"Out of Place" came to be during Dajani's residency in 2003. In the mid-1960’s King Hussein of Jordan began construction of a royal palace in Jerusalem. The structure was conceived as two rectangles, intersecting at right angles, forming a cross along the North-South, East-West axes. The two-story building was designed to allow for vast panoramic views from all directions. Strategically located on an elevated hilltop on the road to Ramallah, the palace would give a clear and uninterrupted line of vision across the Dead Sea and Jordan Valley to the Jordanian capital of Amman. This sightline would have symbolically bridged the two cities, crossing and uniting the landscape in between. Construction of the building stopped when Jordan was defeated in the 1967 war. The palace, the King’s ambition and desire to leave a legacy in Jerusalem, now stands abandoned and unfinished, out of time and place. It is an anomaly, iconically overlooking the city.
Born in Dublin, Ireland in 1968, Dajani obtained an MA from Goldsmiths College, London and a BA from Glasgow School of Art.
Solo Exhibitions include: New Work, Transmission Gallery, Glasgow, (2000); Outside the Whale, Fly Gallery, Glasgow (1998); Sections Extending, Glasgow University, Glasgow (1996/7); Transmission, Transmission Gallery, Glasgow (1992/3).
Group Exhibitions include: Open Studio Project, Townhouse Gallery, Cairo (2003); Mostyn Open, Oriel Mostyn, Llandudno, Wales (2003); Private, The Pumphouse, London (2002); Presentness is Grace, Spacex, Exeter (2002); Presentness is Grace, Arnolfini, Bristol (2001/2); New Video Work, Insa Art Space, Seoul, Korea (2001); Across the Pond, L.A. (2001); Goldsmiths MA Degree Show, Goldsmiths College, London (2001); A Shot In The Head, Lisson Gallery, London (2000).
“I work primarily in video, often using myself as a performer to investigate ideas concerning the body and its relation to a particular architectural context. Using different editing processes, the work addresses issues such as balance weight and gravity, referencing early minimal and performance art, while trying to create a sense of displacement from the familiar and everyday. I am interested in simple manipulations of the image and the medium, which effect shifts in perception or changes our sense of space and time, scale and orientation, in ways that are slightly absurd or comic. In Untitled (trampoline), for example, I am presented as a figure floating in a room, above a small trampoline, literally in a state of suspended animation. A series of successive gestures are edited as a continuous flow, physically, exposing a deferral that is also the looping mechanism."