Interview by Bettina Pelz. Published on 29 May 2025.
Contemporary curatorial practices have found fertile ground in Tunis’ Medina. Since 2016, INTERFERENCE Light and Media Art Projects has emerged as a socio-cultural platform operating at the intersection of cultural heritage and contemporary art. Fairouz and Khadouja entered the INTERFERENCE community as art mediators: they exemplify the potential of learning within non-institutional frameworks. Their transition from mediation to curating corresponds with a broader shift in contemporary art where horizontal, collective modes of authorship and care increasingly replace hierarchical models.
MEDINA DE LUMIERE Tunis 2025
Over the past three years, they have operated as both curators and cultural workers in the most expansive sense of the term. Their work encompasses exhibition-making, open-call juries, mentorship of emerging curators, and the training of art mediators — functions that would traditionally be distributed across institutions but are consolidated through necessity and conviction here. This holistic engagement suggests a curatorial praxis that is resource-oriented and context-responsive. In the context of Tunisia, where state support for contemporary art remains precarious and institutional frameworks are fragmented, curating becomes both an aesthetic and political act.
Fairouz Nouri and Khadouja Tamzini curate with the city. Their exhibition projects embrace the site-specificity of the Medina as a historical, social, and sensory space. Small squares, alleyways, madrasas, makhzens, and rooftops become places of encounter where light and media are artistic materials of reflection and transformation. The Medina is not merely a backdrop; it is an interlocutor. They also applied what they learned in Tunis to projects in Le Kef in the Tunisian north, and the south in Gabes, and Houmt Souk.
Over the last three years, they fused local specificity with transnational networks, maintained dialogues with local and international artists, and participated in international projects while anchoring their work in lived Tunisian realities. Theirs is not an imported curatorial grammar but an emergent, vernacular one.
In March 2025, they participated in the YOUNG MASTERS CURATORS PROGRAM at the international light art festival LICHTROUTEN in Luedenscheid. The selected group brought together emerging curators from Africa, Europe, and Latin America. After the successful cooperation, they decided to sustain it and formed a new curatorial collective named OUT. Their first place of collective action will be in July 2025 in Bremen as part of the MEDIA ART LAB at THE OPEN SPACE DOMSHOF and in August as part of the coming SEE DJERBA edition in Houmt Souk.
INTERFERENCE Tunis 2023
ABOUT YOUR CURATORIAL PRACTICE
Bettina // What project are you most proud of?
Fairouz // I would say INTERFERENCE Series in 2023, as it was the very first project I got involved in. Everything felt like a discovery, from starting as an intern to growing into a community coordinator. It profoundly impacted me, personally and professionally. Through this project, I uncovered skills I already had but hadn’t yet recognized, and I found a space where I could genuinely nurture and develop them.
Khadouja // The project I’m most proud of is SEE DJERBA 2024. It was the first time I truly felt that I was curating with full presence, integrating my previous knowledge with real fieldwork. I was deeply involved in every step from conceptual development to production and mediation. It was also meaningful because the project was rooted in a specific context, Djerba’s environmental and cultural heritage, which I care about personally and professionally.
Bettina // Who or what influences, such as artists, institutions, and experiences, shaped your curatorial outlook?
Khadouja // INTERFERENCE played a significant role in shaping my curatorial identity. It’s where I received my first training, and it continues to be the space where I experiment and grow. The institutional culture of ZAKHAM also influenced me, especially their emphasis on art in public spaces and site-specific practices. Both environments taught me to see curating as a way of thinking and acting, not just producing exhibitions.
Fairouz // Yes, definitely: INTERFERENCE. When I speak about it at the beginning of my journey, I’m talking about the people behind it, meaning you: Bettina and Aymen. You believed in me from the very start and gently, yet confidently, pushed me toward the field of curation. Your support opened up a path I hadn’t considered before and helped me take my first steps with more confidence.
Bettina // Who is an artist we should all be watching these days? And why?
Khadouja // We work with emerging artists who deserve attention. One of them is Zeineb Kaabi. She originally came from an anthropology background and began her artistic journey within INTERFERENCE. Her growth has been swift. She works with deep cultural references and develops a unique visual language that resonates with audiences in very grounded and intelligent ways.
Bettina // When selecting artists for exhibition projects, what criteria do you discuss?
