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≤∞∞∏Æ

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ÝK�?KW? òšd«zj �K?�D5?åÆ ðFL?q ŠU�O?UÎ �b?¹d…

«_Uœ1O?W «�b?Ë�OW? �KH?Mu?Ê �w —«Â «�K?t¨ ËŽL?KX?

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«*U(w? �w ðQ?ÝOf? Ë—ýW ŽL?q «_Ý²?uœ¹u?

«*H²?uÕ �ú?ÞHU?‰ �w «�I?b”Æ

łU„ Ðd?ÝJO?UÊ

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«�AU?—�W «��?UÐl? Ë«�¦U?�s Ë«�²?UÝlÆ

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«�HK?�DO?Mwå¨ �R?Ý�W √½D?u½Ou? ÐOd¹e? �w

√Ý³?U½O?U¨ ≤∞∞∂ª �F?d?÷ òÐö ��?U—å ≠ �M?U?½uÊ

Žd?» �FU?�dËÊ �s? «�Ad?‚ «_ËÝj¨ «�³?O?X

«�¦?IU?�w «�F?U*w? ≠ Ðd�5?¨ ≤∞∞≥ª �F?d÷ Žs? «�Hs?

«�HK?�D?OMw? «'b¹b �w? ÇU�O?d¹NU? ÐuÊ¨

Ëý²?u?&U— ¨ ËÐd?�5?¨ ≤∞∞≤Æ

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≤∞∞∞Æ

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«��²?OM?OU ¨ Ë«�²?w √Łd? √�JU?—¼U Ë√ŽLU?�NU? ÐAJq?

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ÐF?d÷ √ŽL?U�t? �w œÔË— Žd?÷ Ë�²U?Šn ŽU?*OW?

ŽKv? �bÈ ŽL?Kt H?MU?ÊÆ ðułb? √ŽLU�t? {Ls?

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«(b?¹Y ®MoMA©¨ Ë�²?×n? Çu?ÇMN?U. �w?

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—¹Mu? �u�O?U 0b—¹b?¨ Ë�²×?n ÐdýK?u½W �K?Hs?

«*F?U�d?®MACBA© Ð³d?ýKu?½W¨ Ë�²?×n?

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Ë±ππ∑© �w? UÝq? ÐQ*U?½O?UÆ Ë�b? ŠBq? �w?

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«�c¼³?w ðI?b¹d?«Î ù$U“Á «�HM?w �w? ��O?dðt «�H?MO?WÆ

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œ¹ö—ðO?t �w �R?Ý�W Ðu?Ý²OK?O²u? �w �D×?MW?

�b?1W �w? ÐOO?ö¨ Ë¼b?· ¼c?« «*Ad?ËŸ ¼u ò≈�N?U?Â

Ë≈Šb«À ðG?OO?d ��?RË‰ �w? «:²L?l Žs? Þd¹o?

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«�²F?UËÊ �l? �RÝ�?U Ë√�d?«œ �w √½×?U¡ ��?²K?HW

�s «�F?U�r?¨ —«ÝLW? òłGd«�O?U «�²?GOO?dåÆ

142-143 A h m a d M a l k i

ðId¹d �−MW «�²×JOr

«�²Q?�X 'M?W %JO?r ��?UÐIW? «�HM?UÊ «�AU?» �w

ý³?U◊ «�F?UÂ ≤∞∞∏ �K?ME?d �w? μ∏ �Ad?ËŽUÎ �M?OU?Î

�b�N?U �MU?½uÊ �K?�DO?MOu?Ê ý³U?» �s √½×U?¡

�K?�D?5 U?�W¨ Ë�s? «*N−?d √¹C?U?Î¨ Ë_Ë‰ �d… �s?

«'u?ôÊ «��u?—Í «;²q?Æ Ë�b �d?— «�K?−M?W

ðuÝO?l �U?zLW «�H?MU?½5 «*R¼K?5 �K?bšu‰ �w?

«*dŠK?W «�¦?U½OW? Ë«�MNU?zOW? �s «*�U?ÐIW?¨ �²Cr? «ŁMw?

ŽAd? �MU?½UÎ Ë�M?U½W? ÐbôÎ �s? ŽAd?… �Ij?Æ

Ë�b? {LX? ¼cÁ «�I?UzL?W ú? �s∫ √d?Â ŠK³?w

®«'u?ôÊ©¨ ËłUœ ÝK?LU?Ê ®Þu�J?d?Â©¨ ËłLO?q

œ—«žL?W? ®łM5?©¨ ËŠU?“Â Šd?» ®že?…©¨ Ëœ¹U?ô

�b?«Õ ŠK?³?w ®«'u?ôÊ©¨ Ë—½b?… �b?«Õ ®«'u?ôÊ©¨

ËÝö?�W «�B?Hb?Í ®«'u?ôÊ©¨ ËýcÈ «�B?Hb?Í

®«'u?ôÊ©¨ Ë�OU?Ê ýu?«ÐJW? ®—«Â «�K?t©¨ Ë�−?b? Ž³b?

«(L?Ob? ®—«Â «�K?t©¨ Ë¼U?½w? ŽLd?… ®«�I?b”©¨ ËË�U?¡

¹UÝ5? ®ÞLd?… «'KO?q©Æ

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ð²M?UË�N?U «_ŽLU?‰ «�HM?OW?¨ Ë�w ÝFO?NU? �²MU?Ë‰ Žbœ

�s «�I?CU?¹U «*FU?ýW «*²?MU?�CW Ë«*F?Ib?…¨ �s žOd?

√Ê ¹×?u‰ –�p? œËÊ ≈�JU?½OW? «½H²?UŠN?U ŽK?v ðQ?Ë¹ö

�²F?bœ…Æ ËðM?UË‰ q? �MUÊ Ë�M?U½W? �CU?¹U �d?ð³DW?

0−²?LFU?ðNr ËÐ�?³d«ðN?r «�A�?BOW?Æ ËłU¡ ¦O?d

�s? «_ŽLU?‰ ÞLu?ŠW �w? «_�JU?— «�²w? ðu?œ

«Ý²J?AU�N?U Ë�w Þd?«zo ðM?HOc?¼UÆ

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�u«{O?FNr? ÐDd?‚ ÐBd¹W? šö�WÆ

�Ib? �HX? «ô½²³U?Á «�JO?HOW? «�²w? �bÂ ÐNU? «�HM?U½u?Ê

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Jury members (from left) Jack Persekian, Esmail Nashif, Ibrahim Muzayen, MichelangeloPistoletto and Tina Sherwell in Hani Amra’s exhibition “Indiscretions”

ÂU?F?K� »UA�« ÊUMH�« WIÐU�� ZzU²½ sŽ ÊöŽù« qHŠ s�≤∞∞∏ ¨t?K?�« Â«dÐ W³BI�« pðULMOÝË Õd�� w� ≤¥ ‰Ë_« s¹dAð ≤∞∞∏

Announcing the winners at the prize giving ceremony at Al-Kasaba Theatre & Cinematheque in Ramallah, 24 October, 2008

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v?�Ë_« …e?zU?−?�« W?JÐ«uý ÊUO� ÊULK�¹ ¨W�ÝRLK� ÍcOHM²�« d¹bL�« ¨nKš œU¹“Ë ©—U�¹® u²OKO²ÝuÐ uK−½√ qJ¹U� ÊUMH�«

The artist Michelangelo Pistoletto (left) and Ziad Khalaf, the Executive Director of the Foundation, present Layan Shawabkeh with the first prize

t?K?�« Â«d?Ð W?³?BI�« pðULMOÝË Õd�� w� ZzU²M�« ÊöŽ≈ qHŠ ¡UMŁ√ ÊUOJÝdÐ „Uł l� ¨W¦�U¦�« …ezU−�UÐ …ezUH�« ¨ÍbHB�« Ècý

Shada Safadi, the winner of the third prize, with Jack Persekian during the prize giving ceremony at the Al-Kasaba Theatre & Cinematheque in Ramallah

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The opening of the Young Artist of the Year 2008 at the A. M. Qattan Foundation, Ramallah, 15 September, 2008

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126-127 A h m a d M a l k i

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124-125 A h m a d M a l k i

«�c?«ðOW?¨ Ë1JM?MU? √Ê $b šO?uÞU?Î 2UŁK?W �w? œ—«ÝW

«�N?u¹W? «�c«ðO?W �w? √ŽLU?‰ �MU?½5 �s? «'Oq? «�cÍ

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ËŠ²v? «��d?¹WÆ

¹AJ?p �u?�n √dÂ ŠK?³w? c�p 0�?Uzq?

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130-131 S h a d a S a f a d i

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128-129 S h a d a S a f a d i

Shada Safadi

1982 Born in Majdal Shams, Golan.

Education: Education: Education: Education: Education: 2001-2005 BA in Fine Arts

(Painting), Faculty of Fine Arts,

Damascus, Syria. 2002-2004 Certificate,

Engraving section, Adham Ismaeil

Institute, Damascus, Syria.

Selected Group Exhibitions:Selected Group Exhibitions:Selected Group Exhibitions:Selected Group Exhibitions:Selected Group Exhibitions:

2007 ‘From Golan’, Al Hallaj Gallery,

Ramallah. ‘From Golan’, The Virtual

Gallery, Birzeit University, Birzeit. ‘From

Golan’, Bethlehem Peace Center,

Bethlehem. 2006 ‘Youth Exhibition’,

Al Riwaq Art Gallery, Damascus, Syria.

‘Aleppo the Capital of Islamic Culture’,

Khangs Gallery, Aleppo, Syria. Exhibition

for graduates of the Fine Arts Faculty,

French Cultural Center, Damascus, Syria.

Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: 2006 Solo Exhibition at

Fateh Mudarris Center for Arts and

Culture, Majdal Shams, Golan.

Awards: Awards: Awards: Awards: Awards: 2006 Award of the ‘Youth

Exhibition’, Damascus, Syria. 2005 Award

of ‘Colours of Damascus’ workshops,

Damascus, Syria.

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In the Presence of the Crow, 2008,6 paintings, mixed media on canvas:p. 128: 171 x 100; p. 129: 196 x 139;p. 130: 150 x 150; p. 131: 294 x 296;p. 132: 152 x 180; p. 133: 150 x 150.Ramallah Municipality’s Old Building, Ramallah.

Shada Safadi

In the Presence of the Crow

The crow, who we are raised to see as a symbol of pessimism, becomes suddenly an

assumed friend, presented either alone in the space of the painting, or the two faces of

a crow and a human woven into one, or standing on a girl’s hand, but alienated from

each other by the space that separates them. And sometimes we see him standing on

the figures’ heads, superior to them like a king on a throne.

The relationship between the crow and the figures continues to stimulate my curiosity,

and I still ask the continuous question about the reasons for choosing this confusing

relation.

126-127 S h a d a S a f a d i

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124-125 A k r a m H a l a b i

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120-121 A k r a m H a l a b i

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118-119 A k r a m H a l a b i

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Akram Halabi

1981 Born in Majdal Shams, Golan

Education: Education: Education: Education: Education: 2008 BA student, Fine Arts

Academy, Vienna, Austria.

2001-2005 BA in Art, University of

Damascus, Syria. 1997-2000 Courses in

drawing and painting, House of Art,

Majdal Shams, Golan.

Work Experience: Work Experience: Work Experience: Work Experience: Work Experience: Member at Fateh

Mudarris Center of Arts and Culture,

Golan.


2007 ‘From Golan’, Al Hallaj Gallery,




Bethlehem. 2006 ‘Youth Exhibition’, Al

Riwaq Art Gallery, Damascus, Syria.

‘Aleppo the Capital of Islamic Culture’, Al

Khangs Gallery, Aleppo, Syria.

Graduation Exhibition, Al Mada

Publishing House Gallery, Damascus,

Syria.

Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: 2006 Untitled, Fateh

Mudarris Center of Arts and Culture,


Residencies: Residencies: Residencies: Residencies: Residencies: 2005 Workshop, ‘Damascus

Colours’, Mustafa Ali Gallery, Syria.

2003 Workshop at Darat Al Funun

(Khalid Shoman Foundation), Amman,

Jordan.

