jpg?1772203573","poster_credits":"© the artist — photo: Ali Al-Anssari, courtesy of Qatar Museums ©2025","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":37277,"title":"Map of Military Influence in Syria, July 2019 (from the Searching for the New Dress series)","dimensions":"32 x 36 cm","date_begin":"2021-01-01","material":"Hand embroidered cotton on cotton","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":253,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2021-01-01","reference":"","stream_count_app":13,"permalink":"map-of-military-influence-in-syria-july-2019","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/544/medium_500/2025-mathaf-we-refuse-d-1358_01.jpg?1772203082","cached_actor_names":"Nour Shantout","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/544/large/2025-mathaf-we-refuse-d-1358_01.jpg?1772203082","poster_credits":"© the artist — photo: Ali Al-Anssari, courtesy of Qatar Museums ©2025","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":37280,"title":"Money Hat (from the Searching for the New Dress series)","dimensions":"32,5 x 20 x 19 cm","date_begin":"2021-01-01","material":"Mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2022-01-01","reference":"","stream_count_app":14,"permalink":"money-hat","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/547/medium_500/2025-mathaf-we-refuse-d-1354_02.jpg?1772207233","cached_actor_names":"Nour Shantout","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/547/large/2025-mathaf-we-refuse-d-1354_02.jpg?1772207233","poster_credits":"© the artist — photo: Ali Al-Anssari, courtesy of Qatar Museums ©2025","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":37278,"title":"The Crisis Dress (from the Searching for the New Dress series)","dimensions":"136 x 44 x 55cm","date_begin":"2021-01-01","material":"dress","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":253,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2022-01-01","reference":"","stream_count_app":14,"permalink":"the-crisis-dress","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/545/medium_500/2025-mathaf-we-refuse-d-1354_03.jpg?1772207549","cached_actor_names":"Nour Shantout","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/545/large/2025-mathaf-we-refuse-d-1354_03.jpg?1772207549","poster_credits":"© the artist — photo: Ali Al-Anssari, courtesy of Qatar Museums ©2025","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":37279,"title":"We Call It Unwaged Work (from the Searching for the New Dress series)","dimensions":"39 x 28cm","date_begin":"2021-01-01","material":"Hand embroidered cotton on cotton","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":253,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Amoako Boafo Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2022-01-01","reference":"","stream_count_app":16,"permalink":"we-call-it-unwaged-work","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/546/medium_500/2025-mathaf-we-refuse-d-1363.jpg?1772202033","cached_actor_names":"Nour Shantout","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/546/large/2025-mathaf-we-refuse-d-1363.jpg?1772202033","poster_credits":"© the artist — photo: Ali Al-Anssari, courtesy of Qatar Museums ©2025","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]}]