Art curator and Programmer Portfolio - Daoud Andos by Daoud.h.andos

CURATORIAL PORTFOLIO

DAOUD ANDOS

PROFILE

DAOUD ANDOS

DAOUD ANDOS, ART CURATOR AND ARCHITECT, HOLDS A MASTER'S DEGREE IN ARCHITECTURE FROM THE NATIONAL SCHOOL OF FINE ARTS LU, AND IS A MASTER

2 STUDENT IN THE ART CRITICISM AND CURATORIAL STUDIES PROGRAM AT USJ HE HAS HELD A VARIETY OF ROLES, NOTABLY AS AN ARCHITECT, A CULTURAL MEDIATOR AND RESEARCHER FOR THE SURSOCK MUSEUM, ART GALLERY MANAGER AND INDEPENDENT ART CRITIC

FOLLOWING THE EXPLOSION OF AUGUST 4, 2020, DAOUD PARTICIPATED IN THE RENOVATION OF THE SURSOCK MUSEUM. HE ASPIRES TO PERUSE HIS PASSION FOR ARTS AND TO PARTICIPATE IN LOCAL CULTURAL MOVEMENTS, CHALLENGING THE STATUS QUO, ENVISIONING A CAREER ENCOMPASSING ARCHITECTURE, ART CURATING AND ART CRITICISM.

RECENT PROJECTS

1 MEMENTO MORI: UNFINISHED DIALOGUES (CURATOR)

2 THE LITTLE PRINCE OF GAZA (EXHIBITION WRITER)

3 I KEPT LOOKING AT MY HAND TO REMEMBER (PROGRAMMER)

4 HARMONIZING COLORS (ORGANIZER)

5 ART CAIRO (COORDINATOR/SALES REPRESENTATIVE)

6 MENART FAIR (COORDINATOR)

7 HIVIE (EVENT PLANNER)

8 SURSOCK MUSEUM RESTORATION (ARCHITECTURAL ASSISTANCE)

9 PUBLICATIONS:

MUSEUM OF REMEMBRANCE AND RECONCILIATION

LES ARTISTES PALESTINIENNES PEUVENT-ELLES PARLER? S’AFFIRMER FACE À UNE DOUBLE OPPRESSION

BEYROUTH EN COULEURS L’HISTOIRE DES CŒURS FLAMBOYANTS

APERÇU SUR FADI BARRAGE

APERÇU SUR L’ART DE PERFORMANCE

ROLES:

2024: ARCHITECT AT PLANBEE ARCHITECTS- SOHO

2023: ART GALLERY MANAGER - RAOUF RIFAI- TABARIS INDEPENDENT ART CRITIC

2022: ARCHITECT AT DESIGN NOVEL ARCHITECTS - NEJME

2020: ARCHITECT AT JADESIGNS (JACQUES ABOU KHALED) - SODECO

2018: CULTURAL MEDIATOR/ RESEARCHER AT SURSOCK MUSEUM - SURSOCK

2016: ARCHITECT AT RAB ARCHITECTS (RANI BOUSTANI) - MONOT

2015: INTERN AT NADIM KARAM STUDIO- MATHAF

2013: INTERN AT BERNARD MALLAT ARCHITECTS- HAZMIEH

2014: INTERN AT PLATFORM FOR ARCHITECTURE AND URBANISM- JOUNIEH

2013: MUSEOLOGY INTERN AT DIVINA ABOU JAOUDE ARCHITECTS - CLEMENCEAU

2012: ART INSTRUCTOR AT CERAMIC LOUNGE - SAIFI

EDUCATION:

2025: MASTERS DEGREE IN ART CRITICISM AND CURATORIAL STUDIES -USJ

2022: DURABLE ARCHITECTURE WORKSHOP - STUDIO MEDITERRANE - FR

2016: MASTERS DEGREE IN ARCHITECTURE FROM THE NATIONAL SCHOOL OF FINE ARTS, LU

2014: URBAN PLANNING WORKSHOP - POLITECNICA BARCELONA

2010: BAC IN LIFE SCIENCE (LB + FR) - SSCC - RASSIEH

UN VOYAGE ETHNOGRAPHIQUE À TRAVERS LES ESPACES MOBILES DU TRAJET BEYROUTH-BAALBECK

LIMINALITY AND ART PRACTICE

PORTFOLIO

DAOUD ANDOS

11 - 15.07.2024 1

CAPACITY: CURATOR

ARTISTS

BALSAM ABO ZOUR

PHILIPPE FARHAT

MOHAMAD KAAKI

MARIA MASAAD MOHAMED MANSOUR

MAXIME NAUDET-ANNOUNOU MAHMOUD ABDEL-MEGUID

ANNIE KURKDJIAN

ABSTRACT

ENTITLED "MEMENTO MORI: UNFINISHED DIALOGUES” THIS PROJECT AIMS TO ENCOURAGE AND PROMOTE OPENNESS AND INTER LEBANESE DIALOGUE THROUGH ART

