Age, Biography and Wiki

Rana Hamadeh was born on 1983 in Lebanon, is a Performance and visual artist from Lebanon. Discover Rana Hamadeh's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is she in this year and how she spends money? Also learn how she earned most of networth at the age of 41 years old?

Popular As N/A
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Age 41 years old
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Born 1983
Birthday
Birthplace Lebanon
Nationality Lebanon

We recommend you to check the complete list of Famous People born on . She is a member of famous artist with the age 41 years old group.

Rana Hamadeh Height, Weight & Measurements

At 41 years old, Rana Hamadeh height not available right now. We will update Rana Hamadeh's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
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Dating & Relationship status

She is currently single. She is not dating anyone. We don't have much information about She's past relationship and any previous engaged. According to our Database, She has no children.

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Rana Hamadeh Net Worth

Her net worth has been growing significantly in 2023-2024. So, how much is Rana Hamadeh worth at the age of 41 years old? Rana Hamadeh’s income source is mostly from being a successful artist. She is from Lebanon. We have estimated Rana Hamadeh's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income artist

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Timeline

1983

Rana Hamadeh (born 1983) is an artist from Lebanon based in the Netherlands.

Her interdisciplinary projects span theatrical performances, sound, text and cartographic works, among others, allowing for a discursive approach to subject matter.

Many of her works question the authority of historical voice, creating visibility around erased or unrecorded voices.

As part of her artistic practice she has embraced the role of scientist, historian or archivist as a means of replicating the authority that those systems relay.

2013

Stephanie Bailey of Ibraz described Hamadeh's 2013 work, Alien Encounters, as "stories, conversations, historical documents and other objects and artifacts – meteorite pieces from various parts of the world, for instance, or various coal scrip tokens used in the American South, as well as a plantation token used in Guatemala – that worked together to produce a networked constellation of meaning and association, united by the themes of hygiene, immunization and quarantine throughout history".

The Institute of Modern Art in Brisbane said of Sleepwalkers, the last chapter of Alien Encounters, "The work’s abstract and non-linear script, its dissonant audio track, and the constant shifting of its characters re-choreographs the power-relations between the persistent image of the female monster, the figure of the state, and colonial violence."

Jesi Khadivi of Frieze, reviewing The Ten Murders of Josephine commented, "For nearly a decade, the Lebanon-born artist’s research- and performance-based practice has questioned the infrastructures of justice, militarism, histories of sanitation and theatre."

Khadavi describes the performance as consisting of "a 40-minute sound- and text-based opera, which loops through the building’s dim, violet-lit second floor", noting "processes of translation and reordering articulate a shifting hierarchy of voices. However, such references are layered, distorted and coded beyond comprehension."

Carolina Rito of Mousse Magazine said that Alien Encounters and The Ten Murders of Josephine were focused on "mechanisms of the law and how these mechanisms inform and institutionalize the legal subject".

Rito commented that with the "tensions between sound/silence, voice/speech, and legality/illegality" in Hamadeh's work "both polarities inform one another, or, better said, imply and implicate one another".

Wall Street International's review of Ramadeh's The Ten Murders of Josephine described it as "coalescing multiple strands of theoretical research in the largest project in her career to date; one that genuinely engenders new modalities of readership and spectatorship, and tests performative dynamics of exhibition making."

2014

She received a Günther-Peill-Stiftung Fellowship Award (2014–16) and has been in residence at We Are Primary (Nottingham, UK), Flat Time House (London, UK), Townhouse Gallery (Cairo, Egypt) and Bains Connective (Brussels, Belgium).

2017

In 2017, her opera project The Ten Murders of Josephine used the space of Witte de With Center for Contemporary Art to spatially stage this Libretto.

This exhibition allowed for the staged work to remain unfixed as the additions of the movement of staff and visitors as well as the creation of new objects in space coalesced towards its final production.

The next iteration of the work premiered at the Theater Rotterdam in December 2017.

With the libretto, Hamadeh returns to an artistic methodology, namely through emotion and poetry, to "explore(s) the workings of testimonial utterance as a means to rethink legal subject hood and to disrupt with that the centrality of citizenship."

Her work has been reviewed in Frieze, Mousse Magazine, Wall Street International, and Ibraaz, among others.

In 2017 she received the Prix de Rome, the most generous award for artists in Netherlands.