# E18 - I Miss You Deeply (Khaled Hussein)

Page: https://stenobird.com/podcast/memory-for-denial-7121022/e18-i-miss-you-deeply-khaled-hussein
Text version: https://stenobird.com/podcast/memory-for-denial-7121022/e18-i-miss-you-deeply-khaled-hussein.md
Podcast: [MEMORY FOR DENIAL](https://stenobird.com/podcast/memory-for-denial-7121022)
Published: 2025-11-21T10:27:15+00:00
Episode link: https://www.spreaker.com/episode/e18-i-miss-you-deeply-khaled-hussein--68674194
Audio file: https://api.spreaker.com/download/episode/68674194/i_miss_you_deeply.mp3
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JSON: https://stenobird.com/v1/public/podcasts/memory-for-denial-7121022/episodes/e18-i-miss-you-deeply-khaled-hussein
Duration seconds: 56

## Resource

As part of the GAZA BIENNALE BERLIN PAVILLION we present a short extract of the sound of Khaled Hussein's installation "I Miss You Deeply". The sculptures at the center of his installation speak to Palestinian "sumud" (steadfastness) in the face of genocide. The artist creates his sculptures with clay made from mud - an impermanent material also used for making stoves and fire pits. His process is not complete when he finishes his sculptures. Instead, the documentation of the creation, destruction and recreation of the sculptures continues in a neverending process of indefinite dimensions. "I Miss You Deeply" is Khaled Hussein’s response to the loss of his home, studio and workspace after Israeli bombings. He explains: "My research continues to investigate the state of loss, forming a completely new condition different from previous experience. Using clay, which is easy to shape and recycle, I express the suffering of the displaced, the fragility of the soul and body, and the loss of one’s surroundings." Khaled Hussein (b. 1975 in Rafah; displaced in Gaza) Khaled Huseyin’s work is a profound formal and emotional intervention. We are dealing here with the emotional essence of art, the life of forms, and the relationship between the body and traditions in sculpture. Huseyin’s investigation began as a response to the Great March of Return (2018 to 2019), demonstrations that resulted in an overwhelming number of amputations. His work delved into the physical and psychological experiences of amputees, and its effects within society and within their families. Sculptures of body parts took on an entirely different significance in this context. Artistic form seemed to hold in it not so much representations of forms of life, but of absence, loss, alienation, and escape. The evo…

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## Transcript

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