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New Gate, Old City
Jerusalem 91145
P.O.Box 14644
T: (+972) 2 6283457
F: (+972) 2 6272312 |
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The Jerusalem Show,
Outside the Gates of Heaven
The Jerusalem Show (‘Ala Abwab Al Janna) borrows its English title from the vivacious and atypical formats of the Saturday Night Live show and the Muppet Show, whereas its Arabic title ‘Ala Abwab Al Janna (Outside the Gates of Heaven) references the sacramental veneration that is bestowed on Jerusalem. A similar ludicrous dichotomy is ostensible to Jerusalem’s inhabitants (including us at Al-Ma’mal Foundation).
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The Jerusalem Show, Edition 0,
Partners
The Jerusalem Show, Edition 0, Events
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| (0.1) Akram Halabi / (0.1) Basma Al-Sharif / (0.1) Elisabeth von Samsonow / (0.1) Emily Jacir / (0.1) Hanna Farah- Kufer Birim / (0.1) Henrik Placht / (0.1) Inass Yassin /
(0.1) Jawad Al-Malhi / (0.1) Judy Price / (0.1) Leopold Kessler / (0.1) Luchezar Boyadjiev / (0.1) Manar Zuabi / (0.1) Mohammad Al-Hawajri / (0.1) Nathalie Retivoff /
(0.1) Nida Sinnokrot / (0.1) Oraib Toukan / (0.1) Peter Riedlinger / (0.1) Phil Collins / (0.1) Roza El-Hassan / (0.1) Samir Srouji / (0.1) Sliman Mansour /
(0.1) Sophie Elbaz / (0.1) Tarek Al-Ghoussein / (0.1) Wafaa Yasin / (0.1)Jumana Manna / Alban Biaussat / Anne-Marie Filaire / Ayreen Anastas /
Desiree Palmen / Emily Jacir / Faten Nastas / Jean-Luc Vilmouth / Khaled Hourani / Larissa Sansour / Marrio Rizzi /
Mohanad Yacouby / Nabil Annani / Naoko TakaHashi / Nikolaj B.S. Larsen / Rula Halawani / Silman Mansour / Surekha /
Tayseer Barakat / Vera Tamari / Walid Maw'ed / Zeyad Dajani /
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(0.1) Nida Sinnokrot
Untitled Transpoders (Jerusalem)
Positioned throughout the Old City over the course of the exhibition are 3mm LEDs which shine a brilliant blue for approximately 15 days. Recalling fireflies in both size and life span, these lights conjure the primitive wonder of first witnessing these mysterious insects. And much like the irresistible youthful compulsion to capture these glowing creatures, the lights once discovered invariablyshift location in the hands of children and adults alike, mapping a passage throughout the Old City, which is as such, in constant flux.
A multifaceted project initiated in Egypt for the 2006 Nomadic Artists Symposium on the idea of Territories organized by Lara Baladi, this project continues to expand but constant in all it's iterations in the simple pleasure a little light can bring.
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(0.1) Leopold Kessler
The Red Sea Star/ My Contribution
Leopold Kessler intervenes in public spaces with simple, direct actsthat subtly alter or repair civic property without seeking permission. This work (The Red Sea Star) infiltrates the commercial spaces of the Red Sea, location of the world's only underwater restaurant. Having learned to deep-sea dive for the project, Kessler encountered the space from without and then hijacked the reverse view.
Originally Commissioned and produced by the Sharjah Biennial.
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(0.1) Elisabeth von Samsonow
The Secrets of Mary Magdalene
In The Secrets of Mary Magdalene (2008), von Samsonow represents a feminist version of history and embodies the potentials of the narratives that have been silenced by the dictates of patriarchal history. The performance/procession of the piece uses gender differences to discuss feminist and cross-cultural political problems.
Photos by: Maresa Jung
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(0.1) Nathalie Retivoff
Water
Water (2008): Retivoff's latest exhibition at the Sala de Arte Didier Daurat in Malaga, Spain introduced the series, Water, Retivoff's most recent work. It focuses on the beauty of water, its significance throughout the world, and the need to protect it. The majority of the paintings on view in "The Jerusalem Show" are part of this series.