Fairouz // When selecting an artist, I usually organize the evaluation criteria into two main clusters. The first focuses on the artist and their project individually, while the second considers how the project fits within the broader context of the exhibition. Cluster 1 includes elements such as the aesthetic and narrative quality of the work, the artist’s overall practice, and their background. Cluster 2 considers the diversity grid, ensuring balance across the exhibition and the contextual relevance to the open call or curatorial theme, technical feasibility within the given space, and the work’s uniqueness. I ask myself what sets it apart and gives it a distinctive voice within the exhibition.
Khadouja // I like the complexity of the situation, there is never only a simple in/out decision. As Fairouz said, we reflect on whether the artwork or the concept resonates with our ideas, values, and aesthetics. Then, we examine whether the artist’s visuals align with the project’s themes. We then continue to reflect on several layers: the diversity grid concerning gender, educational background, and geography, because inclusivity matters to us. We also ask ourselves: Can we imagine this artist working within our collective or project framework? Are they open to experimentation? Do they connect to social and ecological contexts? These conversations help ensure the selection is coherent with the overall spirit of the festival or exhibition.
Bettina // How do you work with artists? What do you look for in a collaboration?
Khadouja // It always starts with a dialogue. We discuss the artist’s vision, background, and expectations. Then, we move into site visits, technical tests, and collective feedback. Most of our exhibited works have been tested in at least two locations. We want artists to experiment. This is crucial. We don’t expect a final product from day one; instead, we give them time and space to develop their work within the context.
Fairouz // I approach collaboration with artists as a shared learning space to exchange knowledge, challenge perspectives, and grow together. Every artist brings a unique way of seeing and working; I try to remain open and responsive. For me, a meaningful collaboration is based on mutual respect, trust, and curiosity. I look for partnerships where we can contribute and learn, where the process is as enriching as the outcome. It’s not just about executing a project but building a dialogue that allows both sides to evolve.
Bettina // What questions are you most interested in exploring through your curatorial work?
Fairouz // Through curating, I try to make space for artists to reflect on displacement, exploitation, resilience, and the deep connections between people and their environments. Art allows us to ask difficult questions, feel what statistics can’t show, and imagine other ways of being. I see my role as a curator as helping bring those voices together to spark collective reflection and empathy. I’m particularly drawn to one guiding question: How can we create environmental justice on Earth?
For me, this isn’t just about nature, it’s about people, movement, survival, and power. In the past, humans migrated in search of water and fertile land. Today, that search has taken a different, often darker turn. Wars are fought, borders are redrawn, and lands are taken, driven by the desire to control natural resources. Behind every conflict, a more potent force often seeks what another land holds.
Khadouja // Ecologies are also crucial to me. I’m interested in how environmental urgencies intersect cultural heritage and public space. It’s about representing nature in art and questioning our roles, systems, and relationships with land, water, and community. I also care a lot about accessibility, how we can make contemporary art available and meaningful in everyday life.
Bettina // What is the challenge in your curatorial practice?
Khadouja // The main challenge is keeping everything together: The narrative, logistics, people… Working in public space means unpredictability, which forces you to be extremely flexible and creative. There’s also the challenge of funding, sustaining long-term relationships, and translating complex ideas into accessible experiences for a broad audience.
Bettina // For me, curatorial practice evolves around exhibition, conversation, and documentation for further review and research. Can you estimate the percentage shares in your practice? Can you explain them?
Fairouz // One of the main challenges in my curatorial practice is navigating limited funding and finding creative ways to bring ambitious ideas to life with constrained resources. Another ongoing challenge is assembling all the moving parts of an exhibition: it’s like putting together a complex puzzle, where each element, such as artists, logistics, space, technical requirements, and narrative flow, needs to align. Balancing these elements while staying true to the curatorial vision requires flexibility, collaboration, and constant problem-solving.
ABOUT YOUR AUDIENCES
Bettina // Who is your primary audience, and how do you make media art accessible to them?
Khadouja // Our primary audience is always local communities. I come from a context where contemporary art can feel distant or inaccessible. That’s why mediation is at the core of our practice: we create spaces where people can ask questions, interact, and relate to the artworks in their way. I believe access comes through dialogue; simplification and opening a space for dialogue and engagement.