Awards: Awards: Awards: Awards: Awards: 2003-2005 Awards from Faculty

of Fine Arts, Damascus, Syria.

Faces from my Village, 2008, 8 paintings,acrylic on canvas (135 x 135 each) and artist’sbook (25 x 25).Al Mahattah Gallery, Ramallah.

Akram Halabi

Faces from my Village

Sectarianism is spreading in an area that has no sects. And now there are those who mix

religion and nationalism and who also ride their donkeys backwards. Seclusion and

isolation has made a whole community invent a myth to survive on, for the mere sake of

creating superstitious meanings rooted in memory alone, in total contradiction to our

living reality. This surrendering to the herd mentality has moulded comic characters that

became part of the area’s decorative furniture, their faces erased by strange materials

and turned into pots and pans. Faces that adore traditional poetry for macho

competitiveness alone, mixing religion and belonging and producing a base creation.

These faces have turned into cement puppets.

116-117 A k r a m H a l a b i

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114-115 H a z e m H a r b

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112-113 H a z e m H a r b

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110-111 H a z e m H a r b

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Hazem Harb

1980 Born in Gaza, currently studying

and living in Rome, Italy.

Education: Education: Education: Education: Education: 2007 Student at Istituto

Europeo di Design, Rome, Italy.


2007 ‘150 Artists’, Santa Maria della

Pieta, Rome, Italy. 2006 ‘Passages of

Time’, National Museum Luigi Pigorini,

Rome, Italy. ‘The Freedom and Life

Promise’, La Fleche, Mayet, Le Grand

Luce, Chartres, Chateau de Loire, France.

2005 ‘Colours of Hope, Ambassador

Hotel, Jerusalem. 2004 ‘Moi et l’autre’,

Egyptian Cultural Center, Paris, France.

2003 ‘The Dust of the Land’, Arts and

Crafts Village, Gaza.

Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: 2008 ‘Burned Bodies’,

La Citta Dell’altra Economia, Rome, Italy.

2007 ‘Made by War’, National Museum

Luigi Pigorini, Rome, Italy. ‘The Shadow

and the Shadow of the Other’, Horti

Lamiani Bettivo Gallery , Rome, Italy.

2006 ‘Life on a Line’, travelling

exhibition, Rome, Florence, Milan, Rimini,

Bologna and Salerno (Italy).

2005 ‘Improvisation Waves’, Al-Hallaj

Gallery, Ramallah. 2004 ‘Exit’, French

Cultural Center, Gaza.

Residencies: Residencies: Residencies: Residencies: Residencies: 2008 Darat Al Funun (Khalid

Shoman Foundation), Jordan. 2007 Stage

of visual art, Academy of Fine Arts,

Rome, Italy. 2004 Art residence for the

realisation of the project ‘EXIT’, Paris,

France. 2001 Darat Al Funun (Khalid

Shoman Foundation), Jordan.

Labyrinth, 2008, 34 etchings on linen ragpaper (25 x 25 each), mounted in Perspex.Al Mahattah Gallery, Ramallah.

Hazem Harb

Labyrinth

I try in my work to highlight the fragile human condition, and Palestinian daily life in

particular. The formlessness, absence of features and the mystery all signify the loss of

stability and the feeling of defeat.

In my recent works, I chose one element within each frame to emphasise the solitude,

and sometimes the obligatory exile, and the absence of any feature of stability.

108-109 H a z e m H a r b

∂≥≠∂≤W???J???Ð«u???ý ÊU??O??�

�OUÊ ýu?«ÐJW

�ÓI‡Úb?‡

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ËžOd �FdÒ�W �w ŠbËœ «(Oe «ù½�U½wÆ ðI×r «'�b �w «²AU· �R�r¨ ¹FOb «�HIb �Ot ðFd¹n –«ðt ô

ÐBHW «'�b «�MU�h Ëô ÐBHW «*HIuœ «�GUzVØ«:Nu‰¨ Ðq �w �ANb ¹Jd” �Fq «*u«łNW Ð5 «�Dd�5ª

q Ð×Cu—Á «�JU�q Ë«*dzw �w «üšdÆ

106-107 L a y a n S h a w a b k e h

WJÐ«uý ÊUO�WJÐ«uý ÊUO�WJÐ«uý ÊUO�WJÐ«uý ÊUO�WJÐ«uý ÊUO�

±π∏∂Æt?K?�« Â«— w?� gOFð ¨”bI�« bO�«u�

∫W?O?M?H�«Ë WOL¹œU_« WÝ«—b�« ∫W?O?M?H�«Ë WOL¹œU_« WÝ«—b�« ∫W?O?M?H�«Ë WOL¹œU_« WÝ«—b�« ∫W?O?M?H�«Ë WOL¹œU_« WÝ«—b�« ∫W?O?M?H�«Ë WOL¹œU_« WÝ«—b�«≤∞∞∑Êü«≠¨W³�UÞ

Æt?K?�« Â«— ¨Êu?MHK� WO�Ëb�« WOL¹œU_«

≤∞∞¥≠≤∞∞∑¨W?¹—U?L?FL�« WÝbMN�« r�� ¨W³�UÞ

ÆX?¹“d?OÐ ¨X¹“dOÐ WF�Uł

∫W?OŽULł ÷—UF� ∫W?OŽULł ÷—UF� ∫W?OŽULł ÷—UF� ∫W?OŽULł ÷—UF� ∫W?OŽULł ÷—UF�≤∞∞∏r?�«u?ŽË W¹œUŠ√ W�UIŁò

¹d?ð ¨åÈdš√Ò

Æs?O?B�« ¨Ëe½«uý qO½U≤∞∞∂w?� UL�ò

ÆX?¹“d?O?Ð ¨X¹“dOÐ WF�Uł ¨åÕËd�«≤∞∞μ UŠu�ò

ÆX?¹“d?OÐ ¨X¹“dOÐ WF�Uł ¨åv�Ë√

∫W?OM� ‘—ËË U�U�≈ ∫W?OM� ‘—ËË U�U�≈ ∫W?OM� ‘—ËË U�U�≈ ∫W?OM� ‘—ËË U�U�≈ ∫W?OM� ‘—ËË U�U�≈≤∞∞∏·U?O?� ÊUłdN�

ÆZ?¹Ëd?M�« ¨sðu�u� ¨ÊuMHK�≤∞∞∑W?ý—Ë ÂU²š

Æt?K?�« Â«— ¨Êu?M?HK� WO�Ëb�« WOL¹œU_« ¨lOÐd�«

�‡I‡b¨≤∞∞∏ ¨ ¥ �u?ŠU ¨ √d�Op ŽKv? �LU‘¨

’ ∂¥≠∂μ∫ Ðd“Œ ±π∞ x ±¥μª

’ ∂∂∫ ÝOb« že… ≤≥≥[∑ x ≤¥≥[πª

’ ∂∑∫ «Ý²Gd«‚ ±∂∞ x ±∂∞ª

’ ∂∏≠∂π∫ Ëôœ… ∏∞ x ∂∞ Æ


∂μ≠∂¥W???J???Ð«u???ý ÊU??O??�


∂∑≠∂∂W???J???Ð«u???ý ÊU??O??�


∂π≠∂∏W???J???Ð«u???ý ÊU??O??�


Layan Shawabkeh

1986 Born in Jerusalem, lives in

Ramallah.

Education: Education: Education: Education: Education: 2007 BA Student,

International Academy of Art Palestine,

Ramallah. 2004 BSc Student,

Architecture Department, Birzeit

University, Birzeit.

Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: 2008 ‘Monoculture

and Other Realities’, Guangzhou

Triennial, China. 2006 ‘Within the Spirit’,

Birzeit University, Birzeit.

2005 ‘First Paintings’, Birzeit University,

Birzeit.

Art Residencies and Workshops:Art Residencies and Workshops:Art Residencies and Workshops:Art Residencies and Workshops:Art Residencies and Workshops:

2008 LIAF Art Festival, Lofoten, Norway.

2007 Spring Encounter, International

Academy of Art- Palestine, Ramallah.

∑±≠∑∞W???J???Ð«u???ý ÊU??O??�

Loss, 2008, 4 paintings, acrylic on canvas:pp. 100-101: Birth, 60 x 80;p. 102: Absorption, 160 x 160;p. 103: Ladies of Gaza, 243.9 x 233.7;pp. 104-105: Barzakh, 145 x 190.Al Mahattah Gallery, Ramallah.


Layan Shawabkeh

Loss

While experiencing loss, new features evolve in the psychological and

physical spectrum, ambiguous and inhumane, imposing the body to go on

a painful journey in which loss is redefined, not as the absence of the lost

object or incompletion of the body but as the duality between those two

oppositions.

—½b… �b?«Õ

v?�œ Õd��

√�Aw ËQÊ ¹b «�GOV 9�p q ýw¡ Šu�wÆ ¼q �KX «�GOVø —0U¨ Ë�JMw ŽKv ŁIW ÐQÊ �FEr «_ýOU¡

Ë«_�d«œ Ë«_Šb«À ðÔ�OÒd Ë�IUÎ *U ¼u šU—Ã Þ³OF²NU¨ �Nc« √—È «_ýOU¡ Šu�w ��dŠUÎ �s «�b�v �AbËœ…

Ð×³U‰ ð²×Jr �w ÝOdË—ðNU¨ Ë√ŠOU½UÎ ðId— �BUzd¼U¨ Ëu½w √ŠUË‰ «�²×d— �s «�b�OW œ«šKw¨ √�bÂ ¼c«

«�FLq �w �×UË�W �²Bu¹d «�u«�lÆ

∑≥≠∑≤Õ«b?????� …b?????½—

96-97 R a n d a M d a h

Õ«b‡� …b‡½—Õ«b‡� …b‡½—Õ«b‡� …b‡½—Õ«b‡� …b‡½—Õ«b‡� …b‡½—

±π∏≥ÆÊôu?−?�« ¨fLý ‰b−� bO�«u�

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¨r?O?L?B²�«Ë ÊuMHK� qO¾K�²Ð WOL¹œU√ ¨dH×�«

Æ”b?I�«≤∞∞±≠≤∞∞μW?K?OLł ÊuM� ”u¹—u�UJÐ

ö?A?�œ ¨W?KOL−�« ÊuMH�« WOK ¨X×½ hB�ð

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¨åÊôu?−?�« s?�ò Æt?K�« Â«— ¨w�UI¦�« wMOUJ��« qOKš

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Ær?×?� X?OÐ ¨r×� XOÐ Âö��« ed� ¨åÊôu−�« s�ò


ö?A?�œ ¨Èb?L�« —«œ W�U� ¨åÊ«uMŽ öÐò ÆU¹—uÝ

ÆU?¹—uÝ≤∞∞μv?H?DB� W�U� ¨åoA�œ s� Ê«u�√ò

ÆU?¹—uÝ öA�œ ¨wKŽ

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∫e?z«u−�« ∫e?z«u−�« ∫e?z«u−�« ∫e?z«u−�« ∫e?z«u−�«≤∞∞¥≠≤∞∞μ‚u?H?²K� qÝU³�« …ezUł

ÆU?¹—u?Ý öA�œ ¨wÝ«—b�«

��dÕ œ�v¨ ≤∞∞∏¨ ðd?OV �²Fbœ «�Lu?«œ Ë«�²IMOU ª �uŠW

½U�d…¨ —¹e¹s Ë�O³dłö” ®≥∞∞ x ≤∞∞©¨ ≥ œ�v? �Ku½W¨

—¹e¹s Ë�O³d?łö”¨ ËŠ³U‰ ËšAV¨ �OUÝU? ��²KHWÆ


∑μ≠∑¥Õ«b?????� …b?????½—

94-95 R a n d a M d a h

∑∑≠∑∂Õ«b?????� …b?????½—

92-93 R a n d a M d a h

∑π≠∑∏Õ«b?????� …b?????½—

90-91 R a n d a M d a h

Randa Mdah


Education: Education: Education: Education: Education: 2001-2005 BA in Fine Arts

(Sculpture), Faculty of Fine Arts,

Damascus, Syria.