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(0.1) Peter Riedlinger
Us/Them II
Us/Them II (2001/2008) is a body of photographs that negotiates the massive and accelerated changes in urban and rural space and landscape in the environs of East Jerusalem. An initial set of images was created in 2001 at the beginning of the gradual isolation of Palestinian Jerusalem from its natural environment in the West Bank. In a long-term, sustainable observation effort, this initial work serves as the basis for a new set of photographs from 2008 that are put in comparison. For Riedlinger, the uniqueness of Jerusalem as a place of universal values and spiritual importance is rapidly eroding. Urban planning and the conquest of more and more Palestinian land resources have been doing enormous physical and psychological damage that leaves no room for hope in the Holy Land.
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(0.1) Emily Jacir
Untitled (servees)
Untitled (servees) (2008) recalls the once fluid space of movement, connection and exhange, and attempts to make visible the fractures and interactions of everyday life within the disintegrating urban landscape. Calling out cities, drivers recall their destinations. This audio work is part of an ongoing long-term research, which explores and investigates the disappearing transportation network in Palestine and its implications on the physical and social experience of space. This is a result of the ongoing fragmentation and continued destruction of the urban landscape by the Israeli occupation.
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(0.1) Oraib Toukan
Middle East Auction
Middle East Auction (2007-2008): In an ongoing project, Toukan has worked with an economist to calculate the real market values for the purchase of nation states on a 99-year lease-hold. The values are based on economic indicators and provenance, and the countries up for auction are in turn based on Ralf Peters' list in The New Middle East, in which he proposes how a better Middle East would look cartographically. Auction catalogues for upcoming auctions of the Middle East have been produced as well as accompanying documentation of the process of trying to auction off territory in the absence of political and economic transparency.
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(0.1) Roza El-Hassan
Blood Donation Circle / Am I Overpopulation?
Blood Donation Circle (2001): El-Hassan's performance was inspired by the absurdity of the accusation of collective guilt. In this case, the performance focuses on the bewilderment caused by the media coverage and presentation of September 11, which introduced a charge of mass guilt that targeted all people of Arab and Muslim descent. On the subjective level, the performance playfully addresses the question: how, and with what sort of an image of the Arab, am I to identify myself now?
R.thinking/Dreaming about overpopulation, (2001-2003). T-Shirt 2008, produced by Al-Ma'mal: Roza El-Hassan in cooperation with Salam Haddad for the design of the Extra-Territoria t-shirt with the slogan "I am overpopulation".
Extra-Territoria was initiated in 1999 in Belgrade during the Yugoslavian war by the artists Roza El-Hassan and Milica Tomic. It is an open platform for cooperative artistic projects and political dialogues. The first set of overpopulation t-shirts was designed in 1999 and distributed by Milica Tomic and Roza El-Hassan. Based on the invitation of Al-Ma'mal foundation, Roza El-Hassan added a question mark to the earlier version. Salam Haddad suggested a design for the Palestinian version in the form of a stamp.
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(0.1) Akram Halabi
Between a Puppet and a Human
Between a Puppet and a Human (2006): In Halabi's piece, the viewer is puzzled about whether the figure is a puppet or a human being. It is the possibility of a visual memory of neurological spasms, the roots of which came about in 2003. These cases collided with the reality of life in plastics. Clear, mechanical lines have entered into the organic body to build its fabric and to create a possible nervous, spasmodic, painful, ironic plastic figure -- closer to a puppet.
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(0.1) Phil Collins
Bethlehem I and II
Bethlehem I and II (2003): By implicating himself in the set-ups he instigates, Collins highlights the manipulative nature of seemingly transparent lens-based media and participatory practices themselves. His interest lies in the core values associated with the camera, in issues of control, display, revelation and shame.
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Zeyad Dajani
Zannaanah
“Zannanah” (2007): Dajani presented a sound piece for his contribution for the Jerusalem Show titled, "Zannanah" which is Arabic for buzzing and is what Palestinians call the unmanned drones the Israeli army uses over the occupied territories, especially Gaza. These planes, which are often armed, provide accurate real time video pictures at very low cost, and are used for both locating and targeting Palestinian civilians. They fly at relatively high altitudes and are rarely seen, but can easily be heard in emitting a recognizable buzzing sound. The sound work was installed at Spafford Children's Centre, Haret al Sa’idiyeh, Old City.
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Mohanad Yacouby
Twelve
“Twelve”( 2007), for his contribution in the Jerusalem Show, young Palestinian artist contributed a work-in-progress by presenting a trailer of a larger film he is working on titled "Twelve" which investigates life within the city of Ramallah after midnight. Referring to his work, Yacouby says, "The film is a panoramic portrait of the city in the night, through different lives working within". The short video was presented at the Al-Ma'mal Foundation, New Gate, Old City, Jerusalem.