Fairouz // Same here, my primary audience is the local community. As I’m mainly involved in public art projects and often work within public spaces, the people who live in and around those spaces are always my priority. I try to make media art accessible by focusing on themes that resonate with everyday life, using simple language in mediation tools, and creating participatory moments that invite curiosity rather than demand prior knowledge. It’s important to me that people feel that art belongs to them … that it speaks their language, reflects their reality, and opens up new ways of seeing without excluding anyone.
Bettina // Are there specific communities or audiences you’re particularly interested in engaging with?
Khadouja // I’m interested in engaging with marginalized communities and those who feel excluded from contemporary art spaces. I also care deeply about working with communities outside of the capital, where cultural infrastructure often lacks. It’s not just about bringing art to them, it’s about building something with them, creating moments of exchange that respect their culture and experiences.
Fairouz // During a project I worked on abroad, I was struck by the number of blind visitors who came to the exhibition with their families. This made me reflect deeply on how we can make visual and media art more inclusive for audiences with visual impairments. It’s an ongoing question in my practice: How can we make art not just visible but perceivable and meaningful to a broader range of bodies and experiences?
Bettina // Can you share a moment when an unexpected audience reaction or interaction shaped your understanding of a project?
Fairouz // Hmmm… Almost every time I engage in art mediation, I’m reminded of how powerful audience interactions can be. Through discussions, especially with people who might not have a formal background in art, I often discover perspectives I hadn’t considered. These unexpected reactions help me see the work in new ways and remind me that interpretation is never fixed. In these moments, I truly understand how important it is to keep the dialogue open and treat each encounter as a learning opportunity for both the audience and me.
Bettina // Have you experimented with participatory or community-driven digital projects? What were the outcomes?
Khadouja // Yes, I remember the kids’ workshop we organized during Ramadan 2024, where we introduced light and media art to children from the “Hafsia” neighborhood. We worked with them over two days and exhibited their creations in the public garden where they usually play. Each child brought their family to see the final exhibition; it was such a proud and emotional moment for everyone. The outcome was surprisingly beautiful for such a short time frame. It showed how meaningful even a small participatory process can be when it’s rooted in a place that matters to people.
Bettina // What strategies do you use to foster dialogue and critical reflection around digital artworks?
Khadouja // For me, it starts with sensing the people’s energy. If they seem open or curious, I approach them gently and ask simple questions like “What do you see?” or “What do you hear?” It’s about making them comfortable first. From there, it often becomes a dialogue, exchanging interpretations, offering context about the work, and seeing how it resonates with them. These moments are really inspiring; they create personal connections with the artwork.
Fairouz // After the audience has had time to discover and reflect on the artwork, I initiate a conversation with them. The discussion always begins with open-ended questions to understand their personal interpretations and reactions. From there, I gradually provide more context and explanation, guiding them step by step through the work’s deeper meanings and intentions.
Bettina // INTERFERENCE projects are all public art projects on sites and in situations that are accessible to all. How does this impact your curatorial concepts and practice?
Khadouja // Working in public space changes everything. It forces you to think beyond the art world and into the everyday. You start asking: Who will pass by here? What is their relationship to this place? Will they feel welcome to stop, look, and question? You have to design the curatorial experience to be open and accessible, both physically and conceptually. It challenges you to break down artistic language without simplifying its ideas.
Honestly, I’ve never really curated for what people call an “artsy” audience. From the start, I’ve been working in public spaces where people pass by, people who might not usually go to galleries or think art is “for them.” That shaped how I approach curating. I’m always asking myself: how can this exhibition speak to someone who’s never experienced art before? How can it connect with different ways of thinking, living, and feeling? It’s less about explaining art, and more about creating moments that feel personal, that invite people in, and maybe even shift how they see things, just for a second
Bettina // You both started with INTERFERENCE as art mediators and are now part of the curatorial collective. Is the art mediation experience a good foundation for curatorial practice?
Khadouja // Yes, it is. When I started as an art mediator, I directly engaged with the artists, which naturally led me into production work, writing, and editing for the website. Step by step, I became familiar with all the components of curating. It’s not just about selecting artworks; it’s about creating a whole experience, and art mediation gave me that foundation. It taught me how to listen, translate, organize, and reflect, essential curatorial skills.