Selected Group Exhibitions: Selected Group Exhibitions: Selected Group Exhibitions: Selected Group Exhibitions: Selected Group Exhibitions: 2007 ‘From

Golan’, Khalil Sakakini Cultural Centre,




Bethlehem. 2006 ‘Youth Exhibition’, Al

Riwaq Art Gallery Damascus, Syria.

Exhibition, Dar Almada Art Gallery,

Damascus, Syria. 2005 ‘Colours from

Damascus’, Mustafa Ali Art Gallery,

Damascus, Syria.

Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: 2006 ‘Untitled’, Fateh

Mudarris Center for Arts and Culture,


Awards: Awards: Awards: Awards: Awards: 2007 Basel Award for

Excellence, University of Damascus, Syria.

Puppet Theatre, 2008, mixed mediainstallation: painted relief, resin and fiberglass(200 x 300); 3 painted figures, resin andfiberglass, ropes and wood (dimensionsvariable).Al Mahattah Gallery, Ramallah.

∏±≠∏∞Õ«b?????� …b?????½—

Randa Mdah

Puppet Theatre

I walk as if the hand of the unknown was holding all my surroundings. Did I say the

unknown?

Maybe, but I am confident that most objects, people and events are driven by a force

beyond their nature. I see my surroundings as a theatre of rod puppets, with tight ropes

controlling their movement at times and choosing their destiny at others. Trying to break

free from the puppet inside me, I present this work as an attempt to capture reality.

88-89 R a n d a M d a h

łUœ ÝKL?UÊ

U?½√ wLKŠ

¼MU„ √ŠöÂ ¦Od…¨ �Js «'LU‰ ÐU�F³u—Æ

�w ðKp «�K×EW �Ij ½Hu“Æ

łLU‰ «�Kt ÐU_—÷ ½×sì Ë«�KuÊÆ

�U √�FKt �Ij ¼u ≈ŽUœ… ðdOVÆÆÆ

q ýw¡ ¼MU„¨ √�UÂ «'LOl¨ Ë«'LOl ¹�²DOlÆ

Ë�Js �s ¹³b√ÆÆÆ

√½U? ¼MU?„¨ �w «��?LU? ÞU¹d?¨ Ðf �g? ýFu?— «�DO?d«Ê ÐU?�Hd?«⁄¨ ¼u ýF?u— «�u?łuœ ÐU?�HC?U¡ «�J?³O?d¨

ËU?Ê œ«1UÎ √�U?�w ÝD?` √ÐO?i ³?Od? ËË«Ýl? ô ¹M²?Nw?Æ

∏≥≠∏≤ÊU???L???K??Ý œU??ł

ÊULK‡Ý œU‡łÊULK‡Ý œU‡łÊULK‡Ý œU‡łÊULK‡Ý œU‡łÊULK‡Ý œU‡ł

±π∏≥¨f?¹—U?Ð w?� gOF¹Ë qLF¹ ¨ÂdJ�uÞ bO�«u�

ÆU�½d�

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Æf?KÐU½ ¨WOMÞu�«

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w?� ”—b?� Æt?K�« Â«— ¨ÊöŽù«Ë W¹UŽbK� Ãôu

r?O?K?F²K� d�Uð W�ÝR� ¨WOMH�« UÞUAM�«Ë ‘—u�«

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W?ŠU?�?�ò ÆÊUÐUO�« üOuÞ ¨©ôUł® wI¹d�ù«

Íd?O�UÇ ¨åWK²×�≤∑W?¹d?×?�« bŽËò ÆUO½UD¹dÐ ¨ÊbM� ¨

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≤∞∞¥W?O?L?¹œU√ l� ÊËUF²�UÐ sH�« Wý—Ë ÷dF�

Æt?K?�« Â«— ¨Ãö?×�« WŽU� ¨ÊuMHK� uKÝË√≤∞∞≥q?LŽ

W?O?�?½dH�« W½UMH�« l� qLŽ Wý—Ë sL{ w³Odð

w?�U?I?¦�« edL�« l� ÊËUF²�UÐ ¨©tO�uA½uÐ Í—U�®

Æf?K?ÐU?½ ¨WOMÞu�« ÕU−M�« WF�UłË w�½dH�«

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® Íd?O�UÇL’Art De VivreÆU?�?½d� ¨f¹—UÐ ¨©

≤∞∞∑¨f?¹—U?Ð ¨Êu?MH�« WM¹b� ¨åfLA�« œËbŠò

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¨q?O?K?��«Ë ¨…ežË ¨tK�« Â«—Ë ¨fKÐU½ ¨w�½dH�«

Æ”b?I?�«Ë ¨…d?�UM�«Ë≤∞∞μ® ¨ån�ò L.K.V¨©

ÆZ?¹ËdM�« ¨r¹U¼b½Ëdð

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ÆU?�?½d� ¨f¹—UÐ≤∞∞μ® Íd?O�UÇ L.K.V¨©

ÆZ?¹ËdM�« ¨r¹U¼b½Ëdð

ŠKLw √½U¨ ≤∞∞∏¨ ðd?OV �²Fbœ «�L?u«œ Ë«�²IMOU ª

Ë�uŠW ®≥∞∞ x ≤∞∞© �u«œ ��²KHW ŽKv �LU‘¨

Ë�uŠW ÐOCU¡ ®≤∞∞ x ±μ∞©¨ ËÝKLUÊ Šb¹b?¹UÊ¨

Ëœ�²d —Ýu�U ®≥∞ x ¥≤©Æ

�RÝ�W Ž³b? «�L×�s «�IDUÊ¨ —«Â «�Kt?Æ

86-87 J a d S a l m a n

∏μ≠∏¥ÊU???L???K??Ý œU??ł

84-85 J a d S a l m a n

∏∑≠∏∂ÊU???L???K??Ý œU??ł

82-83 J a d S a l m a n

Jad Salman

1983 Born in Tulkarem, lives and works

in Paris, France.

Education: Education: Education: Education: Education: 2008 MFA student, Paris,

France. 2001-2005 BA in Fine Arts, An

Najah University, Nablus.

Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: 2006 Asian-African

Exhibition (Jalaa), Tokyo, Japan.

‘Occupied Space’, Gallery 27, London,

UK. ‘Life and the Promise of Freedom’,

France. 2005 ‘Jifna Spring’, Open Day

Exhibition for the International Artists

Workshop, Jifna. Mural (102x500 cm),

project of Olympic Truce, Toronto, Italy.

2004 Workshop in cooperation with the

Oslo Academy of Fine Arts, Al Hallaj

Gallery, Ramallah. Installation art

exhibition, Workshop with the French

artist, Marie Bonchoulet, in cooperation

with the French Cultural Center and

An Najah University, Nablus.

Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: 2008 ‘Don Quichotte De

Palestine’, Gallery L’Art De Vivre, Paris

France. 2007 ‘Boarder of the Sun’, Cité

des Arts, Paris, France. 2006 Travelling

Exhibition in French Cultural Centres in

Nablus, Ramallah, Gaza, Hebron,

Nazareth and Jerusalem. 2005 ‘Stop’,

Lademoen Kunstnerverksteder (L.K.V),

Trondheim, Norway.

Residencies: Residencies: Residencies: Residencies: Residencies: 2007 Cité Internationale des

Arts, Paris, France. 2005 Lademoem

Knustnerverksteader Gallery, Trondheim,

Norway.

My Dream, 2008, mixed media installation:1 blank canvas (150 x 200), 1 painted canvas(200 x 300), sketch book of drawings (42 x 30),and 2 metal ladders.A.M. Qattan Foundation, Ramallah.

∏π≠∏∏ÊU???L???K??Ý œU??ł

Jad Salman

My Dream

There are many dreams, but the beauty is in the crossing

At that very moment, we only win!

We are the beauty of God on earth, and the colour.

What I do is just re-installation

Everything is there, in front of everybody, and everybody is able

But who will begin

I’m there, flying in the sky, but it doesn’t feel like flying in nothing, it’s a feeling of the

existence of the great space, there has always been a large white surface in front of me

that has no end.

80-81 J a d S a l m a n

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…d?�«c?�« s� U²�ô

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«ù–ô‰ ≠ «�³Mv «��dÞU½OW �KL�²uÞMU ≠ ô�²U «�Dd‚ÆÆÆ©¨ ŽKv œ—łW �s «�uŠAOW Ë«�I³`¨ Ð×OY ô

ð�L` �p √Ê ô ðd«¼U¨ √¹MLU ËłNX «�FbÝW &b¼U %²q łe¡«Î �s �CU¡ «�Bu—…¨ Ë≈–« Ë�HX ŽMb ðHBOq

�U ®�U ²V �¦öÎ ŽKv ô�²W© ðdÈ Ðu{uÕ On √Ê ðGOOd Ëłt «*JUÊ 1²b �O×q �×q �U ¼u �×Hu— �w

–«dðp «�A�BOW Ë«'LFOW ®�w «�Nu¹W© �s Š−d¨ Ëý−d¨ Ë√ÝLU¡ ËÆÆÆ

Ë�U ô ðIb— «ù�×U�U ŽKv «(Ku‰ �×Kt¨ ðbŽw «�²öt Ð²×d¹n «ôÝr √Ë ÐUÝ²³b«‰ Šd· Ð�u«ÁÆÆÆ

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78-79 S a l a m a S a f a d i

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πμ≠π¥Íb???H???B???�« W??�ö??Ý


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Salama Safadi


Education: Education: Education: Education: Education: 2007 Diploma in

Photography, Academy of Fine Arts,

Damascus, Syria.

Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: 2007 ‘From Golan’,

Al Hallaj Gallery, Ramallah. ‘From Golan’,

The Virtual Gallery, Birzeit University,

Birzeit. ‘From Golan’, Bethlehem Peace

Center, Bethlehem. 2005 ‘Oriental

Rhythm’, Fateh Al Mudarris Center for

Arts and Culture, Majdal Shams, Golan.

2004 Exhibition at the end of a workshop

with the German photographer Prof.

Strauss, and the artist Melanie Wiora;

Academy of Fine Arts Hall, Damascus,

Syria. 2003 Exhibition at the end of a

workshop with American journalist

Tomas Kern, Sheraton Hotel, Damascus,

Syria.

Signs from Memory, 2008, mixed mediainstallation: 6 wooden display cases(110 x 60 x 90) with 6 black and whitephotographs printed on canvas (55 x 40) andtexts in English and Arabic from the Bible.Exhibited in the International Academy of Art –Palestine, Al Bireh.

Two photographs (314 x 240) printed on PVC,displayed in public spaces (Birzeit Universityjunction and Ash Shabab Square, Ramallah).

ππ≠π∏Íb???H???B???�« W??�ö??Ý

Salama Safadi

Signs from Memory

The face of the place carries its story. An examining eye can read what was there,

despite all the interruptions that try to withhold one narrative and impose another,

because these interruptions and impositions (the wall, the humiliating checkpoints, the

cancerous settlements, the road signs, the banners, etc) that the Hebrew State has

enforced have been too brutal and ugly to miss seeing them. Wherever you direct the

lens of the camera, they will occupy part of the frame. If you stopped by a detail (like

what is written on a road sign), you will clearly see how the place has been manipulated,

and something new has been made to replace what was engraved on stones and trees,

names… in your personal and collective memory.

What has failed to be owned through such impositions can be owned through

manipulating words and playing with letters. After being manipulated, the place in

Palestine is not able any more to give you the image-identity that you are looking for.

You, the son of this place, a stranger, lost in front of these imposed signs and banners.

These signs become a cross, where the memory-image-identity-history is crucified. You

see the Palestinian-Jesus clearly crucified on the sign/banner. Jesus passed through here.

Jesus is part of your memory and the memory of the place. But you can’t help seeing

him crucified on the sign.


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68-69 D i a l a M d a h H a l a b i

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Diala Mdah Halabi


Education: Education: Education: Education: Education: 2004 BA in Photography,

Applied Arts Institute, Damascus, Syria.

Work Experience: Work Experience: Work Experience: Work Experience: Work Experience: Trainer in Photography,

Fateh Mudarris Center for Arts and

Culture, Golan. Member of International

Federation of Photographic Art (FIAP).

Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: 2007 ‘From Golan’,

Khalil Sakakini Cultural Centre, Ramallah.

‘From Golan’, The Virtual Gallery, Birzeit

University, Birzeit. ‘From Golan’,

Bethlehem Peace Center, Bethlehem.

2005 ‘Oriental Rhythm’, Fateh Mudarris

Center for Arts and Culture, Golan.

2004 The National Journalistic Photo,

Amsterdam, Netherlands. ‘Love’,

photography exhibition, Adana, Turkey.

Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: 2004 Exhibition in Fateh

Mudarris Center for Arts and Culture,

Golan. ‘Photography Days’, French

Cultural Center, Damascus, Syria.

2003 ‘Alsha’ab’, Fine Arts Association,

Damascus, Syria.

Existence, 2008, 15 digital photographs onpaper mounted on PVC, dimensions variable.Khalil Sakakini Cultural Centre, Ramallah.

Diala Mdah Halabi

Existence

Darkness and light, hot and cold, movement and stillness: contradictions which

sometimes overlap smoothly and sometimes violently, and always to form the body of a

woman. There are no defined features or outlines to the body. It is born from darkness

and ends in light, and vice versa. Between birth and death speaks the story of the body

– the story of existence.


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60-61 J a m i l D a r a g h m e h

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Jamil Daraghmeh

1982 Born in Jenin, works and lives in

Ramallah.

Education: Education: Education: Education: Education: 2007 Graphic

Communication, La Cambre - École

Nationale Superieure des Arts Visuels,

Brussels, Belgium. 2005 BA in Media

Studies, Birzeit University, Birzeit.

Work Experience: Work Experience: Work Experience: Work Experience: Work Experience: Working as a

photographer with different

organisations. Media and Web Manager,

Virtual Gallery, Birzeit university, Birzeit.

Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: 2007 ‘Stage of Life’,

Riwaq Biennial, Khalil Sakakini Cultural

Centre, Ramallah. Birzeit Heritage

Festival, Birzeit Old Town, Birzeit.

2004 ‘BAIDAR’ Culture Festival, Birzeit

University, Birzeit. 2003 ‘After the Wall’,

The Foyer, University of Brighton, UK.

‘After the Wall’, Right to Education

Project, Sharjah University, UAE.

Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: 2007 ‘Stage of Life’,

Ethnographic and Art Museum, Birzeit

University, Birzeit. ‘A Seascape’, A.M.

Qattan Foundation, Ramallah.

2005 ‘Memory’, Birzeit University, Birzeit.

2004 ‘Lights & Shadows’, Birzeit

University, Birzeit.

Residencies: Residencies: Residencies: Residencies: Residencies: 2007 Project MASARAT,

Communauté Française de Belgique,

Brussels, Belgium.

A State of Seige, 2008, mixed mediainstallation with photographs and mirrors(7 photographs mounted on foamcore, 40 x 60;1000 photographs hanging on threads, 6 x 9;3 mirrors, 40 x 60).Al Mahattah Gallery, Ramallah.

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Jamil Daraghmeh

A State of Siege

The inside siege, or the wall of fear and denial of all that is open, grows and grows in

the hearts, so that the concept of absent freedom becomes a distorted understanding,

leading to the creation of barriers deeper and more damaging than those that we cross

in our daily places to study or work.

Closure and siege have sons, whom we are, as if it had married our place to bring us

forth, and therefore we hold its genetic characteristics, and despite all our efforts to

change through cosmetic surgery, the genes of the place remain in us.


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52-53 H a n i A m r a

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48-49 H a n i A m r a

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46-47 H a n i A m r a

Hani Amra

1981 Born in Martinique, lives in

Jerusalem.

Education: Education: Education: Education: Education: 2006 MA in Arabic Literature

and Civilisation, Sorbonne, France.

2002 BA in Fine Arts, Aix en Provence

University, France.

Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: 2006 ‘Young Artists

from Palestine’, Algerian Cultural Center,

Paris, France.

Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: Solo Exhibitions: 2007 ‘Talammusat’,

Hammam al-Ayn, East Jerusalem.

1999 ‘Untitled’, French Cultural Center,

Ramallah and Jerusalem. 1998 ‘Untitled’,

French Cultural Center, Ramallah.

Residencies: 2009 UNIDEE in Residence

International Programme, Cittadellarte,

Fondazione Pistoletto, Biella, Italy.

Indiscretions, 2008, 20 photographs in fiveseries mounted on foamcore (58 x 205 each),30 x 40 each photograph.Al Mahattah Gallery, Ramallah.

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Hani Amra

Indiscretions

Each of these images constitutes a personal statement. With the light of Jerusalem, I am

trying to describe identity crises within my society. Each series works as an emotional

map of my concerns: decadence, servitude, censorship…

44-45 H a n i A m r a

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Majd Abdel Hamid

1988 Born in Damascus, lives in

Ramallah.

Education: Education: Education: Education: Education: 2007 Student, International

Academy of Art-Palestine, Ramallah.

Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: 2008 ‘Monoculture

and Other Realities’, Guangzhou

Triennial, China. 2007 ‘Dawlet El-Sit

Aneeseh’, Birzeit University, Birzeit.

Art Residencies and Workshops:Art Residencies and Workshops:Art Residencies and Workshops:Art Residencies and Workshops:Art Residencies and Workshops:

2009 Artist-in-Residence, Cité des Arts,

Paris, France. 2008 LIAF Art Festival,

Lofoten, Norway. 2007 Spring Encounter,

International Academy of Art-Palestine,

Ramallah.

Awards: Awards: Awards: Awards: Awards: 2004 Young Artist Award,

Palestinian Ministry of Culture, Ramallah.

Untitled, 2008, mixed media installation withvideo and soundtrack (13 min. loop), plasticinechess board (64 x 64 x 3), 64 wooden chesspawns (8 x 4 each), 1 table (h: 75, dia: 100) and2 stands (45 x 40 x 40).Al Mahattah Gallery, Ramallah.

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Majd Abdel Hamid

Untitled

This project questions the blatant processes in our lives whose aim is to programme

human beings to make them more efficient, less ‘troublesome’, and somehow less

human; the most distinctive illustration of which is soldiering and militarisation. Through

training, the individual – who then becomes a recruit – undergoes a metamorphosis that

turns ‘him’ into a mechanical system that is submissive to the commander, even against

‘his’ own ethical principles. Such ethical principles are suspended in order to be fully

submissive, and the concepts of free will and freedom of choice become ever more

dispensable. What is at stake here isn’t just the lives of other people, but depriving this

individual of ‘his’ inherent right to think and question.

The process of producing mechanical beings or ‘soldiers’ is a game of positioning and

embedding them wherever is considered a stronghold in order to fight the ‘enemy’ or

the opponent, who is being defined and redefined constantly and solely by the

commander.


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34-35 W a f a a Y a s i n

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Wafaa Yasin

1980 Born in Tamra, Galilee.

Education: Education: Education: Education: Education: 2008 MFA student, California

College of the Arts, San Francisco, USA.

2001-2005 BFA in Art and Design,

Bezalel Academy for Art and Design,

Jerusalem. 2004-2005 Exchange student

at Staatliche Akademie der Bildenden

Kunste, Stuttgart, Germany.

Work Experience: Work Experience: Work Experience: Work Experience: Work Experience: 2006-2007 Workshops

Coordinator and Director, Palestinian Art

Court - Al Hoash, Jerusalem.

2005-2006 Workshop Coordinator, Al

Mamal Foundation for Contemporary

Arts, Jerusalem. Art Therapist and

Counsellor for Women, Hostel Shu’fat,

Shu’fat Refugee Camp, Jerusalem.

Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: Group Exhibitions: 2007 ‘Stomach Pain’,

Installation & Photographs, Cittadellarte,


‘Neighbors in Dialogue’, Workshop and

Exhibition, Istanbul,Turkey. 2006 ‘Ice and

Salt’ and ‘Worm Way’, Young Artist of

the Year 2006, Ramallah. ‘dis/PLACE/ed’,

Art Workshop, Palestinian Art Court - Al

Hoash, Jerusalem. Arabic Culture Festival,

Beit Al Karma Gallery, Haifa. 2005 ‘Black

Coffee’, digital colour print installed on

the exterior façade of a building in Wadi

Nisnas, Haifa. Graduation Exhibition,


Jerusalem. 2004 ‘Christmas in Palestine’,

outdoor installation, Stuttgart, Germany.

Residencies: Residencies: Residencies: Residencies: Residencies: 2007 UNIDEE, Cittadellarte,


Awards: Awards: Awards: Awards: Awards: 2004-2005 Honor Award,


Jerusalem.

Stomach Pain, 2008, mixed media installationwith video (15 min. loop) and photographs,dimensions variable.A. M. Qattan Foundation, Ramallah.

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Wafaa Yasin

Stomach Pain

The inside, the outside

The hidden, the shown

The protection from publicity …

Settled deeply in her memories, her behaviour and her self portrait…

I have stomach pain … mom

I had the chance to work in a very unique place where many of society’s secrets and

issues are revealed. I worked as an art therapist and counsellor at an institution for girls

in crisis. I met girls who have been faced with every kind of trouble and harrassment,

which led them to leave their families and home environments and take refuge in the

institution.


≠±¥¥±≤±s????O???ÝU???¹ ¡U???Ë

Wafaa YasinStomach Pain

Majd Abdel HamidUntitled

Hani AmraIndiscretions

Jamil DaraghmehA State of Siege

Diala Mdah HalabiExistence

Salama SafadiSigns from Memory

Jad SalmanMy Dream

Randa MdahPuppet Theatre

Layan ShawabkehLoss

Hazem HarbLabyrinth

Akram HalabiFaces from my Village

Shada SafadiIn the Presence of the Crow

26

36

44

54

62

70

80

88

98

108

116

126

32-33 C a t a l o g u e

24-25

position is emptied of meaning. Thesoundtrack that accompanies the installationhighlights the artist’s investigation ofregimes of the body as found in thedisciplining of soldiers upon which the pieceis based. The extract from the soundtrack ofStanley Kubrick’s film Full Metal Jacketreveals the brutal processes of indoctrinationand submission to the ruling order, in whichthe rifle becomes a fetishised object and aninseparable part of male identity. The artistchose this extract which reflects upon thedependency and valorisation of the object(the gun) to show how ‘subjects’ becomemanufactured and conditioned, the mostextreme case of which is in the army wheresoldiers lose their individuality. The workquestions militarisation and the validation ofviolence which has not only occurred inIsrael but is underway across the globe in theera of ‘security’.

Salama Safadi, like Majd Abdel Hamid,chooses to engage with a critique ofdominant representations in his work. ForHamid, it is the representation and conceptof the soldier, while for Safadi it is thefigure of Christ. Both constitute iconicfigures in the imagery of the Holy Land.Historically Palestine has played animportant role in providing validation andauthenticity to the Bible and to the life ofChrist, which in turn has given the territorya sanctified position. Images of the HolyLand were fashioned in the travel literatureand Orientalist paintings of the late 18thand 19th centuries in which Palestine wascommonly imaged as having remainedunchanged since the time of Christ. Thisimaging of Palestine through a biblical lenshas impacted on the contemporary touristimagination, where expectations of abiblical safari are often unfulfilled on arrivalinto Israel, and it is this complexity that isone of the strongest elements in SalamahSafadi’s work. Christ is imaged on the

Arabic, Hebrew and English road signs. Thebanality of these signs and the indistinctivejunctions conceal the historical importanceof each ‘named’ location that is gesturedto. The texts reveal the historical andreligious inscriptions in the landscape. Thesigns in three languages belie the presentlandscape in which Palestinian history hasbeen systematically erased into theunrecognisable: “after being manipulated,the place in Palestine is not able to give youthe image identity that you are looking for.You, the son of this place, a stranger, lostin front of these imposed signs andbanners”. Safadi points to the experienceof alienation, in which the space of homebecomes an unknown terrain.