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Alban Biaussat
Rainbow Stickers
“Rainbow Stickers” (2007): until mid-2007, when flying out of Israel, airport stickers put on passports and luggage used a colour coding system to indicate the level of threat posed by individuals, (native or visitor) to the security of the state of Israel. In "Rainbow Stickers", Biaussat utilizes the colour coding system, intentionally focusing on urban landscapes in order to demonstrate differences in the provision of public utilities. He makes reference to the "security" airport stickers, adding his own subjective reading which is just as partial and prejudicial as that of the airport security agents. Exhibited a selection of 27 images at the Centre for Jerusalem Studies, The Mamluk Hammam el Ein, Khan Tankaz, Suq Al-Qattanin, It was Biaussat's intention to paste coloured stickers throughout the old city in public spaces, but this attempt was met with trepidation by local youth, who, not understanding the relative mark of the stickers, immediately tore stickers down after they had been pasted.
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Anne-Marie Filaire
Landscapes from Palestine
“Landscapes from Palestine”(2007), is a video projection of the photographic series Filaire produced in Palestine from the beginning of 1999, photographing the same places repeatedly in order to verify and to conserve time; to record the movements and transformations of the places. Returning regularly within an eight year period to continue the recording of time and space around specific 'frontier zones', Filaire confesses that as a photographer, it seemed essential to her to produce images of Palestine's landscapes and to bring these images back to exhibit them in their place of origin. "Landscapes from Palestine" was screened outside of Gallery Anadiel, New Gate.
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Larissa Sansour
Land Confiscation Order
“Land Confiscation Order” (2006): In her 10 minute video installation presented for the Jerusalem Show, Larissa Sansour explores the idea of territory as a constituent of both national as well as personal identity. Larissa questions the “dream of a viable statehood” through a visual dictation of the story of her own family’s confiscated land; as we witness her sister and brother attempting to drape a stone house with black cloth, as though planning for the requiem of the land. The video was presented in The Tile Factory, New Gate, Old City.
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Marrio Rizzi
Impermanent
“Impermanent”(2007): Rizzi’s 15 minute video presented for the Jerusalem Show is one fraction of a larger project that he initiated as part of his Al-Ma'mal residency in 2006. Rizzi interviews 96 year old Ali Akilah, who once lived in the Palestinian village of Lifta. In the video, Akilah’s words resound a feeling of “permanent impermanence” as he recalls personal events of his life, mainly connected with living in Palestine before the Nakba. The video was shown at Al Irshad Centre, Haret al Sa’idiyeh, Old City.
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Vera Tamari
Helaneh's Curtain
“Helaneh’s Curtain” (2007): For the artist Vera Tamari, Jerusalem bears two significant meanings: that of 'austerity' and of 'magic'. Tamari's grandmother is utilized as the creative motivation behind the work as well as for the artists' perception and reflection of the city. Her installation of flashing light boxes composed from the same patterns of her grandmother's curtain, exhibited parallel to the actual curtain (handmade by her grandmother) represents the artist's tribute, not only to her grandmother, but also to the city as a place where "fantasy becomes a necessary tool to survive the burdens of time and memory". "Helaneh's Curtain" was produced for and installed in Gallery Anadiel, New Gate, Old City.
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Emily Jacir
Entry Denied
“Entry Denied”: In 2002, Austrian nationals Marwan Abado and his band were invited to perform a concert in Jerusalem but were then detained arriving the Tel Aviv airport and denied entry. In an empty theater in Vienna, Jacir asks Abado and his band to perform the concert exactly as it would have taken place in Jerusalem. The film/concert was screened at The Tile Factory, New Gate.
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Naoko TakaHashi
99 Red White Green Black Balloons
“99 Red White Green Black Balloons”(2007): In her installation of balloons for the Jerusalem Show, Naoko Takahashi carefully chooses the colours of the balloons to represent the colours of the Palestinian national flag in order to make direct representation of Palestinians and the extensive lack of freedom they face on physical movement and on human rights. Naoko utilizes three rooms for her installation, arranging each balloon colour in a separate room. The artist focuses on the theme of the 'exhaustive state' that comes from having to live in repressed conditions through her presentation of balloons which have been blown up using helium thus enabling them to rise high to the ceiling's surface, only to later begin a slow dissension to the floor. TakaHashi invited visitors to walk around the balloons that had eventually fallen to the ground, and to witness the balloons situated high in their restricted corners, unable to fly any further, (alluding to the restrictions of Palestinians imposed upon them due to Israeli/Palestinian conflict). The title of TakaHashi's work was deliberately adopted from the name of an eighties German protest song by Nina, who sang about balloons rising to the sky only to be shot down by military forces. The installation was created at the Centre for Jerusalem Studies, The Mamluk Hammam el Ein, Suq Al-Qattanin, Old City.