Fairouz // Absolutely! My experience in art mediation gave me a strong sense of the importance of the audience’s encounter with an artwork. It taught me to think beyond just selecting powerful works. I now also ask: how will people connect with this? What kind of conversations might it spark? I also pay close attention to the role of the mediators. They’re the bridge between the work and the public, so I try to choose works that offer layers of meaning, that open space for dialogue rather than close it. Mediation made me more sensitive, not just to what’s being shown, but to how it lives in a space and how it invites people in.
INTERFERENCE Tunis 2022
ALL ABOUT LIGHT AND MEDIA ART
Bettina // Since 2016, INTERFERENCE features light and media art. What is your interest in contemporary light and media art practices? Are there any trends or developments that are of particular interest to you?
Khadouja // What fascinates me about light and media art is how it can completely transform a space and invite new ways of perceiving the world. It’s immersive and often interactive, allowing for more direct audience engagement. What particularly interests me now is how these practices are evolving in connection with ecological themes and emerging technologies; they can serve as aesthetic experiences and tools to reflect on urgent issues.
Fairouz // Light and media art has this incredible way of grabbing people’s attention — it’s almost magnetic. It transforms ordinary spaces into something unexpected and immersive, and that draws people in. You can see how they slow down, look closer, or move through the space differently. It sparks curiosity and often invites interaction, even from those who didn’t plan to engage with art at all. There’s something about light: it’s immediate, emotional, and it connects with people on a very instinctive level.
Bettina // What does “media art” mean to you, and how did you first encounter it?
Khadouja // I first encountered the term “media art” when I got involved with SEE DJERBA in 2023. It’s a broad field that includes sound, video, animation, coding, sensors… It’s also experimental, fluid, and constantly evolving, which is what I love about it.
Fairouz // Media art uses technology, light, sound, video, and digital tools to create emotional and interactive experiences. It’s not just something you look at; it’s something you feel and move through, and my first encounter is, of course, with joining INTERFERENCE. I had never even heard the term before, so discovering it was magical to me.
Bettina // Are there particular technologies or platforms, such as responsive environments, VR, or AI, that you’re excited to work with right now?
Khadouja // Right now, I’m drawn to AI as a tool that can open new creative possibilities. We’ve started to explore AI in some artworks, and I find it fascinating how it can extend artistic thinking. There’s this narrative that AI will “take over,” but I’m more interested in how we can reclaim it creatively and use it to reflect our questions, ethics, and visions.
Fairouz // Honestly, I’m still figuring out where I stand with AI. What gives me pause is how deeply AI is becoming embedded in almost every aspect of our daily lives, it’s everywhere. That makes me reflect on how AI-generated art can still speak to us on a human level. Can it move us, provoke real emotion, or spark meaningful dialogue? These are the questions I’m currently exploring before diving deeper into working with AI creatively.
Bettina // How do you ensure critical engagement with the tools and media you’re curating?
Khadouja // For me, it’s important that we don’t just use technology for the sake of spectacle. I always ask: Why this tool? What does it add? What conversation does it open? We work closely with artists to understand their intentions and push for depth, not just aesthetics. That means taking the time to research, discuss, and make sure the work is not just engaging but also reflective of a larger context (social, political, or ecological)
BEING PART OF THE INTERFERENCE COMMUNITY
Bettina // You have been working with INTERFERENCE since 2022. How did you start? What made you stay?
Fairouz // I applied just five minutes before the form closed, and two days later, I got accepted! At first, I almost didn’t want to go because I was super introverted and shy. It was my first time in such a diverse environment where I didn’t know a single person. But little by little, from the very first onsite meeting, I started feeling welcomed. I slowly began to open up and connect with people. It turned out to be such a beautiful and meaningful experience that I really cherished.
I thought it would end with that edition, but then, just 10 days later, Aymen called me and asked if I wanted to join the YOUNG MASTERS PROGRAM in El Kef in September. Of course, I said yes! That’s when I realized INTERFERENCE wasn’t just a project — it was going to be my real learning space, way beyond university. All these doors opened for me to learn, experiment, and grow.
So, a year later, I decided to do my final internship with INTERFERENCE, focusing on art mediation. I got accepted, did the internship, and right after graduation, I became the community coordinator for INTERFERENCE and SEE DJERBA. For the first time in my life, I felt truly proud of myself and so grateful for this amazing opportunity. Step by step, Khadouja and I got “special care” from Aymen and you, Bettina. From both of you, we developed our paths: how to curate, solve this, and deal with volunteers with small tasks. And now we are on our way to independence with our own art mediation program, with our own contributions to the MOMENTUM Curatorial Program, and soon with our exhibition projects.
