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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) 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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Our sincere gratitude to The Ford Foundation, The Khalid Shoman Foundation, the Jerusalem Unit, and the Belgian Consulate in Jerusalem for their continuous support and partnership.
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