It is evident that from the different worksin this exhibition that the participants areengaged with the question of theexperience of identity and location and itsembodiment. They explore these issues frompersonal perspectives and from theirobservations of and research into theirsociety, its transformation and theirrelationship to it. The result is an array ofworks that address the contemporaryexperience of Palestinians today in its manyfacets, from the icons of the soldier and thefigure of Christ, to internal violence in thehome, freedom of movement, fantasy andthe experience of exile. Issues of alienation,loss and estrangement abound and manifestthemselves in painting, photography,installation and sculpture. It is notable in allthe artists’ works that they are able toaddress such issues with visual eloquenceand to engage viewers with their subject ofresearch and with issues that are pertinentnot only to a Palestinian audience but whichbear relevance and affinity to conditions inthe post-modern world of today.

* John Berger, “A Place Weeping”, Irish Times, 10thJan, 2009.

Flights of Fantasy and Regimesof the Body

From a very different starting point, JadSalman explores the question ofpotentiality, the space of the canvas asplace of imagining and a site of freedom –an ‘open space’. As he says, “there hasalways been a large white surface in frontof me that doesn’t end”. The white canvasholds infinite possibilities and imaginings,spaces of fantasy and escapism that are notconfined by the realities of everyday life.Alongside the canvases and sketchbook, hisinstallation takes us up a ladder to the roofof the Foundation from which we areinvited to view the horizon of Ramallah.This gesture is important in relation to thereality of confinement that is experiencedby inhabitants of the West Bank and theGaza Strip for whom the pleasure of theview is often denied. For as the spaces weinhabit become densely populated withbuildings, and as the landscape is criss-crossed with checkpoints and the partitionwall, the potential to look upon open vistashas been erased. His large canvas evokesthe pleasure of this experience with vibrantlines and colourful palette. This notion of afantasy space and the freedom of flight is amotif that has been explored by otherPalestinian artists and perhaps mostsignificantly by the late Hassan Houraniafter whom the award is named. Heexplored the dream of flight in his series ofpaintings and drawings, ‘HassanEverywhere’, where we see him flying overcities such as Hebron and New York, overseas and lands of the past and the present,embodying the desire for freedom.

In Diala Mdah Halabi’s photographicseries Existence the artist’s project was todocument body movements that expresslife and death through a veil of light andcolour in which the form of the body is

captured in gestures and silhouettes. Theoutcome revealed a series of photographsthat echo a colourful dance. Her intentionwas to show the journey from darkness tolight and from birth to death; in fact whatshe has created is a lyrical representation ofthe female subject in spontaneous dance.The female figure is captured in a series ofexpressive poses in which Halabi employsthe female form to explore differentemotions and feelings in relation to heridentity. In some works the mood ismelancholic, in others it is pensive. But it isevident that through the form of thesilhouette, she attempts to describe a seriesof states of being, a common current wecan see running through the work of manyof these young artists. Both Salman andHalabi seek to open up spaces ofpotentiality – in Salman’s case via the spaceof the white canvas, and in Halabi’s workthrough the body and the veil of fabric.

Majd Abdel Hamid’s video installationstands in sharp contrast to the previousworks as it explores the regimentation of thebody and the dehumanisation of the malesubject. In both Hamid’s and Salama Safadi’sworks, the representation of male identity inthe grand narratives of ‘religion’ and ‘nation’are interrogated. In Hamid’s installation wesee the artist playing chess with himself,although the game is not chess as we knowit but rather consists of a board with only thepawns, the lowest common denominator inthe game and the most expendable pieces.The ‘pawn’ is often used as a term thatrefers to a position that lacks agency and isused in strategies of warfare to achieveparticular aims. Chess is a game of strategy;however in this scenario the ‘actor’ isengaged in repetitive movements, movingback and forth in a ritual of banality, playinga game against himself in which moves arenot calculated but repeated. The object ofthe game has been eliminated as the player’s

E m b o d i e d C a r t o g r a p h i e s / T i n a S h e r w e l l22-23

him, he captures in his work theincongruities and the serendipity of theeveryday, whether it is snow on theground, the streets in the old city, light onthe landscape, or a piece of newspaper.His attention is often drawn to the passageof light that is traced on the space of thecity. Through these photographs heattempts to reveal an identity in crisis, anidentity rooted in place but in a city that isslowly being partitioned and vacated. Hisseries manifest scenarios that are made upfrom collections and sequences of images.Some of the most revealing images arethose that explore his male identity inwhich gestures and moments ofcontemplation are imaged; images that,next to the everyday images of the city,reveal an intimate and intense relationshipwith it. What is characteristic of a newgeneration of male artists is thisexploration of self-identity, a line ofenquiry also found in the works of artistsfrom the earlier generation such as KhalilRabah, Tayseer Batniji and Sharif Waked.Artists have moved away from images ofmachismo and heroism towards a moreintimate exploration of their individualidentity in which vulnerability, uncertaintyand even sarcasm are prevalent.

Akram Halabi’s position also questionsthe politics of machismo and nationalismby visualising the implications of factionalrhetoric in which individuals lose theiridentity by succumbing to popularideologies and myths. He suggests, “Andnow there are those who mix religion andnationalism and who also ride theirdonkeys backwards! Seclusion andisolation has made a whole communityinvent a myth to survive on… [f]aces thatadore traditional poetry for machocompetitiveness”… His writing andpaintings describe a state of unfamiliarityand alienation in which the ‘faces of his

village’ are featureless having been erasedof all individuality. The disintegration ofthe community has left the individualsunknown to him; they are transformed bydoctrines, by superstition which hedescribes through blots in a book whereeach blot is the starting point for aportrait. His painting style means that eachcanvas becomes a void in itself as we gazeat the featureless faces. Halabi possesses astrong engagement with the compositionalform of the painting and through limitinghimself to a monochromatic palette is ableto investigate the potential of the form ofthe abstract portrait, reflecting on the lossof identity.

Hazem Harb’s series of ephemeral linearetchings explore the state of exile in whicha frenetic absence of stability creates alabyrinth of fragile spaces that explodefrom the space of the drawings. Theconstant instability is reflected in thegravity of the lines, which circulate in hispieces suggesting a coma-like state, whereforms are no longer recognisable. Harbspeaks of “obligatory exile” and the forcedseparation from his home in Gaza thatleads to states of solitude. He shares withDaraghmeh and Shada Safadi a reflectionon loneliness and separation. The series ofworks takes on a diary form as he reflectson what he describes as a ‘feeling ofdefeat’. Figures are barely discerned andeverything unravels, transformingeverything into line while the intensity ofuncertainty weaves a cocoon around theforms in the drawings. A sense of a stateof instability permeates the work as Harbexplores a position of isolation andseparation, outside the boundaries ofGaza. The exilic state in Daraghmeh, Safadiand Harb’s work is not an idyllic andprivileged space but rather is fragile,melancholic and uncertain.

become the target, then Mdah’s workproposes what our new genetic make upwill look like.

Liminal SpacesSeveral of the artists in the exhibitionexplore the internalisation of theexperience of isolation, confinement andsegregation that they have experienced –both within the ‘homeland’ and beyond itsborders. The starting point for ShadaSafadi’s work came from her experiencesof studying in Syria. Away from thefamiliar spaces of family and friends, herattention was drawn to the crows she sawin the city, who in popular superstition andfolklore are seen as the representation ofpessimism. Taking these mythologies as animpetus for the work, she has created aseries of haunting paintings thatcontinually draw the viewer to re-examinetheir imagery. In her isolation, the femalesubject of the paintings is drawn to thebird, which is both menacing and fearfullyattractive and dominating. Via her intimateexamination of the unconventionalrelationship between human and bird, theartist is able to speak to us on many levels.The paintings weave numerous narratives:on occasion the crow appears life size, acompanion; in others it dominates thepainting. In another it as though the crowis injured and is being tended to by femalefigures. What is evident, however, is thevitality of the bird and the power itembodies, in comparison to the femalefigures who bear the scars of time that areworn and etched into their bodies and thesurface of their skin through vigorous andbold brush strokes. Bodies that closelymirror the unsettled interior state ofagitation and nervousness, figures whosuggest that there is little comfort inloneliness but that friendship can be foundunder the wings of the crow who takes on

a human temperament.Jamil Daraghmeh also addresses issues

of isolation derived from his experiences ofjourneys abroad. He explores theinternalisation of experiences underoccupation that Palestinians carry withthem when they depart from the territoriesand which inscribe themselves on thepsyche. With his installation, he speaks ofentrapment and the paradoxes ofconfinement via the plethora of imagesthat we are confronted with when we findourselves alone with our memories.Daraghmeh creates a confined space,recalling a shop window or a smallenclosure. Multiple images and reflectionsabound as he attempts to visualise aninternal siege. The continual experience ofconfinement, in which escapism comesfrom the screen and images, inevitably hasits consequences. Many forget thatPalestinians cannot travel the distances youcan in other countries, say betweenLondon and Birmingham, without needingto have the right paperwork and beingstopped at numerous check points.Freedom of movement is a luxury as forthose who do not hold foreign passports avisa permit is needed for just about everycountry one would hope to travel to. Thisconfinement internally contours theindividual, for whom ‘normalcy’ isdisturbing and disconcerting. It is a difficultencounter when Palestinians travel abroadfor one initially feels at odds with theworld having adapted to checkpoints andthe shrinking parameters in which one ispermitted to move. It is the consequencesof this internalisation and the inhibitions itfosters within the individual thatDaraghmeh attempts to visualise in hiswork.

Hani Amra also explores the liminalspaces of existence in the occupied city ofJerusalem. Reflecting the world around


aggressor, which is further illustratedthrough the defacing of her eyebrows. Thesense of isolation is apparent throughoutthe video as we hear the children in theplayground but we watch her alone.Similarly, the absence of family is apparent,the only representation of her mother isthe noise of the kitchen, highlighting herpassivity and lack of agency that alsoserves to emphasise the distance betweengenerations and the rupture within thespace of the home. The young girl tries todiscuss the unspeakable with her motherby saying she has a stomach ache, butthere is no response. It is often the casethat women use other expressions ofailments to describe or suggest bodilyexperiences or pain as a form of codedlanguage between each other, particularlyin religious and conservative societies,while at the same time ‘stomach pain’ canbe understood as a cry for attention.

In both works by Yasin and Shawabkeh,the body has been deformed anddisfigured by experience. Yasin’s revealsthe manifestations of violence on the selfand the psyche underlined through ritualsof repetition, while Shawabkeh’s visualiseshow trauma and loss distort the femaleform which becomes a mass ofdisconnected limbs, breasts, voids andorifices writhing in agony. This sense ofagony and helplessness is poignantly andeloquently articulated in the works ofRanda Mdah; although here it is not onlythe female form that has been violated.The powerlessness of the individual is alltoo apparent; the ravages and raves ofpower have sculpted these monumentalforms, which lie helpless on the floor,appearing as witnesses of an event andsurvivors of catastrophe. Alive but strippedof their agency, they hold on to lifealthough their body form has been wornout and destroyed. The figures are forced

to the ground in humiliation, hung intorturous poses, misery is carved into theirface as though burnt with acids of war.Frozen tears and silent screams inhabitthese bodies, the scars of which are etchedon to the body. These are eyes that haveseen too much, humanity that has beendragged through the desert of humiliation.It is as though a thousand silent screamshave been torn from this body, leavingbehind nothing but a heavy weight, leadenbodies, skin the colour of cement, bodiesthat have witnessed an apocalypse. AsJohn Berger wrote about this work, “Icould walk between the impotentspectators of the bas-relief and thesprawling victims on the ground. But Idon’t. There is a power in this work suchas I have seen in no other. It has claimedthe ground on which it is standing. It hasmade the killing field between the aghastspectators and the agonising victimssacred. It has changed the floor of aparking lot into something landswept.Thiswork prophesied the Gaza Strip.”*

In the conflict with Israel the Palestinianbody became one of the spaces ofresistance and agency; Palestinians haveused their body in demonstrations, in theintifada, as a space for artistic and culturalexpression, as a space of representation.As a result it has been progressivelytargeted, both individually and collectively.The bodies of Palestinians are monitoredand codified for discrimination purposes,movement is inhibited through theregulations of ID cards and visas,preventing access; the Palestinian body hasbecome a suspect, a space that arousessuspicion, in which acts of humiliation areenacted on the collective body in fear of‘terrorists’ and in the name of ‘security’,thereby inhibiting the practice of everydaylife in its ordinary and mundane detail. Ifwe concur that the Palestinian body has

beauty has vacated them. The womenhave lost their individuality and arereduced to skeleton structures as misery,sorrow and torment engulf the work.

