curated by Ahed Izhiman
Exhibition opening: Wednesday 3 October 2018 at 5.30 pm
Al Hoash, Al Zahra street, Jerusalem
Interlude… an exhibition that represents the reality in which Jerusalem is living. It’s a pause in the midst of all the current tumultuous events. It travels between the past and the present to break the barrier between the place and the human, by setting up works of art in different locations in Jerusalem.
interlude…the comforting silence in a musical or a play that allows you to travel to new spaces and helps you understand everything that happened and will happen, in an attempt to freeze the moment.
This exhibition is designed to break the barrier between Jerusalemites and their existence, by igniting different feelings, in an inescapable attempt to highlight the importance of solidarity, as emphasized by Qalandia International 2018. Al-Hoash presents this theme through the participation of Palestinian artists from the diaspora in addition to local artists and international ones who are in solidarity with the Palestinian cause. The exhibition mainly represents a nostalgic process that underscores the importance of solidarity with Palestine in general and with Jerusalem in particular.
Live broadcast, Video Art
If one, even just for a brief moment, lets down their guard when approaching an artwork they are susceptible to being played, duped, or taken for a ride. This is why, at the inaugural moment of his Republic, Plato banishes the artists; artists are seen as master swindlers, tricksters and mimics, toying with truths as playthings and organizing deception at the level of the sublime. Yet what Plato perhaps misses is that through this defamiliarization of appearances art doesn’t merely deceive but also has the power to make deception appear, and that these are the tools artists have to offer to politics, in particular to the politics of solidarity. In a time when solidarity propaganda has become subsumed within the commercial realm of social media and adopted by corporations, NGOs, and cultural institutions as a thing to be bought and sold, defamiliarizing the deception inherent in the normative and commodified image of solidarity is an imperative.
For al-Hoash’s Qalandyia International 2018 exhibition ______, Blake Shaw will present the project Invertigo, a guerrilla television studio broadcasting experimental programs live from the gallery that employ techniques of camouflage, dissimulation, and ludic subversion to create a poetics of deceiving deception itself. Scholars, theorists, artists, and activists from Palestine and abroad will be invited to participate as camoufleurs to contribute tactics of discursive estrangement. If it is the disorienting lack of social solidarity in contemporary society that allows its semblance to become a commodity to be consumed, then it is the consumption of the normative image of solidarity which fends off the vertigo of our increasingly fragmented reality. Therefore an inversion seems necessary to restore solidarity to its unitary foundations: the deception of deceptions, the disorientation of disorientation, the sublimation of the sublime and the inversion of vertigo.
Noor Abu Arafeh
THE UNTITLED PAINTINGS
Colors, Fabrics and wood that have been traumatized” (2010-2011)
This series of paintings in different sizes were produced during the artist’s BFA. They refuse to be manipulated, categorized, or labeled. The shrouded abstractions withhold information while opening avenues for different allegorical readings.
(images on wallpaper)
Wallpaper, consists of collected images, screenshots from the internet in order to create a certain pattern and finally reproduce them in the form of Wallpaper.
Images from our actuality that are recognizable, images that carry in them the horror, may they be latent, suggested or present.
The bombings, the weapons, the scenes of arrests would become physically the setting of our daily life. The use of wallpaper would neutralize these images: it affirms both their omnipresence in our lives and the relative detached disinterest we have towards them as a consequence of their repetitive nature.
The images of September 11, although embedded in our memories, do not move us anymore, for they have been assimilated, absorbed and digested. The horror is replaced with the historic event, written and disembodied.
Through effects of reduction to essential forms, games of symmetry and inversely, the motifs would acquire an aesthetic quality and reveal their brutality only to the one who approaches them and gives them a conscientious look. The process of "awakening" or revelation to this information would therefore be the opposite of that experienced in front of our screens: ordinarily the shock would follow. The effect would be all the more obvious as it would be unexpected.
(tar and acrylic on canvas)
The series Zeft consists of Zeft #01 to Zeft #25, Zeft Ala Qemash #01 and #02 and Zeft on
Canvas, and Sea of Memories. One can obviously trace the descent of this new body of
work from the earlier series Standby, yet it marks a rupture in Zurob’s painterly practice as
it exposes new processes revolving around tar as a primary medium applied on the
canvas ignoring traditional painting tools and techniques. In its commercial use, tar is
sticky and viscous. The artist created his own recipe by diluting tar with acrylic binder
medium that probably lends its silky, shiny and waxy quality to the finished works at the
same time as it allows the tar to adopt a wide range of textures.
According to the artist, the early meaning of zeft in Arabic is asphalt. Zeft it also commonly
used as a pejorative term that expresses a wide range of feelings from a disheartened
state of mind to revulsion, or a curse when applied to a situation, and sometimes it refers
to misfortune. It is well known that Israel’s national interests and colonial project demand
acquiring the language of the enemy, and the Israeli soldiers were certainly aware of the
negative nuances of the word zeft when they covered the streets with asphalt. Besides, we
must remember that in Gaza, with the circulation of political leaflets being as restricted as
the mobility of people, messages and statements are transmitted through graffiti or
inscriptions on houses and walls in public spaces.
*Yasmina Reggad, February 2017
OUT OF JOINT
Inspired by Mark Fisher’s concept of ‘nostalgia for the future’, and ‘Hauntology’ as the manifestation of a specific cultural moment. The work derives from the formal nostalgia of the current moment rather than the psychological nostalgia per se. It deals with our incapability of producing the ‘new’, the ‘now’. All that’s left, therefore, is an endless return of dead forms.
“Observance” is a new research-based art project that examines “November 29 - the International Day of Solidarity with the Palestinian People” as observed by the United Nations. Tom Bogaert will use video, sound, web and installation to illuminate the origin, history, relevance, and position of this annual observance vis-à-vis other UN-organized international days such as the World Braille Day, the International Day of Happiness and the World Tourism Day.
An international observance, also known as an international dedication or international anniversary, is a period of time to observe some issue of international interest or concern. This is used to commemorate, promote and mobilize for action.
The “International Day of Solidarity with the Palestinian People” was established in UN General Assembly Resolution 32/40 B of 2 December 1977, to start in 1978. Special commemorative activities are organized by the “Division for Palestinian Rights of the United Nations Secretariat” in consultation with the “Committee on the Exercise of the Inalienable Rights of the Palestinian People.”
On the roof
(Paintings on the roof)
The old city of Jerusalem is a densely populated area, and attention to its beauty is no longer available. The economic and social situation has led to a state of indifference to the place, where the lack of attention to the beauty of the place has become apparent. The aesthetic of most buildings in the old town in terms of construction and domes became hidden for the overcrowding of the surface with tools, necessities and various materials, so what can be seen from the top are only water tanks, satellite, cables, wires, The landscape, the horizontal picture of the old town, became unpleasant, a distorted picture concealing the real beauty of its culture and structure.
The sense of belonging is undoubtedly present, but it is lacking in the art and culture, as a major component of cultural identity. Through this urban intervention, Joulani tries to beautify the roofs of houses in the Old City of Jerusalem. It is an interactive artistic intervention through a series of drawings on the rooftops of the old city , that reflects the cultural and national identity.
Most importantly, this project introduces art as a tool for change and interaction with society, and it aims to create a new reality based on the development and restoration of public and private spaces. This feeling paves the way for building and sustaining a long-term, long-lasting relationship felt by each individual in the community of different strata by belonging to a place that represents them.