At present, Brahim is in residence at Lafayette Anticipations and Art Explora in Paris. She is also the recipient of the Pina Bausch Fellowship for 2025-2026 “so it’s a period for me of deep research and developing new bodies of work. In March, I will perform at the historic Monte Verita, and April open a installation in Venice.”

Brahim’s champion for the Wick is Chris Dercon, Managing Director of the Fondation Cartier, Paris. He said: “I often reference Sarah Brahim as ‘another Maya Deren’. Just like the late, exquisitely enigmatic Deren, Brahim is an experimental filmmaker, choreographer and poet, who creates works full of rituals and reveries. Brahim’s deep knowledge of the history of cinema, modern dance and contemporary literature greatly influences her work. The resulting cinematographic and photographic images, which often are the result of precise anthropological research and ambitious technical experimentations , are mesmerizingly poetic. The same goes for her deep interest in textiles. Looking at Brahim’s creations of fabrics is an offer to the viewer to remember the relationship between ‘text’ and ‘textile, and their common etymological root. Indeed, Brahim’s oeuvre, still images that become filmed projections and performances – and the other way around – is akin to a woven fabric, forming a tissue of ideas. Rarely have I come across a young visual artist so deeply concerned with the process and materiality involved inmaking. This ‘woven’ gesture we find in her performance and dance works speak of the same passion- in the words of Maya Deren, they make it possible ‘to move between dream like worlds without waking.”

Lucca Hue-Williams, Gallerist and founder of Albion Jeune, added that “I first encountered Sarah Brahim in Riyadh in 2021, during the inaugural Diriyah Biennale, and was struck by the quiet precision of her presence. Her work does not ask to be read loudly; it unfolds through duration, repetition, and attention. Informed by phenomenological thought, Brahim approaches the body as a living archive—one shaped by ritual, memory, and the experience of time as something felt rather than measured. I read her practice as a hybrid form, where performative phenomenology, dance, and land art converge. Movement becomes a method of knowing, and the landscape is not a backdrop but an active collaborator. Through sustained presence in place, her choreographic gestures inscribe the body into terrain, treating time as material—stretched, sedimented, and inhabited. In her films, the body becomes both compass and map, tracing forms of belonging and transformation that emerge through attunement rather than spectacle.”

“I feel curious and fascinated by elements coming together, performance and architecture, like Aldo Rossi’s theater of the world, or social sculptures like Francis Aly’s when faith moves mountains”, Brahim told The Wick, reflecting on where she finds herself in her practice currently. “I’ve been enjoying research on theatre architecture and the places which are designed for where body and space meet. I’ve been enjoying how garment and textile history intersect with performance and societal interpretations of the body, this year I’ve been making costumes and experimental garments for my works which has been a wonderful experience. I’m also looking a lot at dance history, archives and interviews, for new projects I would love to create with children.”

As for her biggest achievements to date, the 33 year old finds it difficult to quantify success, but concedes “I suppose the most meaningful to me was doing the show last September with Shirin [Neshat], it’s truly an honor to show work along side such a brilliant human and artist.” She says, referring to the duo exhibition in London held at Albion Jeune in September last year. “Speaking in dialogue together at the opening in London was one of the most important days to me because of who we both are and what we believe in.”

Professionally, “being a part of the Pina Bausch Fellowship 2025-2026 is an enormous honor. The cohort is wonderful, and my mentor in the program Irene Monti has been such a support in these months. I would also say the Nina von maltzan prize in performance at Watermill center and being there with Robert Wilson was life changing.”