Shawabkeh’s paintings explore thepresence of absence within the femaleform via representations of the experienceof loss which transforms the body.However it is not only ‘loss’ as experiencedwith the disappearance of someone orsomething held dear but the potentialityof loss, the loss of ‘never having’ asimaged in the void of the womb, whichechoes a collective loss that is theinheritance of all Palestinians, a loss that isetched and engraved on to the body,contouring its form. Ladies of Gaza couldbe an image of women today who havehad the phosphorous clouds rain downupon them, who have lost their children inthe darkest of nights, who have beenstripped of their sexuality by themagnitude of loss which they embody. It isas though the inside has been turned out,the voids laid bare. These ideas aresimilarly echoed in another work of afleeing figure who looks aghast at herform, in horror and with an absence ofrecognition as to whether this is her body.Her inside is a hollow space… after loss?The moment after birth?... as looking ather sagging green flesh the woman takesflight.

Both Wafaa Yasin and LayanShawabkeh’s works are significant toconsider in light of the popular nationalistdiscourses of the 1980s and ‘90s in whichPalestine was imaged as the ‘motherland’.In this rhetoric, women were depicted asthe reproducers of the nation and thesetypes of representations dominatedpopular imagery with Palestine being‘figured’ as the monumental woman inPalestinian costume who nurtured thenation. Such depictions also went hand in

hand with conservative values that viewedwomen’s place as being in the home. Theartworks by these two young artists followthe tradition of questioning the inventionof female identity, which has beendeconstructed by women artists after aperiod of heightened nationalism. Theirworks, however, reveal another side ofreproduction and sexuality, and mostpertinently the physical embodiment ofpain, grief and loss.

Popular imagery often represented thefemale body as the ‘virgin’ for whom themartyr sacrificed himself, while similarlythe ‘mother figure’ was also invested withan aura of sanctity. In Stomach Pain,Wafaa Yasin deals with the violation of thefemale body and in particular the femalechild. Her multi-media installation tacklesthe sensitive subject of incest found in allsocieties and is based on her experience ofworking directly with young women whohave had such experiences. It is one ofthose subjects that societies prefer to shyaway from and not to address in the publicdomain. This is particularly the case in aconservative society in which issues ofsexual practices, and in particular sexualviolence, are not openly discussed.

The photographs that cover the wall ofthe small chamber are filled with poses ofacts of violence; sexual positions thatreveal the experience young girls havebeen subjected to. The space forces us toconfront the imagery, whose repetition isdeeply discomforting as we see the sameact re-enacted over and over again. In theinstallation Yasin employs several of oursenses, including smell. The space is filledwith onions that provide an overwhelmingodour, while the same motif appears in thevideo where we witness the young girl’sdaily ritual of peeling and eating onions,perhaps as a form of masochism, or as wayof making herself repulsive to her


cities of Ramallah and Al Bireh with newworks on show, artists working up untilthe last minute and high expectations.Over the years it has come to be one ofthe important art events in Palestine’scultural diary as it is held in various art andcultural spaces. What was apparent in thisyear’s exhibitions was the breadth of formsof expression that the young artistsshowed, ranging from painting to videoinstallation and photography. This year’scompetition was also distinguished by thefact that participants from the Golan werealso included. This community, who sharea neighbouring terrain with Palestinians,came under occupation in 1967 and inrefusing to accept Israeli citizenship hold asimilar status to Palestinians in Jerusalemand are isolated within the Golan. Theissues they address in their work bear aclose relationship to those engaged withby young Palestinian artists and affordedthis year’s competition a high level ofindividuality of expression and a diversityof practice.

The catastrophic events which have beentaking place in Gaza in January, 2009, as Iwrite this can lead us to question thepurpose of art in relation to the life anddeath situations which Palestiniansconfront. However, it is precisely becauseart enables individual expression and tospeak in new ways, to tell our storydifferently, that it is important, and thesustainability of art is part of the survival ofour community. We only need to remember

the funeral of Mahmoud Darwish on 13thof August, 2008, when people from allacross the community walked together. Inthe sea of people you could see individualsfrom different generations and classes,evidence that we can unite, that we unitedin respect for the creativity of a poet. If weneeded any validation for creativity then wehave it there.

Female ScarsLayan Shawabkeh’s series of paintingsexplore the female body as it is sculpted bythe experience of loss. The forms thatLayan articulates in her paintings evolvedfrom a series of sketches undertaken overthe space of the year. Her drawings wereinformed by images of loss in Palestiniansociety – images found daily in thenewspapers – and by research into therepresentation of women in the work ofpainters such as Pablo Picasso. In the mainwork, Ladies of Gaza, the reference is toPicasso’s Les Demoiselles d’Avignon, hisiconic painting that challenged therepresentation of the female figures whoare not shown as desirable objects butwho confront the audience with theirposes and gazes. The pertinently titledLadies of Gaza are naked and vulnerable,their bodies worn and weathered from theburden of over reproduction and loss.Their inflated forms appear artificial;almost as though forming separate entitiesfrom the female body. Their skin hasbecome alien in colour; their breasts sag as

Embodied Cartographies

Tina Sherwell

My interest in Palestinian art began when Iwas a student at Goldsmiths’ College,London, in the early 1990s, where I wasinspired by the writings of Edward Said onexile and the work of Mona Hatoumwhose Light Sentence had been on showat the Serpentine Gallery. I was curious toknow what issues Palestinian artists wereaddressing and how they dealt with thequestion of Palestine and being Palestinian.Looking back, this came perhaps as thelate result of discovering that I was halfPalestinian and half British; until I reacheduniversity I hadn’t really questioned myidentity. I had had a secluded childhood inAl Wiebdeh in Amman, Jordan, among thejasmine flowers and cherry trees of mygrandfather’s house before moving to theUK at the age of eight. I wasn’t raised tobe ‘Palestinian’ or with a sense ofPalestinian identity – it wasn’t something Iever remember being spoken about athome. It was only after the encounter withEdward Said’s writings and MonaHatoum’s work that I began to ask mymother about her family history and Ibegan my journey of putting together ajigsaw puzzle of who I was and whichexplained why I had never felt completelyEnglish. Not being raised on any narrativesof a homeland, I compensated for this byimmersing myself in history books, whichled to the firm conviction of the need torepresent Palestine in ways different to theprevailing dominant stereotypes and mediaimagery which circulated in the ‘west’ – a

E m b o d i e d C a r t o g r a p h i e s / T i n a S h e r w e l l

24-25

conviction that remains with me today ofthe urgency of the need for us to be ableto articulate our identities and histories toan international audience.

While many of the students in mydepartment at Goldsmiths’ were workingon feminist body politics, my interestfocused on the representation of power asarticulated in maps. Using textiles andstitching, pinning and seaming torepresent the transformation of thelandscape, I began creating a series ofmaps on Palestine. My interest lay inshowing the layered histories, thenarratives of place and the fragility ofgeography. The maps revealed thetransformation of the physical space ofPalestine and highlighted the wayconventional maps conceal the violencethat drenches the landscape. I started workon the maps before ever having set foot inPalestine, basing them on a collage ofimages collected from books, the mediaand my grandfather’s memories. In 2000, Iwas shortlisted for the A. M. QattanFoundation’s Young Artist of the YearAward, which was in its first year, where Ishowed a series of the most recent maps Ihad been working on. In 2008, I came fullcircle and was asked to be one of the Jurymembers for the competition in theprivileged company of MichelangeloPistoletto, Jack Persekian, Esmail Nashifand Ibrahim Muzayen.

The Young Artist Award always causes aflurry of activity and interest across the

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Academy also. In my view, the youngartists who are currently students therepresented some of the best works to theAward jury.

A brush striking a piece of canvasremains central to the visual arts and yetfrom these shores art expands withoutlimits (as the universe does) into the spaceof contemporary art with sculpture,photography, video, etc... Sometimes, allthese forms are demonstrated in oneadventurous work that might seemexcessively weird or offensive, or at timesvery subtle. Or crazy perhaps, as with JadSalman who erected his work on the roofof the Foundation’s own building... Youneeded to go up a metal stair to get to it.He wanted to make us fly in his ownspace; then why doesn’t his painting onthe roof try to fly off with its own wings?!

Another participant drew a route on thefloor of an entire room, and the woodenglass boxes he placed at each of thecrossroads showed (in Hebrew, Arabic andEnglish) that Jesus, the son of Mary, didnot descend from the Cross. Theoccupation would not let him get down!

Majd Abdel Hamid, one of the talentedstudents at the Academy, combines achessboard, but with all white pieces...with a film. He plays a game againsthimself and invites you to engage in hisquestioning about the margins ofindividuality and freedom, choice andcoercion.

Layan Shawabkeh, with creative

confidence, presents four paintingsentitled Loss. Her paintings cauterise yourheart, but with a hot, melting honey: theyare simple, deep, direct and personal. Herfigures are unreal as if they were alienslanded on an earthly hell.

The Foundation has proved its success,and the Academy has passed the test. Thepublic can cast its own vote for the successof the participants, and the Jury has itsfinal say. Ramallah can raise the flag of‘Cultural Capital’. In this city, the questionis not “Where to go tonight”? But rather,“What to choose, this cultural event orthat”?

* See www.identityofthesoul.com for details of thisunique five screen cinematic event directed by ThomasHoegh and based on poems by Henrik Ibsen andMahmoud Darwish (‘Terje Vigen’ and ‘A Soldier Dreamsof White Lilies’). As well as touring internationally, ittoured the West Bank cities of Ramallah, Nablus,Bethlehem, Jerusalem, Hebron, Qalqilya, Jericho andJenin in 2008, attracting an audience of 22,000 people.

This is an edited and modified version of an articleoriginally published in the Atraf Annahar section in thePalestinian newspaper Al Ayyam on 17 October, 2008,with the title “The Foals from the Academy on theQattan Race track”.

On the Qattan Racetrack

Hasan Al Batal

In fairy tales, witches fly through the skyon their broomsticks. Let us fly over the‘Young Artist of the Year 2008’ with its 12artists under 30 who carry us in the spaceof their paintings and art works throughthe competition for the Hassan HouraniAward.

Space has three dimensions, and thenthere is the fourth dimension of time. Inthe artists’ works – which are daring indimensions in terms of space, and areexperimental and audacious – there is yetanother dimension as a substitute for time:the audience may experience a fifthdimension.

We went to five different venues beforethe official opening of the competition atthe premises of the A. M. QattanFoundation and we ended on the 24th ofOctober at the Al Kasaba Theater andCinematheque for the awarding of thefirst, second and third prize winners in thisfifth round of the Foundation’s 2008 Artand Culture Programme.

It is a race, a competition, betweenprojects made to win, materially andimmaterially. The works are not for sale.Why, then, do these young people seem alittle reluctant to really take off and fly inthe space of their paintings, some of whichare 3 x 3 metres in size, the size of a wallin your home? They could give us a workwith the dimensions of real space thatcould fill the space in your child’sbedroom.

And as in each previous biannual round,

O n T h e Q a t t a n R a c e t r a c k / H a s a n A l B a t a l14-15

the various art spaces of the culturalcentres become the paths of this race. Thisyear we toured from the A. M. QattanFoundation and the Khalil Sakakini Centreto the Ramallah Municipality’s old buildingand the Al Mahattah Gallery – the best interms of space, although lacking inresources – until we finally reached the hallof the International Academy of Arts.

Instead of the usual 10, 12 young artistswere participating in 2008; and so thenumber of young artists who aresurpassing the required standards isincreasing, just as competitors have passedover the Green Line with the participationof the territory beyond that line...