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Tayseer Barakat
Untitled
Untitled, Tayseer Barakat presented a painting in relief style made from wood. In 'Untitled', Barakat expresses a desire to "return to the beginnings of life, fire and wood". Exhibited at the Swedish Christian Study Centre, Jaffa Gate.
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Surekha
Long Long Way
In “Long Long Way”, (2003) we witness a close-up of a hand (whose outline is unseen beyond the video frame) in movement, sometimes gently and other times harshly, along a wall. The contact of the hand upon the wall’s surface could be a simultaneous investigation of intimacy and tension. Surekha presents the video as a continuous loop in order to further emphasize the endless question of the experience of physical (exterior) contact as associated with personal (internal) experience. The video was projected outdoors at Al-Ma’mal Foundation, New Gate, Old City.
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Silman Mansour
Introducing the Other
In “Introducing the Other” (2007), Sliman Mansour envisioned the possibility of bringing together two separate communities living within the walls of the old city of Jerusalem. He set out to photograph portraits of African community and Armenian community members with a plan to exhibit the respective portraits in their opposite community. However, in the course of the Jerusalem show preparations, we learned that this would not be possible to exhibit the photographs in either the African or the Armenian communities, and thus, a decision was made to exhibit all photographs of both communities at the Al-Ma’mal gallery space, New Gate.
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Khaled Hourani
Allah Mahaba
In Khaled Hourani's “Allah Mahaba” (God is Love) (2007) green fluorescent signs were distributed throughout the Old City in outdoor public areas. Hanging above shop doors, on lamp posts, on electric wiring between one wall and another, these signs were created as a commentary on the Islamic tradition of displaying religious "reminders" throughout the city and especially near holy sights, meant to remind passersby of the importance of always remembering God in everything, meant to encourage religious belief and the good practice of devout faith. Hourani's sign however was not met with similar encouragement among the Jerusalem public, who misunderstood the sign as being a harsh criticism against their personal religious practice, as condemnation of Muslim faith. Misunderstanding Hourani's signs as something converging on the sacrilegious, the signs were anonymously cut exactly in half (within two days of their exhibit) to expose one word alone, that of "Allah" (God), and replaced in their original location as a permanent fixture.
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Nikolaj B.S. Larsen
Satellite-In the Footsteps of the Prophets
In "Satellite – In The Footsteps of the Prophets”(2007), Larsen presents an audio sculpture, omitting a fluorescent green aura, suspended from the high ceiling of an old Turkish bath room. Larsen reflects on the satellite as an instrument of observation and communication while also noting its significance for surveillance; our dependence today on the satellite as well as its extensive use for military purposes especially to spy on any terrorist activity. Sounds recorded during his residency at Al-Ma’mal unveil voices opposing opinions, played out as an aural collage backdrop of civil unrest and spiritual chanting. The sculpture was presented at the Centre for Jerusalem Studies, in The Mamluk Hammam el Ein, Khan Tankaz, Suq Al-Qattanin, Old City.
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Faten Nastas
Memories of Gold
In "Memories of Gold"(2007), Faten Nastas makes the association with memories of her childhood and youth in Jerusalem, literally referring to her memories as memories of gold, alluding to the precious time and to the sadness she feels in not having a chance to visit her place of youthful memories due to her being denied permit to travel to Jerusalem from her place of current residence (Bethlehem). For this reason, she produces a work made from transparent gold coloured fabric with gold chocolate attached, and takes the golden "scarf" to places within the old city that hold a fond memory for the artist, wrapping these places as a way to mark and preserve them; as a means to re-affirm her memories of the city. "Memories of Gold" was installed outdoors at Suq Aftimos (Al Dabagha), fountain near to the Church of Holy Sepulcher, and at the 3rd Station of the Cross, Al Wad Street, Old City.
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Walid Maw'ed
The Hidden Garden
'The Hidden Garden' (2007) presents Maw'ed's desire to build a small Palestinian community garden, seeking to involve Jerusalem community members (as well as all Palestinians in general) by asking them to experience the garden through identification with its space as an expression of personal freedom - with special attention given to cultivation and garden watering usage, primarily as a motivation factor for the duartion of the exhibition, with the objective that a community is established as a result of the garden even after the exhibition duration. The garden was built in the outdoor courtyard of Burj al Laqlaq Community Centre, Bab Hutta, Old City.