WITH THE IMMINENCE OF A MAJOR CONFLICT AT BOTH NATIONAL AND REGIONAL LEVEL, THE FEAR OF A RETURN TO THE ATROCITIES OF THE 1975-1990 WAR IS GROWING AMONG THE LEBANESE POPULATION SINCE THE END OF THIS INTERNAL CONFLICT STATE AND RELIGIOUS AUTHORITIES, AS WELL AS THE MANY POLITICAL PARTIES THAT SHARE POWER, HAVE EXERCISED HARSH CENSORSHIP OVER SUBJECTS AND SPEECHES THAT RUN COUNTER TO THEIR ETHICAL AND MORAL CODES, UNDER THE PRETEXT THAT THEY ARE A THREAT TO PEACE AND ORDER.

AS A RESULT, MANY ARTISTS RESORT TO SELF-CENSORSHIP TO AVOID NEGATIVE REPERCUSSIONS ON THEIR CAREERS, FOR FEAR OF JEOPARDIZING THEIR REPUTATIONS TOO

THE EXHIBITION INVITES VISITORS TO REFLECT ON THE LATIN PHRASE "MEMENTO MORI," MEANING "REMEMBER THAT YOU MUST DIE, ENCOURAGING CONTEMPLATION OF MORTALITY AND THE IMPERMANENCE OF LIFE FURTHERMORE, IT ENCOURAGES PARTICIPATION IN OPEN DIALOGUES ON TABOO SUBJECTS THAT OFTEN PROVOKE CONFLICTING VIEWPOINTS AND BEHAVIORS VISITORS ARE INVITED TO SIT AT A ROUNDTABLE, SYMBOLIZING UNITY AND INCLUSIVITY, TO DISCUSS THESE CRUCIAL YET OFTEN AVOIDED TOPICS, FOSTERING ACCEPTANCE AND NUANCED UNDERSTANDING WITHIN THE COMMUNITY

"MEMENTO MORI: UNFINISHED DIALOGUES” EMPHASIZES THE NEED TO LISTEN TO AND UNDERSTAND DIVERSE PERSPECTIVES THE PROJECT DOES NOT AIM TO PROVIDE DEFINITIVE ANSWERS BUT RATHER TO PROVOKE QUESTIONS AND ENCOURAGE REFLECTION

IT ADVOCATES FOR QUESTIONING OUR COLLECTIVE AND INDIVIDUAL STANCES, INVITING US TO RECONSIDER ENTRENCHED POSITIONS AND FOSTER A CULTURE OF DIALOGUE BEYOND THE CONSTRAINTS OF COMMUNITY ALLEGIANCES

THIS APPROACH AIMS TO CONTRIBUTE TO A MORE NUANCED UNDERSTANDING AND A MORE INCLUSIVE CONVERSATION ABOUT THE ISSUES THAT SHAPE OUR LIVES

"MEMENTO MORI UNFINISHED DIALOGUES" EMPHASIZES THE NEED TO LISTEN TO AND UNDERSTAND DIVERSE PERSPECTIVES THE PROJECT DOES NOT AIM TO PROVIDE DEFINITIVE ANSWERS BUT RATHER TO PROVOKE QUESTIONS AND ENCOURAGE REFLECTION IT ADVOCATES FOR QUESTIONING OUR COLLECTIVE AND INDIVIDUAL STANCES, INVITING US TO RECONSIDER ENTRENCHED POSITIONS AND FOSTER A CULTURE OF DIALOGUE BEYOND THE CONSTRAINTS OF COMMUNITY ALLEGIANCES THIS APPROACH AIMS TO CONTRIBUTE TO A MORE NUANCED UNDERSTANDING AND A MORE INCLUSIVE CONVERSATION ABOUT THE ISSUES THAT SHAPE OUR LIVES.