Five of these 12 artists jumped over thebarriers of international borders, and camefrom Golan. This adds to the splendour ofthis event as the city of Ramallah leapsfrom being the cultural capital of thePalestinian Authority area to being acultural capital of the region, and even aninternational one – as was illustrated, forexample, by the staging of ThomasHoegh’s impressive ‘Identity of the Soul’event in the playground of the FriendsBoys School in Al Bireh in September,2008.*

We could say that the A. M. QattanFoundation has reached the age of a littlegirl with a skipping rope; while theInternational Academy of Art is a childtaking her first steps. However, theFoundation has achieved remarkablesuccess among its peers; as has the

issue. We commend the way she engagesour different senses in the installation,such as smell and spatial confinement, aswell as the elements which altogetheralluded to ritual while also amplifying theintensity of experiencing the work. Thesecond prize thus goes to Wafaa Yasin forher work Stomach Pain.

As for the winner of the first prize, wewere challenged by the bold visualcomposition of the works that refer to thehistorical traditions of art in a way thatprovides relevance to the artist’s owncontext and her own project. The artistaddresses the issue of loss that we allexperience as part of the human conditionbut which has become clichéd by itsfrequently superficial portrayal in themedia that often makes it devoid ofhumanity. She simultaneously explores theprivate realm and social appearancethrough the central question ofprocreation in society and its relevance tothe female condition. She has developedan individual aesthetic that is botheffective and accessible. For all theseaccomplishments, we are delighted toaward the first prize to Layan Shawabkeh,for her painting series Loss.

We thank all the artists for their hardwork and enthusiasm and wish themsuccess in the future. We would also liketo thank all the staff of the A.M QattanFoundation for hosting the Jury, inparticular the team of the Culture and ArtProgramme.

Esmail NashifIbrahim MuzayenJack PersekianMichelangelo PistolettoTina Sherwell

CuratorMahmoud Abu Hashhash

Mahmoud Abu Hashhash is the director ofthe Culture and Arts Programme at theA. M. Qattan Foundation. He graduatedfrom Birzeit University, and received hismaster’s degree in Arts Criticism andManagement from City University, London,in 2004. Mahmoud is a published writerand editor. Editor of “Preoccupying Zones”(2005), he also co-edited (with Omar Al-Qattan) “New Horizons in Palestinian Art»(2001) and «Transitions» (with Nicola Gray)in 2008 – all published by the A. M. QattanFoundation. The author of two publishedbooks of poetry and a novel, Mahmoudwrites and publishes articles on art andvisual culture in Palestine, andinternationally.

Assistant CuratorMisbah Abu Deeb

Misbah Abu Deeb was born in Gaza in1981. After graduating from high school inGaza, he came to Ramallah in 1999 tostudy mathematics and computer science atthe Science and Education College fromwhich he received his BA in 2003. From2003 to 2005, he was the ExecutiveAssistant and then Activities Co-ordinator atthe Khalil Sakakini Cultural Centre inRamallah. Over 2005, he worked withIdioms Film as Financial Officer. He wasAssistant Curator of the 2006 Young Artistof the Year Award exhibition, and iscurrently the Technical Assistant for thePaltel Virtual Gallery at Birzeit University.With a group of young Palestinian artists,he co-founded the Al Mahattah Gallery in2007, a new artist-run exhibition space inRamallah.

The Jury’s ReportRamallah, October 24, 2008

In February 2008, the Jury met to review58 proposals from young artists living inhistorical Palestine and the Diaspora, and,for the first time in the Award’s history, italso considered applications from theoccupied Golan Heights. For this reason,the Jury decided to enlarge the short list totwelve artists. These were: Akram Halabi(Golan Heights), Jad Salman (Tulkarem),Jamil Daraghmeh (Jenin), Hazem Harb(Gaza), Diala Mdah Halabi (Golan Heights),Randa Mdah (Golan Heights), SalamaSafadi (Golan Heights), Shada Safadi(Golan Heights), Layan Shawabkeh(Ramallah), Majd Abdel Hamid (Ramallah),Hani Amra (Jerusalem), Wafaa Yasin(Tamra/Galilee).

The Jury has recognised the diversity ofapproach present in this competition, andthe endeavours to tackle a range ofcomplex and contradictory issues that haverelevance to the local context and can alsoaddress a wider audience. We felt thateach artist addressed issues of relevance totheir community as well as to their ownpersonal experiences. Many of the workswere ambitious in the ideas theyattempted to explore and their methods ofexecution, and we would like to commendall the artists on their attempts to visuallyarticulate their subjects in innovative ways.We were also impressed by their thought-provoking ideas, which they expressed inour conversations with them during whichwe also gained a greater understanding ofthe development of their projects and howthey endeavoured to engage with theirissues and themes. A general observationwas made with regard to the need toquestion the relationship between space,the work of art and its public

manifestation.The Jury decided to award all three

prizes in recognition of the importance ofproviding encouragement to the artists atthe beginning of their careers. In as muchas we found certain weaknesses and roomfor development in all the projects, theoverriding impression we were left withwas the great potential of the finalists andmost significantly those awarded the 1st,2nd and 3rd prizes. After muchdeliberation, debate and several visits tothe exhibitions, the Jury arrived at thefollowing results:

For the 3rd Prize winner, the Juryappreciated the artist’s command ofpainting at this point in her career, and herability to explore a specific issue aroundthe symbolism of the crow and its relationto the human subject. She delves into thesymbol’s significance and its connotationsin society, re-questioning the pessimismand darkness associated with it, andattempting at the same time to re-articulate the image in relation to issues ofher personal experience. The Jury felt thatshe had created a strong intensity ofpresence through the works and was ableto develop a clear individual style ofpainting. In recognition of this, the thirdprize was thus awarded to Shada Safadifor her painting series In the Presence ofthe Crow.

As for the second prize, the Jury is fullyaware of the sensitivity of the subject ofmasculine abuse that the artist tackles andthe intense difficulty of confronting thisphenomenon. It was evident that the workwas the result of several years’ researchwhich manifested itself in different mediain order to convey the complexity of the

12-13 T h e J u r y ’ s R e p o r t

the Galleria Galatea in Turin in 1960. Apivotal member of the Arte Povera groupof Italian artists that came to prominencein the 1960s and whose ideas and workhave had a profound effect oncontemporary art practice, he hasexhibited his work in galleries andmuseums internationally throughout hiscareer. His works are in the collections ofleading international museums ofcontemporary art, including MoMA andthe Guggenheim Museum in New York;Centre Pompidou, Paris; Museo ReinaSophia, Madrid; MACBA, Barcelona; theHirschhorn Museum and SculptureGarden, Washington D.C.; Tate Modern,London; the National Museum ofContemporary Art, Seoul; and the GalleriaNazionale d’Arte Moderna, Rome. He hasparticipated nine times in the VeniceBiennale between 1966 and 2005, andfour times in Documenta (1968, 1982,1992 and 1997) in Kassel, Germany. Atthe Venice Biennale in 2003, Pistoletto wasawarded The Golden Lion for LifetimeAchievement award. In 2007, in Jerusalem,he was awarded the Wolf Foundation Prizein the Arts.

In 1998, he launched the Cittadellarteproject at the Fondazione Pistoletto in aformer mill in Biella. Cittadellarte’sobjective is “to inspire and produce aresponsible change in society by means ofcreative ideas and projects”. Itsinternational residency programme, Unidee(University of Ideas), and other projects,have activated a network of collaborationswith organisations and individualsthroughout the world, mapping out ‘ageography of change’.

Tina SherwellDr. Tina Sherwell graduated fromGoldsmiths’ College, London, and receivedher PhD from the University of Kent atCanterbury in Image Studies. She wasawarded a prize at the Alexandria Biennalein 2001 for her work, the Maps ofPalestine series. She is currently theDirector of the International Academy ofArt Palestine in Ramallah, and prior to thiswas Programme Leader of Fine Art atWinchester School of Art, SouthamptonUniversity, in the UK from 2006 to 2007.From 2004 to 2007, she was ExecutiveDirector of the Virtual Gallery at BirzeitUniversity, working on establishing thewebsite with the artist and teacher, VeraTamari. The author of various articles onPalestinian art and culture that have beenpublished in catalogues, journals andbooks, she has also been involved with arange of cultural institutions in Palestine oneducational projects. In 2003, she co-founded, with the artist Jawad Al Malhi,the Open Studio Art Workshops forchildren in Jerusalem.

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The Jury

Ibrahim MuzayenIbrahim Muzayen is an artist and writerwho has also worked as a theatre directorand set designer. A practising artist since1984, he studied at the Visual TheatreSchool in Jerusalem from 1991 to 1994,studying visual arts. Working in both Gazaand the West Bank on theatre projects andperformances, he has also exhibited hispaintings, installations and video work insolo and group exhibitions in Palestine,France, Germany, Japan, Spain, the UKand Indonesia. In Gaza, he supervised,directed and designed plays at the FekraAssociation for Theatre and Art from2002-2005. Other stage productions haveincluded working with the Dar El Jalatheatre group, Al-Kasaba Theatre (inRamallah), the Hakawati Theatre (inJerusalem), and a co-production withAshtar/Marallam Theatre. He hassupervised and run art and dramaworkshops for the Palestinian Ministry ofCulture. He publishes critical articles andreviews about Palestinian art in differentjournals and newspapers in Palestine andabroad.

Esmail NashifEsmail Nashif is Assistant Professor ofAnthropology and Cultural Studies atBirzeit University. He received his PhD inlinguistic anthropology from The Universityof Texas, Austin. His main research interestis expressive culture, especially language,ideology and aesthetics. He hasparticipated in many local andinternational artistic and educationalprojects that focus on expressive culturesof different colonial socio-historicalcontexts. He has published several books

and numerous articles in Arabic andEnglish. His latest book, Palestinian PoliticalPrisoners: Identity and Community waspublished by Routledge, London in 2008.

Jack PersekianBorn in Jerusalem, Jack Persekian is acurator and producer. He is the FoundingDirector of the Anadiel Gallery and the Al-Ma’mal Foundation for Contemporary Artin Jerusalem and of XEIN Productions. Heis currently the Artistic Director and HeadCurator of the Sharjah Biennial in theUnited Arab Emirates – for the 7th, 8thand 9th editions in 2005, 2007 and 2009.Recently curated exhibitions include ‘TheJerusalem Show’ (Jerusalem, 2007 and2008); ‘Reconsidering Palestinian Art’(Cuenca, Spain, 2006); ‘Disorientation –Contemporary Arab Artists from theMiddle East’ (Haus der Kulturen der Welt,Berlin, 2003; ‘in weiter ferne, so nah, neuepalastinensische kunst’ (Ifa Galleries inBonn, Stuttgart and Berlin, 2002). He wasthe curator of the Official PalestinianRepresentation to the XXIV Biennale deSao Paulo in 1998. He also produced ordirected the Palestinian Cultural Evening atthe World Economic Forum in the DeadSea in Jordan (2004), The Geneva InitiativePublic Commitment Event in Switzerland(2003) and the Millenium Celebrations inBethlehem for the Bethlehem 2000 event,in addition to producing short films andvideo works. He lives in Jerusalem andSharjah.

Michelangelo PistolettoMichelangelo Pistoletto was born in Biella,Italy, in 1933. He began to exhibit his workin 1955 and had his first solo exhibition at

inspiring model of transparency andexcellence;

• advocates cultural and educationaldevelopment as an essential tool ofresistance for a society faced by conditionsof acute political instability andhumanitarian catastrophe.

Values

Defence of the rights and dignity ofallInspired by the enduring vision enshrinedin the Universal Declaration of HumanRights, which affirms that “All humanbeings are born free and equal in dignityand rights. They are endowed with reasonand conscience and should act towardsone another in a spirit of brotherhood,”the Foundation supports women and mento combine their self-development withthe service of others, specifically throughthe provision of inclusive public services ofa high standard.

Freedom, pluralism, dialogue, theproduction of knowledge and newthinkingThe Foundation believes in the individual’srights to freedom of thought, creed, andfree expression. These rights are keycomponents of its internal policies and itswork in the fields of culture and education,where the sharing of ideas and practices isconsidered essential for the production ofknowledge and new thinking.

Working in a collegiate spirit ofproductivityThe Foundation is aware that it can onlyrealise its goals if it has the support of its

target constituencies and their sharedagreement on the value, meaning andpotential effectiveness of its work. As such,it always aims to operate in a collegiatespirit of cooperation and partnership withits staff and the groups it serves, whetherthey are children, artists or teachers.