Khadouja // I started by chance through a sponsored Instagram story that announced the call for the art mediation program. I had no idea what INTERFERENCE was then, but I was curious and wanted to try something new. I applied, and what followed was truly transformative. The 2022 edition was my first real experience in the art field. I found myself surrounded by artists, contributing to both production and mediation. What made the experience so special was the incredible support and guidance from the team. People were there to help, teach, and trust us, even when we were still learning.
What made me stay is precisely that: the opportunity to keep learning, the absence of judgment when I didn’t know something, the space to experiment and even make mistakes, and above all, the sense of community. It’s a place where care, trust, and accessibility are part of the working culture, and that’s something rare and precious.
Bettina // You have been working as a very productive tandem. How do you influence one another?
Fairouz // At first, I was working alongside another girl before Khadouja joined, and honestly, it was pretty stressful. It’s tough when you don’t feel like you’re on the same page or sharing the same level of commitment — it makes everything feel twice as hard for me. But then Khadouja came on board, and everything changed. She’s just amazing — super hardworking, and we both really care about the project. Suddenly, things felt so much easier. We talk openly all the time and figure out together how to split the tasks in a way that works for both of us. Now, we’re not working as a tandem anymore since she’s focusing more on fundraising, but we still keep open communication and always try to support each other whenever we can.
Khadouja // Working in tandem was new for me. I wasn’t used to working so closely with someone on all aspects of a project. It required learning to communicate more openly, sync our energies, and align our visions. What makes it work is that we are both deeply committed and hardworking. I’ve learned a lot from Fairouz: she’s a very strong planner with a pragmatic approach. She helps me step back and see the big picture when I get lost in the details. I think we complement each other well. It’s like having an extra set of eyes and another rhythm that challenges and balances mine.
Bettina // How do local political, social, or cultural conditions influence your work?
Khadouja // We constantly shift political, social, and cultural contexts. This transitional state deeply influences how we curate and produce. On one hand, it creates challenges: uncertainty in resources, shifting institutional support, or social fatigue. But on the other hand, it also creates opportunities to be more responsive and to rethink what it means to work in the public space. In many ways, our curatorial work creates temporary autonomous spaces where people can engage, share, and reflect beyond the limitations of the dominant systems. It also pushes us to be more careful, context-aware, and grounded in the realities of the people and places we work with.
Bettina // What helped you learn to handle the complexity of the curatorial situation?
Khadouja // What helped me is the constant support from the team. Being surrounded by people who trust you, who guide you without controlling you, makes a big difference. I was given the space to learn, to make mistakes, and to grow at my own pace. Also, being directly involved in every stage of the process gave me a deep understanding of how all the pieces come together. It was very hands-on, and that practical engagement helped me become more confident and able to navigate complex situations.
Fairouz // When it’s too complicated, I consult with Aymen and you, as our directors.
Bettina // What advice would you give to other young curators in the region who are interested in working with emerging forms of art?
Khadouja: Believe in yourself and in what you’re trying to build. Feeling uncertain or questioning yourself is normal, especially when exploring new or unconventional formats. But you’ll never know if it could work if you don’t take the risk. Don’t be afraid to propose something different, especially when you have the chance to experiment. Emerging art needs open-minded, curious curators willing to create space for new voices and practices. Your fresh perspective is your strength.
Fairouz // I’d say: don’t be afraid to start, even if you don’t know enough. Curating emerging art forms like media art or light art is not about being a technology expert; it’s about being curious, open, and ready to learn. Surround yourself with people who are generous with knowledge, ask questions, and experiment without fearing failure. Also, stay connected to your context. Think about how new art forms can speak to local stories, places, and people. Emerging art can sometimes feel far from daily life, but it’s a great way to create bridges between disciplines, between people, between realities. And finally, be kind to yourself. It’s okay to take time to find your curatorial voice. Mine is still evolving, and that’s the beautiful part.
ABOUT TUTORING
Bettina // You are contributing to the MOMENTUM CURATORIAL PROGRAM, which Aymen Gharbi and I are heading. We started in February 2025, training young Tunisians to develop expertise and key competencies in curatorial practices for public art projects. Can you describe your part?