2- CONTEMPLATION

THE CONTEMPORARY LEBANESE ARTISTIC LANDSCAPE FACES SIGNIFICANT CONSTRAINTS, WITH THE RANGE OF PERMISSIBLE SUBJECTS SHRINKING UNDER SOCIOPOLITICAL PRESSURES THE CURRENT EXHIBITIONS "MEMENTO MORI: UNFINISHED DIALOGUES” EMERGES AS A CRITICAL INTERVENTION AIMING TO UNPACK AND CONFRONT THESE LIMITATIONS THE PROJECT SEEKS TO CATALYZE DIALOGUE BY BRINGING TO THE FOREFRONT SUBJECTS THAT ARE OFTEN SUPPRESSED OR DEEMED CONTROVERSIAL URGING COLLECTIVE INTROSPECTION AMONG THE LEBANESE SOCIETY

3- INTERLUDE

THE POLITICAL LANDSCAPE IN LEBANON IS CHARACTERIZED BY POWER STRUCTURES’” INTENT ON CONTROLLING SOCIETAL NARRATIVES SINCE THE END OF THE 1975 WAR, THE PRETEXT OF MAINTAINING NATIONAL PEACE HAS BEEN EMPLOYED AS A MECHANISM FOR SOCIETAL CONTROL THIS EXCUSE HAS PERPETUATED A CULTURE OF CENSORSHIP AND STIFLED FREEDOM OF EXPRESSION THESE POWERS LIMIT DISCOURSE TO SUBJECTS THAT DO NOT PROVOKE CRITICAL DIALOGUE OR INFLUENCE PUBLIC OPINION, RESULTING IN A CULTURAL OUTPUT THAT SOMETIMES FEELS DETACHED FROM REALITY ARTISTS TODAY NAVIGATE A MINEFIELD OF EXPECTATIONS AND PROHIBITIONS. ARTWORKS DETACHED FROM THE SOCIOPOLITICAL CONTEXT ARE CRITICIZED AS OUT OF TOUCH WHILE THOSE BASED ON PERSONAL FEELINGS AND EMOTIONS ARE DEEMED SELF-INDULGENT, ACCUSED OF EXPLOITING TRAUMAS, TRAGEDY, AND WAR. SIMILARLY ART ADDRESSING IDENTITY IS OFTEN DISMISSED AS CLICHÉD

4- OPEN LETTER

POLITICALLY ENGAGED ART FACES SKEPTICISM VIEWED AS EITHER SELF SERVING, OUTDATED OR INFLUENCED BY FOREIGN AGENDAS THE REGIONAL CONTEXT FURTHER COMPLICATES THE NARRATIVE WITH ARTWORKS DISCUSSING NEIGHBORING CONFLICTS BEING CRITICIZED FOR APPROPRIATING EXPERIENCES TO REMAIN RELEVANT

5- CAN YOU SEE US?

THE DIVISION BETWEEN SUPPORTING THE PALESTINIAN CAUSE AND PRIORITIZING LEBANON'S PEACE PLACES INDIVIDUALS INTO SPECIFIC GROUPS, EACH WITH ITS OWN RESTRICTIVE IDEOLOGIES AND AGENDAS. IN THEIR QUEST FOR CONTROL THESE GROUPS EITHER CRIMINALIZE DISSENTING OPINIONS AS SUPPORT FOR THE ENEMY OR BLAME OTHERS FOR THE NATION'S PROBLEMS THIS ENVIRONMENT PERPETUATES A CYCLE OF CENSORSHIP AND INHIBITS GENUINE DIALOGUE, STIGMATIZING DISCUSSIONS

6- DON’T STOP

"MEMENTO MORI" PLACES THESE CONTENTIOUS ISSUES ON A SINGLE PLATFORM, CHALLENGING THE AUDIENCE TO CONFRONT THE REGION S STATE, LEBANON'S POLITICAL DYNAMICS AND THE PERVASIVE CONTROL OF EXPRESSION. THE EXHIBITION UNDERSCORES THE PARADOX OF A DIVIDED SOCIETY AGREEING ON CENSORSHIP AND THE LACK OF DIALOGUE

