khaled esguerra


art
  1. Heritage Legacy Authentic(2025)
  2. attempt: 20250629_01(2025)
  3. on (in)visibility(2025)
  4. 1501, 308 Al Hisn St(2025)
  5. How to take Possession of what Belongs to you(2024–)
  6. Walking Around Mina(2024)
  7. Do Concrete Towers Dream Of Golden Visas?(2023—)
  8. Abu Dha-me(2022)
  9. In Absentia (Reinterpretation)(2021)
  10. I Just Need to
    Keep Moving    (2021)

design
  1. MAGHRAS: A Farm for Experimentation(2025)
  2. Abu Dhabi (Dis)connected(2025)
  3. MINA MEMORY(2024—)
  4. Spaces that Remain(2024)
  5. Nesmah(2024)
  6. AUS Posters(2023-2024)
  7. MAQAM: Hashel Al Lamki(2023)
  8. Sweating Assets: On
    Climate Conditioning
    and Ecology    (2023)
  9. REEL PALESTINE at Bait
    Al Shamsi    (2023)
  10. BED SPACE AVAILABLE(2022) 
  11. Migrant Journal(2022)


about
  1. artist+educator+designer
  2. BSc visual communication @ AUS
  3. from+based in abu dhabi 
  4. CV available upon request

let’s work →

2. attempt: 20250629_01


            Durational performance, archival video (4h38m), 2025 As someone who struggles with shooting other people, including depicting myself in front of the lens, I had come to terms with realizing I am constantly in front of one on a daily basis. Surveillance cameras, outdoor street radars, interior CCTVs, always keeping a watchful eye over me. “attempt: 20250629_01” is an attempt at confronting that realization.
       In exploring the hazy line between public and private space, I staged a durational performance by setting up a live CCTV feed of myself, locked inside my studio for nearly five hours, all while being broadcasted live to an in-person audience I could never see nor interact with. The resulting work was a bodily reaction to a private space turned public. Throughout the near-five hours, I attempt to evade surveillance by searching for blind spots, confronting the camera directly and staring at it head-on, and “protecting” my studio by covering its contents, furniture, interior structure, and eventually myself, with construction tarp typically reserved for demolition.
        
       As part of a larger body of work titled “How to take Possession of What Belongs to you” (2024—), the first few hours of the performance contains audio excerpts from preachings of the same pastoral series which the work is titled after. This project was supported through the Artist Residency Program in 2025 at 421 Arts Campus, Abu Dhabi. Contact the artist to watch the full performance.