Fairouz // I asked to participate because that was the missing part of my journey. The theoretical part, playing these two roles in the program, is difficult, but worth it.
Khadouja // Fairouz and I coordinate the program, but we also actively accompany the young curators throughout the entire process. What’s special is that we’re not just organizing; we’re also part of the learning journey, participating in the different modules and growing alongside the fellows. It’s a shared learning space where roles constantly shift between tutor and participant.
Bettina // In the MOMENTUM CURATORIAL PROGRAM, we ask the fellows to work on a research residency and an exhibition project as art mediators, community managers, and writers. What makes this curatorial program special?
Fairouz // What makes this program special, at least for me, is that fellows are in a very well-structured program with both theoretical and practical sides, and the practical fields are already there.
Khadouja // What’s unique is that we open the door to people who may not have any prior experience. Usually, to join a residency or curatorial project like this, you’d need to go through a selective application process and already have a portfolio. Here, we start from zero. They get to engage with every aspect of the practice (art mediation, hospitality, production, writing…). By the end, they have a well-rounded understanding of how a project works from the inside out.
Bettina // How does the tutoring experience impact your curatorial practice?
Khadouja // I’m involved in curating today because people like you and Aymen took the time to teach and support me. There’s a strong spirit of transmission in what we do. I carry that forward by trying to do the same, sharing what I know while still learning. It’s not about being an expert, it’s about growing together. I deeply believe in learning by doing, and this experience keeps reminding me that knowledge only becomes meaningful when it’s shared.
Fairouz // Tutoring has had a big impact on how I curate. When you’re supporting others, especially people just starting their journey, you’re constantly reminded to slow down, listen, and think about how to make things accessible and meaningful. It makes you more aware of the learning process, not just your own, but also the team’s and even the audience’s. It also pushes me to question and clarify my own choices. When someone asks why we chose a particular artwork or how something is done, it forces me to reflect deeper. That kind of dialogue strengthens the concept and the care behind the curatorial work. And honestly, there’s something really beautiful about growing together. Tutoring makes the process less about control and more about exchange which, for me, is at the heart of curating
WORKING IN TUNISIA
Bettina // In what ways do Tunisian cultural, social, or political dynamics inform your curatorial projects?
Khadouja // Tunisian dynamics are central to the way we curate. We work in a space shaped by post-revolutionary aspirations, social fragilities, and a complex cultural heritage. These realities inform what topics we choose and how we engage communities. For example, we’re constantly negotiating how to make public space accessible and meaningful and how to engage audiences that may not be familiar with contemporary art.
Fairouz // Tunisian realities shape my curatorial work every day. I think about how projects can address local questions, like identity, access to public space, or social tension. Even with experimental formats, I try to keep the work rooted in what’s happening around us. It’s about making space for people to relate, react, or reflect in their own way.
Bettina // What unique opportunities does the Tunisian context offer to media-art practitioners?
Khadouja // To be honest, it’s not easy to immediately see the opportunities because of how fragile the ecosystem still is. But at the same time, this fragility creates room for experimentation. Because the field is still taking shape, there’s a lot of freedom to test new formats, reach new audiences, and propose ideas that haven’t been done before. A kind of openness can be exciting if you’re willing to take risks.
Bettina // What does the media art scene look like in Tunisia today? How is it evolving?
Khadouja // It’s still young but growing very fast. A few years ago, media art was barely visible, but now we’re seeing more emerging artists experimenting with digital tools, coding, video, or sound installations. Most are self-taught or come from different fields like architecture, anthropology, and management; they bring that hybrid thinking into their work. The presence of platforms like INTERFERENCE Tunis or SEE DJERBA helped build some visibility and infrastructure. However, we still need more consistent opportunities for production, mentoring, and visibility locally and internationally.
Fairouz // Tunisia gives media-art practitioners real room to grow. The scene is still young, which means there’s space to experiment, take risks, and shape something new. Public space is often open for artistic use, and people are curious—even if they’re not used to media art, they’re open to exploring it. That mix of possibility, curiosity, and local stories makes it a great place to create and connect.
Bettina // How would you describe the current media-art ecosystem in Tunisia? What makes it unique or challenging?