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Jean-Luc Vilmouth
Cafe Air Palestine
'Cafe Air Palestine' (2007): In one of the oldest Cafes in the heart of the old city of Jerusalem at Suq Al Attarin, visited mostly by men who enjoy a drink of tea coupled with a Nargileh pipe and known to the locals as 'Cafe Al-Haj Ahmad al-Aaraj', Jean-Luc Vilmouth installed his project 'Cafe Air Palestine'. Transforming the local coffee house into a Cafe equivalent to the Palestinian airlines that no longer is in operation today, Vilmouth invites visitors to enjoy the traditional Arab coffee or herbal tea at tables fitted with satellite images of Jerusalem while a neon sign in red and white hangs overhead that reads 'Cafe Air Palestine'.
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Desiree Palmen
The Old City Suit
“The Old City Suit” (2006-07). Working in direct relation to the security surveillance cameras tightly placed within the old city of Jerusalem. Desiree Palmen designed two suits to be worn and ‘camouflaged’ into the old city stone walls. Palmen exhibited two photographs from this series as well as a 15 minute video that presents a documentation of her suit-modeling performance in the old city during her residency in 2006, capturing the public's reaction to, and intervention with, her performance. The camera perspective of the video is borrowed from the street surveillance cameras operated by the Israeli police, while she also draws upon the perspectives of the cameras carried by tourists visiting Jerusalem. Her work was exhibited at the Nidal Centre for Community Development, Christian Quarter, Old City.
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Ayreen Anastas
m* of Bethlehem
”m* of Bethlehem” (2003): is a video map of Bethlehem inspired by a map of the city from 1973. It concerns what was absent and what was represented on the map in relation to the actual site at that moment in time. Video projection 21 minutes, 2003. Exhibited at Al-Ma’mal Foundation, New Gate.
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Nabil Annani
Lost Horizon
“Lost Horizon”: Nabil Annani presented two sculptures for his contribution to The Jerusalem Show, made of wood, clay and paint, titled "Lost Horizon". The work represented the ancient walls that reveal the tales of history; with its divided geography, cement walls towers, and villages in harmony with their natural surroundings. The sculptures were presented at the Swedish Christian Study Centre, Jaffa Gate.
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Rula Halawani
The Warm Light Still There
In “The Warm Light Still There” (2004), photography project, Rula Halawani presents eight photographs of the old city of Jerusalem by night. The streets empty as though deserted and abandoned; occupied by a strong silence and shadow of night. Yet, Halawani expresses a desire to portray a connection to history, to record memories of her childhood past within the city - the warm amber light coming from street lights conveying a sense of the hopeful. The project was exhibited at the Spafford Children's Centre, Haret al Sa’idiyeh, Old City.
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(0.1)Jumana Manna
Pilgrimage to Nowhere
Pilgrimmage to Nowhere (2008): Manna's work consists of a short video made of manipulated footage showing a group of people roaming a hilltop. It is unclear if they are crossing over or aimlessly walking in one spot. The audio resembles cricket chirps and echoing moans coming from zombie-like figures. The location of Manna's piece, projected at the bottom of an empty well in the Old City of Jerusalem, adds to the feeling of obscurity and destitution.
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(0.1) Manar Zuabi
O'shb Akhdar Akhdar (Green Green Grass)
O'shb Akhdar Akhdar (Green Green Grass) (2008): The red thread-like cables sneak through the cracks of the walls without permission, penetrating humanity's lasting attempt to organize objects and restrict them within a specific time and space. This work addresses life's potential to come from nothingness. Life manifests itself before our eyes as the green grass comes from some unknown place. From with the wall or from behind it, its insistence reveals to us that life will never stop.
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(0.1) Jawad Al-Malhi
Na'eimen
Na'eimen (2008): With this work, Al-Malhi explores the memories of those who bathed in Hamam Al Ein when it functioned as a communal bath house. For this piece, the artist collected the stories of bridegrooms who bathed there before their wedding night, many of whom can no longer visit the Hamam. In their accounts, the men explore the memories of community, the space of the body, the Hamam, and their rite of passage. The work intends to create layers of memories in the space, with which the audience interacts via their movement as they access different narratives of the past.