SCENOGRAPHY CONCEPT

THE SCENOGRAPHIC DESIGN OF THE EXHIBITION "MEMENTO MORI UNFINISHED DIALOGUES" GUIDES VISITORS THROUGH A JOURNEY OF EXPLORATION AND CONTEMPLATION IT BEGINS WITH A DELIBERATE PROGRESSION FROM LIGHTER, LESS PROVOCATIVE THEMES TO INCREASINGLY PROFOUND AND COMPLEX SUBJECTS. THIS CURATED PATHWAY IS DESIGNED TO GENTLY IMMERSE VISITORS, GRADUALLY PREPARING THEM FOR DEEPER ENGAGEMENT WITH THEMES THAT TOUCH UPON PROFOUND ASPECTS OF IDENTITY COLLECTIVE SUFFERING, AND INDIVIDUAL TRAUMAS.

CENTRAL TO THIS EXPERIENCE IS THE USE OF A RED RIBBON, WHICH SERVES NOT ONLY AS A SYMBOLIC REPRESENTATION OF CENSORSHIP BUT ALSO AS A PHYSICAL GUIDE LIKE A GENTLE HAND LEADING VISITORS THROUGH A NARRATIVE THE RIBBON TRACES A FLUID PATH, SUBTLY DIRECTING THEIR ATTENTION AND FOSTERING A COHESIVE JOURNEY OF DISCOVERY AS VISITORS PROGRESS, THEY ENCOUNTER ARTWORKS CHOSEN TO PROVOKE THOUGHT AND EVOKE EMOTIONAL RESPONSES EACH SECTION OF THE EXHIBITION IS CURATED TO FOSTER A DIALOGUE BETWEEN ARTWORKS, CREATING A COHESIVE NARRATIVE THAT ENCOURAGES NUANCED PERSPECTIVES AND CRITICAL REFLECTION THIS THOUGHTFUL ARRANGEMENT ENSURES THAT VISITORS ARE NOT MERELY PASSIVE OBSERVERS BUT ACTIVE PARTICIPANTS IN THE UNFOLDING DIALOGUE OF THE EXHIBITION

THE CULMINATION OF THIS JOURNEY IS A DEDICATED SPACE DESIGNED FOR VISITOR PARTICIPATION ENCLOSED BY THE RIBBON THIS FINAL AREA INVITES VISITORS TO CONTRIBUTE THEIR OWN PERSPECTIVES AND REFLECTIONS, THEREBY BECOMING INTEGRAL TO THE ONGOING DIALOGUE INITIATED BY THE EXHIBITION

"MEMENTO MORI UNFINISHED DIALOGUES" INVITES ALL PARTICIPANTS TO ENGAGE DEEPLY, CONFRONT UNCOMFORTABLE TRUTHS, AND EMBRACE THE NUANCES OF HUMAN EXPERIENCE

TEAM

1- CHILDREN’S WISDOM

HANIZUROB PALESTINE (B 1976

WAITNG#01 2010

ACRYLCANDPIGMENTSONCANVAS 99X1585CM

HANIZUROB PALESTNE B 1976

FLYNGLESSON#12 2013

ACRYLCANDPIGMENTSONCANVAS 200×160CM

IN WAITING N#1, 2010, HANI ZUROB DEPICTS HIS SON QUDSI SITTING ON A TWO-STEP LADDER, TAKING CENTER STAGE IN THE PAINTING; HE GAZES IMPATIENTLY AT THE VIEWER

A RED WALL IN THE BACKGROUND OCCUPIES MUCH OF THE PAINTING'S RECTANGULAR COMPOSITION, REMINDING US OF ZUROB'S OTHER PAINTING PORTRAYING THE APARTHEID WALL QUDSI FREQUENTLY VISITS HIS HOMETOWN IN PALESTINE WITH HIS MOTHER. MEANWHILE ZUROB GRAPPLES WITH THE HAUNTING INABILITY TO RETURN TO PALESTINE DUE TO THE THREAT OF DEPORTATION THE TITLE WAITING , THE VIBRANT RED BACKGROUND AND THE EXPRESSION ON QUDSI S FACE COLLECTIVELY CONVEY A PALPABLE ANGER THE PAINTING ADDRESSES THE CHILD S STRUGGLE TO COMPREHEND HIS FATHER'S PREDICAMENT AT A YOUNG AGE. DISPLACEMENT AND UNYIELDING ARTISTIC RESILIENCE HAVE SHAPED HANI ZUROB'S LIFE. RAISED IN THE CONFINED GAZA STRIP, WHERE MOVEMENT WAS LIMITED, HE SOUGHT SOLACE IN ART