Khadouja // It’s an ecosystem in progress. It is unique because artists often have to build their own tools, systems, and even audiences. There’s a DIY spirit, and that pushes creativity and resilience. But that also comes with challenges: limited access to equipment, lack of specialized spaces or labs, and fragmented institutional support. The educational system doesn’t prepare people for media art, so the learning happens through practice and informal networks. Still, there’s real potential here, especially if more bridges are built between the local and international scenes.
Bettina // How do you approach questions of representation, especially in terms of gender, geography, and access in your curatorial practice?
Khadouja // Representation is something we consciously work on, starting from the selection of artists. When curating, we use a diversity grid, asking ourselves: Who is being represented? Who is missing? We aim for gender balance, geographical diversity, and to include voices from different social backgrounds. Access is also about the public: we bring art to places where people don’t expect it, so it’s not limited to an elite audience. Inclusion has to happen at every level: not only who gets to exhibit, but who gets to experience the work.
Fairouz// It’s really about paying attention to who’s showing up and who might be left out. I try to create space for different voices, whether it’s around gender, where people come from, or how easy it is for them to take part. It’s not about ticking boxes, but more about being thoughtful and open, and always learning how to do better.
Bettina // What are the biggest obstacles you face as a media-art curator in Tunisia?
Fairouz // The most significant obstacles I face as a media-art curator in Tunisia are funding and resources. It’s always challenging to find enough financial or material support to develop and present projects as I envision.
Khadouja // … yes, yes, true, the biggest challenge is the lack of resources, especially funding. But that is not only a Tunisian issue, it’s global. But it’s more severe here because the infrastructure isn’t stable or well-supported by public institutions. Then there’s the bureaucratic complexity: working in public space can be unpredictable. While we’re lucky to have personal relationships with some of the decision-makers on a small scale, which makes certain things possible, it’s still limiting when you want to scale up or move to new cities. Despite these constraints, we try to work within the gaps and stay creative with what’s available.
Bettina // What are your hopes for the future of media art in Tunisia and the region?
Fairouz // I hope media art keeps opening up new doors here with more chances to try things out, meet new people, and share stories that matter.
Khadouja // We need a stronger support system for artists, curators, producers…. I’d love to see more labs, residency programs, co-learning spaces, and real investment in digital art education. But more than that, I hope we continue to develop a media art scene grounded in our realities, not just copying global trends. One that responds to our environment, tells our stories, and includes the communities around us.
MOVING BETWEEN CULTURES
Bettina // INTERFERENCE has been the first African and Arab Festival of Light. Is that meaningful for you?
Fairouz and Khadouja // SURE, we feel proud to belong to INTERFERENCE. We’re really proud to be part of something new and pioneering. Being the first festival of light in the Arab and African context means we’re shaping a space that didn’t exist before. It became a model deeply rooted in local realities, but it speaks to global discourses in media art. It shows that innovation doesn’t have to come from the center; it can emerge from places like Tunis and still resonate internationally.
Bettina // What unique challenges do you face as curators working with digital and media art in the Arab Cultures?
Khadouja // One of the main challenges is navigating a landscape where digital and media art are still emerging and often misunderstood. A lack of infrastructure and resources supports this kind of work. Sometimes, there’s also resistance or hesitation from institutions or audiences unfamiliar with these forms of expression. On top of that, dealing with censorship or bureaucratic barriers in some contexts can limit what we can show or do.
Fairouz //That’s very true. I would say that media art is still not considered art still for most of the people here; it’s just understandable to people, even for funders.
Bettina // What is the ecosystem for media art in the SWANA region? Is there good networking among institutions, independent spaces, and initiatives?
Khadouja // There are initiatives and the will to connect. For example, at ZAKHAM, we’re part of the ESP Program by El Mawred Al Thaqafi, which is focused on strengthening ties between institutions in the SWANA region, especially within the MENA context. It’s a valuable space for exchange and building long-term relationships. That said, I feel that historically a lot of the collaborations leaned toward European or Eastern contexts. Still, there’s a current shift to reconnect within the region, and that’s a promising and necessary direction.
Fairouz// Yes, our network in the SWANA region grew after we received our first funding from Culture Resources. It allowed us to join the ABBARA project, which brings together different art organizations from across the Arab world to collaborate. Next July, we’ll be hosting the final part of this project right here in Tunis, led by us at INTERFERENCE. It’s an exciting moment for the whole region!
