In posing the question “Where Are We Now?” the Fifth Marrakech Biennale skipped over the perennially problematized terrain of geography and its discontents to concentrate instead on being in time. Rather than accepting the present as a fixed moment, the curator of the visual- and sound-arts program, Hicham Khalidi, brought together works that explore the experience of the contemporary as what philosopher Peter Osborne calls a “disjunctive unity of times.”

This clash of temporalities structures the narrative of Shezad Dawood’s Towards the Possible Film, 2014. A mix of HD and Super 16 transferred