The Gulf War of 1991 had a profound impact on Jananne Al-Ani's practice, leading to a series of multi-screen video installations such as A Loving Man, 1996–99 and 1001 Nights, 1998, which address the fallibility of memory, the power of testimony and the documentary tradition by bringing together intimate recollections of loss and trauma with official accounts of historic events.

Recently, her work has moved out of the studio and into the landscape, and she has filmed several projects in the Middle East. Al-Ani has had solo shows at the Beirut Art Center, Lebanon (2013); Freer Gallery of Art and Arthur M. Sackler Gallery, Washington, DC, USA (2012); Darat al Funun, Amman, Jordan (2010); and Art Now, Tate Britain, London (2005).

Group exhibitions include theBiennale of Sydney, Australia (2012); Arab Express, Mori Art Museum, Tokyo, Japan (2012); Topographies de la Guerre, Le Bal, Paris(2011) and Without Boundary: Seventeen Ways of Looking, Museum of Modern Art, New York (2006). She received the Abraaj Capital Art Prize in 2011.

This person was part of Sharjah Biennial 11