Bettina // You were invited to contribute to European projects. Where did you go, and what were your experiences and observations?
Khadouja // We participated in the “Text Me” program in Leeuwarden, Netherlands, as a group of young curators from around the world. It was a writing residency that took place as part of the Young Masters exhibition, and for me, it was the first time I had experienced a media art festival outside of Tunisia. We were also selected for the LICHTROUTEN Festival in Lüdenscheid, Germany, through the Young Masters Curators Program, where we co-curated site-specific works in public urban space.
Both experiences gave me new perspectives on curatorial practices, especially in how things are organized and executed. In Europe, everything is very calculated and structured, which is quite different from what I’m used to. In Tunisia, I noticed that we tend to be more solution-oriented and flexible; we find ways to make things happen even in complex conditions.
It was also challenging in the beginning because I was in a completely new environment. You have to adapt really fast, find your bearings in record time to be effective. It also wasn’t the same dynamic as in Tunis; I didn’t have the same position, I wasn’t dealing with the same people, which was actually a good thing. It really felt like being part of a global project, where everyone brings their own input and represents his own culture.
Fairouz // I went to Germany twice to be part of the curatorial collectives at the GOLDSTUECKE and LICHTROUTEN light art projects. I also participated in the LUNA Festival in the Netherlands in the “Text me” program. It was a proud and valuable experience. What stood out most was how much more access there is to resources abroad, such as funding, technical support, and infrastructure, which are much easier to come by. Comparing that to our situation in Tunisia, it’s clear we’re working with far fewer resources, which can be challenging but also shapes how we uniquely approach our projects.
Bettina // Are there international collaborations or models that inspire you, or ones you’re wary of?
Fairouz // These experiences inspire me a lot. Whenever I return from an international project, I’m full of new knowledge and fresh ideas to bring into my work here.
Bettina // How did the international experiences compare with local initiatives?
Khadouja // What struck me most was the difference in structure and resources. In Europe, there’s often a stronger system behind the work (budgets, technical teams, clear timelines…). In Tunisia, we often work with much more limited means, forcing us to be creative and adaptable. I also noticed that local projects tend to be more intimate and grounded in daily realities. International projects taught me a lot about methodologies and planning, but local initiatives taught me how to be flexible, intuitive, and community-driven.
Fairouz // International experiences often come with more resources and established support systems, which makes organizing and presenting projects a bit smoother. On the other hand, local initiatives tend to be more resourceful and driven by passion, even if they face more challenges. Both have their values; International projects show me what’s possible with strong backing, while local work keeps me grounded and creative in finding solutions with what we have.
YOUR BACKGROUNDS
Bettina // How do you include your academic background in your curatorial practices?
Khadouja // My academic background is in geomatics and environmental sciences, and both fields have deeply influenced how I approach curating. Working with maps, spatial analysis, and ecological data shaped how I think about context (how a site is read, transformed, and how people interact with it). This directly translates into site-specific curatorial decisions, especially when working in public space. My scientific training also pushed me to be very research-oriented and sensitive to environmental urgencies, which is reflected in the themes I gravitate toward. I often bring this knowledge into the conceptual framing of projects or how we design workshops and mediation tools.
Bettina // Does the curatorial practice change how you conduct your studies?
Khadouja // Yes, I live two very different lives. The academic side is very scientific, focused on formulas, analysis, and strict methodologies. But curatorial practice introduced a whole other way of thinking and connecting. It made me realize that what I study isn’t just theoretical; it’s deeply linked to real-life issues, especially regarding the environment, climate, and how people live and move through space. My approach toward my studies has shifted. I’ve become more passionate, curious, and open to looking at things from multiple perspectives. I’m no longer just studying for the sake of knowledge; I’m studying because I see the relevance of this knowledge in the world and in the work we’re doing on the ground.
Bettina // What is next for you?
Khadouja // I like to plan everything, but sometimes life surprises you unexpectedly. I want to keep growing as a curator, always seeking new challenges, aiming higher, and exploring new horizons. I’ve become increasingly conscious of how big and diverse the world is, making me even more curious and driven. At the same time, I’m still very passionate about my academic studies, and I’m committed to continuing them. I want to find ways to make my scientific knowledge more practical and useful; something that can contribute to changing things on the ground, environmental issues, and how we engage with public space and society.