The courage to be justThe Foundation realises that long-termpeace, equality and prosperity require thecourage to be just and defend theoppressed.

A. M. Qattan Foundation

The A.M. Qattan Foundation was foundedin 1994 and registered as a charity in theUK. Since 1998, it has worked towards thedevelopment of culture and education inPalestine, with a particular focus onchildren, teachers and young artiststhrough programmes that foster criticalthinking, creativity and the production ofknowledge.

The Qattan Centre for EducationalResearch and Development activelyparticipates in raising the standards ofeducation and teaching in Palestine. Itengages directly with schoolteachers indeveloping their skills and knowledge toimprove learning conditions for pupils ofall ages.

The Qattan Centre for the Child in GazaCity holds over 120,000 books and othermedia and offers a variety of library andinformation services. Established tocompensate for the lack of incentives andopportunities open to children at schooland elsewhere, it aims to nurture theircuriosity, expand their knowledge andfacilitate their access to outside cultures.The Centre provides in-house services toits 15,000 members and to thousandsmore through its outreach programme.

The Culture and Arts Programmesupports talented people, particularly theyoung, in a number of creative fields,offering them incentives to develop theirskills and explore new horizons. It alsopromotes cultural collaboration betweenPalestine, the Arab region and the rest ofthe world. Three major projects embodythe spirit of this work: a fundingprogramme in the performing arts, co-financed with the Ford Foundation; thePalestinian Audio-visual Project, which

works in film and television training, DVDpublishing and distribution, school filmeducation and film subtitling; and, mostrecently, the Gaza Music School Project,co-funded with the Swedish InternationalDevelopment Agency.

The Mosaic Rooms, a new space forexhibitions, lectures and workshops incentral London, opened to the generalpublic in November 2008. A permanentoffice building in Ramallah combined witha state-of-the-art cultural centre iscurrently in the design phase and will openin 2012.

The Al-Qattan family underwrites theFoundation’s administrative expenses anda majority of its programme costs in orderto ensure its independence.

VisionA just, free, enlightened and tolerantsociety with a global presence; one thatembraces dialogue and is a producer ofknowledge, art and literature.

Mission StatementAn independent, not-for-profitdevelopmental institution working in theculture and education sectors targeting avariety of social groups, particularlychildren, teachers and young artists, which

• aims to empower free-thinking,enlightened individuals to overcome thechallenges of war and injustice and tocreate a flourishing and dynamic society inPalestine and the Arab World;

• adopts a long-term, participatorydevelopmental ethos through programmesthat foster critical thinking, research,creativity and the production ofknowledge, while also providing an

8-9 A . M . Q a t t a n F o u n d a t i o n

The Young Artist of the Year 2008The Hassan Hourani Award

The Young Artist of the Year Award isnamed after the late Palestinian artistHassan Hourani who passed away in atragic drowning accident in August 2003.The Award was first organised in 2000 andhas been repeated since on a biennial basisas part of the Foundation’s Culture andArts Programme.

The conditions for the 2008 Award wereannounced in November 2007. The Awardconsists of three prizes (a $6,000 1st Prize,and $4,000 and $2,000 for the runnersup). It is open to Palestinian artistsbetween 22 and 30 years old who work inany area of the plastic arts, includingpainting, drawing, photography, sculpture,installation, video, etc. Candidates mustfulfil certain criteria, particularly in thevariety and originality of their work. Theymay apply individually or can be putforward by their school, university or anyother relevant institution.

The first stage of the Award requires thesubmission of a curriculum vitae, a writtenstatement about the artists’ previous workand ideas for work planned in the future –particularly the work proposed for theAward. Good quality illustrations ofexamples of five previous works, either incolour photographs, on a CD-Rom, on PALVHS/DVD video or in any other format arealso requested.

The initial stage of the competition isopen to all qualifying candidates, fromwhich an invited jury of Palestinian andinternational artists, critics and curatorsselect 10 artists. Winners of the first prizein the previous Award are not permitted toapply. The participating work has to bemade especially for the Award and shouldnot have been previously exhibited or

published. The selected finalists areallowed a period of up to 6 months toprepare their work for the competition andgiven $1,000 to help complete it. The finalwork is exhibited in the twin cities ofRamallah and Al-Bireh in venues of theProgramme’s choosing.

T h e Y o u n g A r t i s t o f t h e Y e a r 2 0 0 8

Birzeit University who volunteered theirtime to work in this event.

Warm thanks go to Misbah Abu Deebfor his faithful work as Assistant Curator.And special thanks to all my colleagues atthe Qattan Foundation for theircooperation and continuous support,especially Nisreen Naffa’, Amal Barghouti,Amer Hassan, Kifah Fanni and KhaledFanni for their particular efforts.

We should also thank everyone whocontributed to the achievement of thispublication, especially the artist TinaSherwell for her essay, the journalist HasanAl Batal for his contribution, and mycolleague Abed Al-Rahman AbuShammaleh for proofreading the Arabictexts. Thanks to the artists Nicola Gray forher co-editing and Sharif Waked for thedesign and artistic supervision, and toStudio Alpha for the printing and binding.We hope that you will find this catalogueenjoyable and useful.

Mahmoud Abu HashhashDirector, Culture and Arts Programme

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artworks.This year’s Award also coincided with

the opening of a new space dedicated tothe visual arts, the Al Mahattah Gallery, aninitiative of a group of young artists andindividuals engaged in the field to providea dynamic space for exhibitions andevents. This new venue is undoubtedly aremarkable addition to the infrastructurenecessary for the development of thevisual arts and artistic practice in Palestine.It hosted seven of the artworks in the 2008Young Artist Award, which, in its turn, alsohelps this emerging institution to have astrong beginning.

The Award, which is a large event,requires extensive work and collaborationwith various partners, not only with theartists, but also with artisans ranging fromblacksmiths, carpenters and technicians tographic designers and printers as well asthe various cultural institutions that ensureavailable exhibition spaces. The role oforganisations such as the municipalitieswhich facilitate some necessary actions,and the media organisations thatbroadcast news about this event to a wideraudience, has been indispensible especiallyin such a scattered country as ours. Eachcontributes according to their competence.Such contributions, however simple andsmall, are indispensible to the success ofthis process. It makes this event of greatimportance, because it helps to build thefully integrated world of cooperationnecessary for the development andadvancement of art in Palestine.

It is also notable that three female artistswon the three prizes with the jury’s fullagreement; the decision making was not along and arduous process but a smooth

and enjoyable one. Every work was givenattention in reviewing and discussion andeach participant artist had a goodinterview with the jury, either face to face,or over the phone for those whohappened to be abroad at that time.

On the occasion of the publication ofthis book, we hope again that it will be afurther contribution towards thedocumentation of new artistic works,practices, and themes and issues raised;and that it will build on what has alreadybeen accumulated towards a writing of thehistory of contemporary art practice inPalestine. We would like to express ourspecial thanks and deep gratitude to allthose who contributed to the success ofthis Young Artist Award, a project that hasbeen the result of many differentconcerted efforts.

Many thanks go to all the artists involvedin the Award’s different processes, and tothe jury members and the institutions thathosted the artworks in their spaces: theInternational Academy of Art Palestine, AlMahattah Gallery, Khalil Sakakini CulturalCentre and the Ramallah Municipality – allof which did not hesitate to providelogistical support and facilitation to makethe Award a success. We also thank theAl-Ayman company for their endlessefforts to supply infrastructural services;Mr. Bashir Abu Rahma for the execution ofthe necessary electrical equipment; and Al-Manar Carpenters and Al Salam Gallery forthe carpentry and framing. We thank alsoAdwa Design Company for the design andprinting of the Award publications, and forthe teamwork their crew provided with theFoundation to complete the workfaultlessly. Thanks also to the students of

Introduction

The Young Artist of the Year 2008demonstrated a number of distinctivefeatures: not least of which is that it wasthe fifth edition of the Award organised bythe Culture and Arts Programme. It is nowten years since the launch of the Award in1999 and its first realisation in 2000. Thatoccasion presented for the first time in thehistory of the contemporary art movementin Palestine the term “New Generation ofPalestinian Artists”. The artists featured inthat first year have gone on and achieved anotable presence in the local andinternational art scenes, both in theartwork they have produced and presentedto a wide audience at home and abroad,and through their continuous efforts todevelop their knowledge, tools andexperience.

Since then, the term “Young Palestinianartists” began gradually to become part ofthe contemporary visual arts lexicon andliterature in this country. Over its fiveincarnations, the Award has shortlisted 51young artists selected from over 250applicants. The Award has been aframework that motivates and helps theseshortlisted artists to produce new artworkson different themes and in various mediaand artistic forms. Whether paintings,video art, photography, installation, orsculpture, etc., works were madespecifically for the Award, presented forthe first time to the audience and jury anddocumented in professional qualitycatalogues. Four catalogues have beenpublished and distributed locally andabroad; the one in your hands is the fifth.

The accumulated experience of the pastten years has compiled some rich materialfor further study and analysis. There is no

doubt that the artworks produced in thecontext of the Young Artist of the YearAward, and other work subsequentlyproduced by the shortlisted artists at alater stage, show the most importantelements of transformation in the visual artmovement in Palestine in the last decade –whether in terms of issues and themestackled or in artistic forms and practices.

For the first time, the 2008 Awardincluded young artists from occupiedGolan. This is an important step not only inthe competition’s history but also in thehistory of cultural work in Palestine. Twoyears ago the Culture and Arts Programmedecided to open up all its areas to youngartists and writers from Golan, allowingthem to participate on an equal footing astheir Palestinian peers. Of the twelve artistswho participated in the final stage of the2008 Award, five were from Golan. Theparticipation of these artists, who comefrom a specific background, has added arichness and diversity to the Award. Golanand Palestine, being both occupied byIsrael for decades, share a very similarpsychological and historical experience.This may make a Golan citizen aPalestinian in terms of dreams andpassions, and vice versa, especially takinginto consideration the natural geographicalextension between Palestine and the GolanHeights. However, the social, ideologicaland economic context of the Golanconfers a specificity to artistic and culturalproduction. Furthermore, the Golan artistsare all graduates from art academies,mostly in Syria, and have professional andacademic experience, perhaps more thantheir fellow Palestinians, which brought adiversity of themes and forms to the

4-5 I n t r o d u c t i o n

Introduction / Mahmoud Abu Hashhash

The Young Artist of the Year

A. M. Qattan Foundation

The Jury

The Jury’s Report

On the Qattan Racetrack / Hasan Al Batal

Embodied Cartographies / Tina Sherwell

The Artworks

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A h m a d M a l k i

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Fragile BodiesThe Young Artist of the Year 2008The Hassan Hourani Award

ExhibitionCurator: Mahmoud Abu Hashhash

Exhibition Spaces:Ramallah: A. M. Qattan Foundation,Al Mahattah Gallery, Khalil Sakakini Cultural Centre,Ramallah Municipality’s Old Building.Al Bireh: International Academy of Art - Palestine

Dates: 15th - 30th October, 2008Project Management: Culture & Arts Programme

CatalogueEditors: Mahmoud Abu Hashhash and Nicola GrayDesign: Sharif WakedPhotography: Rula HalawaniTranslation: Basima Takrori, Hala Kambris, MahmoudAbu HashhashCopy Editor (English): Nicola GrayCopy Editor (Arabic): Abed Al-Rahman Abu Shammaleh

Measurements are given in centimeters:height / width / depth

Produced in PalestineFirst published in 2009© A. M. Qattan Foundation

ISBN 978-9950-313-32-3

All rights reserved. No part of this book may bereproduced, stored in a retrieval system, or transmittedin any form or by any means without the priorpermission in writing of the publisher.

A. M. Qattan FoundationTower House226 Cromwell RoadLondon SW5 0SWUKTel: + 44 207 370 9990Fax: + 44 207 370 1606

PO Box 2276, RamallahPalestineTel: 00 970 2 296 0544Fax: 00 970 2 298 [email protected]

A.M. Qattan Foundation

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