Instagram story viewer> @abbassb__> Posts

Abbas Sbeity

@abbassb__

1.7K

followers

1737

following

Curator & Cultural Producer @kulturrummet
Designer & Facilitator @creativeinsights.studio

POSTS STORIES REELS TAGGED

🇯🇵 taken in Kyoto, Japan by @abbassb__

52

3

2 days ago

🍓 by @abbassb__

65

1

19 days ago

Beautiful morning panel at Placemaking Week Europe about experimenting, placemaking, and overcoming Paralysis by Analysis. With @abbassb__ @danny_radai Nicole Gordon @julia_pineda @placemaking_europe taken in Wrocław, Poland by @abbassb__

82

0

24 days ago

Ett försök att skriva för att lugna oron by @abbassb__

20

4

a month ago

35 🎈#blessed taken in Helsingborg, Sweden by @abbassb__

48

10

2 months ago

Fattoush | Collective Salad Making & Dinner

In the Middle of Parallel Universes (3/3)
Part of 12 Timmar; at Småland Triennale 2026
Konst som Social Omvandling; St: Sigfrid Folkhögskola, Växjö
Led by @jensenzen & @oonalinke

@sigfrid.se @smalandstriennalen

———

Today’s communities in South Lebanon live with layers of displacement and interrupted cultivation; fields, and food infrastructures have been repeatedly bombed, burned, and bulldozed by Israeli military operations, which have destroyed tens of thousands of long‑lived olive trees and left many farmers unable to reach their land.

Fattoush, a well‑known mezze and salad from Lebanon and the wider Levant, emerges from peasant and villager practices of refusing waste: farmers fried or dried leftover pita and folded it back into a salad of seasonal vegetables, herbs, and wild greens rather than throwing it away. It is a bread salad, that pays attention to resources, a way of thinking with what is on hand, and of extending the life of bread, labour, and land.

Anthropological work on bread in Palestine describes the “afterlives” of stale bread as a moral project: keeping bread in circulation becomes a daily practice of care, social cohesion, and ethical self‑making under conditions of siege and settler colonialism.

This collective dinner invites us to the Parallels table to care for the vegetables and cook together as the day comes to a close. In preparing fattoush side by side, we rehearse other ways of inhabiting scarcity by sharing a bowl that has always been rooted in village economies and everyday acts of resilience. taken in Växjö, Sweden by @abbassb__

24

0

4 months ago

Non-Binding | A collective performance on the non-compelling force of international law in the face of genocide.

In the Middle of Parallel Universes (2/3)
Part of 12 Timmar; at Småland Triennale 2026
Konst som Social Omvandling; St: Sigfrid Folkhögskola, Växjö
Led by @jensenzen & @oonalinke

@sigfrid.se @smalandstriennalen

———

In parallel worlds, two stacks of paper tell different stories. Since October 2023, the world has witnessed the Israeli genocide in Gaza and ecocide in Lebanon.

The myth of international law is that it defines what cannot be done. But reality produces different documents: hospital strike counts, names of children, press releases from UN agencies whose own staff are being killed, attacks and murders of journalists, the arithmetic of starvation.

“Non‑binding” is the legal term for resolutions that do not compel. Gaza and Lebanon have demonstrated that almost the entire architecture of international humanitarian law is non‑binding in practice.

We read because we have words and no court. We read in parallel because the parallel is the indictment: between what is written and what is permitted, between what is documented and what is don taken in Växjö, Sweden by @abbassb__

25

0

4 months ago

Parallels | An installation for gathering and coming together from parallel worlds

In the Middle of Parallel Universes (1/3)
Part of 12 Timmar; at Småland Triennale 2026
Konst som Social Omvandling; St: Sigfrid Folkhögskola, Växjö
Led by @jensenzen & @oonalinke

@sigfrid.se @smalandstriennalen

———

A body stands in Småland. The same body exists in Beirut, in Gaza, in Tehran, in a village that no longer appears on maps, these are the condition of living across realities that cannot meet. You are here, physically present, performing productivity in the age of capital. You are also there, where the people you love are under bombs.