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(0.1) Sliman Mansour
Introducing the Other
Introducing the Other (2008): "My work aims to introduce communites to each other through portraits of individuals of various genders and ages. By showing the portraits from one community to the other, I hope to make a small personal bridge that might bring neighbors closer to each other. Last year, I featured people from the Armenian and African communities. This year, I focus on the Syrian and Gypsy communities of Jerusalem. In the coming years, I hope to show portraits of all communities living in this unique city."
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(0.1) Sophie Elbaz
Frontiers
Frontiers (2008) is not about timeless images, but to call attention to the ways in which entire populations are being impacted through time. It is an unbearable yet very real spectacle on the TV screens of the world, presented like an addictive justification. By presenting the pictures in diptych format, Elbaz offers a dialogue between them while simultaneously creating a necessary tension for the work's interpretation. It is not only about confronting present-day reality in its truth, but to re-situated the self in the projection of one's own injured humanity.
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(0.1) Basma Al-Sharif
Everywhere Was the Same
Everywhere Was the Same (200): Al-Sharif's video is composed of: the sound of clicking slides; extracts from a speech by Palestinian leader Haider Abdel-Shafi; a heart-wrenching song by Fairuz; frame still pictures of houses that have long been abandoned; cities that have grown and changed in the absence of their original inhabitants; and a beautifully embroidered Palestinian gown (taken from Cinema East film festival program).
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(0.1) Tarek Al-Ghoussein
Blue Diptych
Blue Diptych (2008): "Although I did not set out to investigate the notion of transience, my video ended up developing from a process of exploring ideas related to land and place. While unexpected, the strong emphasis on longing led to a consideration of changing landscapes and ephemeral moments that are fixed in time rather than located in a specific place. This work continues the exploration by examining the relationship between the subject and space, particularly the relationship between the solitary figure and the temporary boundaries that define a place."
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(0.1) Judy Price
Assemblage
Assemblage (2008): Archival film material of a British observation kite ballon used during the Mandate period in Palestine is overlaid with a montage of sounds from religious orders. The sounds at times seem to almost imitate or respond to each other, confusing identities, whilst also transforming the kite ballon from war machine to prophetic apparatus of the sublime. Archive material courtesy of the Trustees of the Imperial War Museum, IW30; sound design by John Wynn.
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(0.1) Henrik Placht
Apology
Apology (2008): On 13 February 2008, the Australian nation finally apologized to the indigenous people of Australia for the tragic way they were treated throughout the generations. The same day that the apology was issued, Placht was invited to participate in "The Jerusalem Show" and decided to incorporate it into his piece. For Placht, the Australian case was clearly related to the historical and contemporary oppression of Palestinians in Jerusalem. Throughout history, European colonial powers, western interventions, and other regimes have repeatedly oppressed and killed people around the world, often without regret or apology. This is an apology.
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(0.1) Luchezar Boyadjiev
A City with a View(s) / The Guided Tour
A City with a View(s) (2008): "In my piece, cinema chairs were more appropriate to use than regular park benches because, symbolically, the rest of the world will be seen as if in a media/cinematic situation...usually, it is the rest of the world that sees Jerusalem only (or mainly) through the eyes of the media on the screen of the TV monitor during a broadcast of the news. I guess I want to remind the inhabitants and visitors of the city of Jerusalem just how important their city is to the rest of the world -- the whole world."
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(0.1) Mohammad Al-Hawajri
Mulukhiya
"Mulukhiya (2007-2008) is the name of a popular Palestinian summer meal that I incorporate into my work as an artistic meal that nourishes the mind. It is a beautiful plant in both form and color, and its cooking process is rather complex. This work represents the process of its preparation that captured my attention as a small child. I used to watch my mother finely chop the leaves to quickly cook it, and it helped silence the hunger of those long summer days. As an adult, I realized that the food we eat is part of our daily life, a life wrought with danger. We must emulate my mother's skill and cautious dexterity in handling a 'knife' in order to survive, in spite of the perils and obstacles we face in life's multi-colored and complex 'meal.'"
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(0.1) Wafaa Yasin
Mine Fields
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(0.1) Samir Srouji
Jack's Ladder (No Angels Here)
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(0.1) Hanna Farah- Kufer Birim
Sun Bird
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(0.1) Inass Yassin | 01-01-2009 To 01-01-2009
Transformation
Transformation (2008): Yassin's work is an extension of the artist's previous experiments. The paintings hint at the transformation process that occurs in the relationship between places and the situations that convert them into new ones.
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