This work responds to the Art as Social Transformation at S:t Sigfrids Folkhögskola — a one-year course where participants use artistic strategies to critically examine the dynamics between ecology and extraction, the rural and urban, the human and non-human. These oppositions are structured by the same logic: hierarchies that determine whose land is worth protecting, whose labour counts as development, whose grief registers as grief.

The western world watches Israel committing genocide through scrolling feeds and continues to function. International law, once a promise of accountability, has become a framework no one enforces. Institutions claim values they will not defend. And yet the expectation remains: pause your oro, your unrest, your sleepless dread, and be productive. Be grateful. Be here.

Parallels asks what it would take to actually sit with this. To hold the ecological crisis alongside the political one. To acknowledge that caring for the planet requires a body that is not under threat. To create a space where the unsafety of the world is not politely set aside, but brought to the table. taken in Växjö, Sweden by @abbassb__

51

7

4 months ago

Towards A Day In Lövholmen
@opi_lab

For the past year I’ve been researching Lövholmen through four lenses — Site as Land, Site as Value, Site as People, Site as Knowledge. After more than a century of paint, cement, and textile production, the site is about to change completely: 1,800 new apartments, a new waterfront, a new neighborhood. Most of the old buildings will go. The question I keep returning to is what else gets lost in the process.

For A Day in Lövholmen, part of OPI Lab, I built a negotiation table, as a meeting point in the middle of the site — an open invitation to sit down and negotiate the future of Lövholmen. The table isn’t the work. What happens around it is.

The conversation made one thing clear: this transformation is a negotiation between competing definitions of value. For developers, Lövholmen is land that converts into housing. For the artists, makers, and associations who live in the “cracks” of the city, its value is industrial memory, social ties, and everyday cultural life.

Full text on my substack

Images 1–4 / Therese Norgren @norgren_photo taken in Stockholm, Sweden by @abbassb__

33

1

4 months ago

Between glory and defeat, a little bit of sunshine. taken in Stockholm, Sweden by @abbassb__

86

6

4 months ago

IN THE MIDDLE OF PARALLEL UNIVERSES
I will be presenting works Saturday 30 May
Småland Triennale 2026 — 12 Timmar, Art as Social Transformation
S:t Sigfrids Folkhögskola, Växjö

A body stands in Småland. The same body exists in Beirut, in a village that no longer appears on maps. The condition of living across realities that cannot meet.

PARALLELS: an installation for gathering point from parallel worlds. The ecological, the political, the geographic, held in the same space as they are held in the same body.

NON-BINDING: a collective reading on the non-compelling of international law in the face of genocide. taken in Växjö, Sweden by @abbassb__

38

0

5 months ago

POSTCARDS FROM BEIRUT

Photography Exhibition & Fundraising for Lebanon With a Musical Tribute to Ahmad Kaabour

Saturday 11 April 2026 · 18:00 Kulturrummet · Södergatan 101, Helsingborg

The last five years have reshaped Beirut. Economic collapse, explosion, displacement, and ongoing Israeli aggression have altered the city’s rhythm — its daily routines, its streetscapes, its people’s relationship to home. Yet Beirut persists. Its windows, faces, buildings, and sidewalks carry the traces of everything that has happened, and everything that continues.

Sally Itani and Cynthia Matar are architects and photographers who read cities through their cameras. Their images capture what headlines cannot — the small, stubborn details of urban life in Beirut: a gesture, a threshold, a corner where daily life reasserts itself against the weight of crisis.

The evening includes a musical tribute to Ahmad Kaabour, the iconic Lebanese singer and composer behind Ounadikom, who passed away on 26 March 2026. Local musicians will perform in his memory — a moment connecting Helsingborg with Beirut through music that has carried generations.

Postcards featuring the photographers’ work will be available for purchase, with the option to pre-order larger prints. All proceeds — after covering production costs — go directly to support displaced families in Lebanon through trusted individuals.

@cynthiamatar @sallyitani taken in Helsingborg, Sweden by @abbassb__

167

5

7 months ago