HANI ZUROB'S PAINTING, FLYING LESSONS #12 2013, SERVES AS A POIGNANT CRITIQUEOF THE RESTRICTION OF MOVEMENT IN THE PALESTINIAN TERRITORIES, CONSISTING OF THE WEST BANK (INCLUDING EAST JERUSALEM) AND THE GAZA STRIP

ZUROB ALSO HINTS AT HIS FEAR OF DEPORTATION. WHEN HE MOVED TO PARIS, THE ISRAELI GOVERNMENT FORBADE HIM TO REENTER THE PALESTINIAN TERRITORIES

THE PAINTING FEATURES A YOUNG BOY SEATED ON A BOUNCING CHAIR IN THE UPPER RIGHT CORNER SEEMINGLY LIFTED INTO THE AIR, THE BOY AIMS TO OVERCOME A COLOSSAL WALL-THE APARTHEID WALL BUILT INSIDE THE WEST BANK IN PALESTINE. THE ARTWORK IS PREDOMINANTLY PAINTED IN LAVENDER PURPLE WITH SHADES OF GREY A THIN HORIZONTAL STRIP OF SKYLIKE BLUE FILLS THE TOP THE MIX OF SUBDUED LAVENDER AND MINIMAL SPACE FOR AN OPEN SKY REFLECTS THE ARTIST'S GRIM PERCEPTION OF HIS HOMELAND. THE PAINTING DEMONSTRATES A SENSE OF STILLNESS OR SOMEONE SUSPENDED IN LIMBO.

ENGAGING WITH CONCEPTS OF SPACE AND DISTANCE, THE ARTIST INTERTWINES TWO WORLDS: THAT OF QUDSI, HIS SON, DURING HIS VISITS TO PALESTINE, AND ZUROB'S EXILE NAMELY IN PARIS. USUALLY, QUDSI AND SABREEN DAOUD, THE ARTIST'S WIFE, UNDERTAKE FREQUENT JOURNEYS TO JERUSALEM FOR IDENTITY CARD RENEWALS AND FAMILY VISITS IN CONTRAST, THE ARTIST GRAPPLES WITH THE INABILITY TO RETURN TO PALESTINE DUE TO THE LOOMING THREAT OF DEPORTATION.

HANI ZUROB'S LIFE HAS BEEN DEFINED BY DISPLACEMENT AND UNWAVERING ARTISTIC RESILIENCE BECAUSE HE CANNOT RETURN TO PALESTINE FOR FEAR OF DEPORTATION ZUROB INITIATED AN ONGOING BODY OF WORK A SERIES TITLED FLYING LESSONS, IN 2009. IN SOME OF THE PAINTINGS, ZUROB UTILIZES TAR AS AN EXPRESSIVE MEDIUM.

THE RECENT PAINTINGS DEPICT HARD-EDGED, MINIMAL SHAPES WITH SHARP PLANES CREATED METICULOUSLY USING OPAQUE ACRYLIC PAINTS THE SERIES DERIVES ITS NAME FROM A TOUCHING QUESTION POSED BY THE TWO-YEAR-OLD QUDSI WHEN QUDSI AND HIS MOTHER DEPARTED FROM THE CHARLES DE GAULLE AIRPORT IN PARIS, HEADING TO PALESTINE, THE BOY ASKED HIS FATHER, HANI: "WHY DON'T YOU TRAVEL WITH US TO JERUSALEM?" TO WHICH THE ARTIST RESPONDED, "I AM LEARNING HOW TO FLY!" HANI ZUROB, ORIGINALLY FROM GAZA, STILL RESIDES IN PARIS, PATIENTLY AWAITING THE DAY HE CAN SOAR BACK HOME

2- THE LITTLE PRINCE OF GAZA MEMORIAL

LAILASHAWA PALESTNE,(B 1940D 2022)

TARGET,2013

MIXEDMEDAANDPHOTOGRAPHYON CANVAS

EDITONNUMBER:UNIQUE 205×191CM

LAILA SHAWA REKINDLED HER INTEREST IN PHOTOGRAPHY DURING THE FIRST INTIFADA IN 1987, WHEN POLITICAL GRAFFITI ART FILLED THE WALLS OF GAZA AS A WAY FOR DISSIDENTS TO BYPASS MEDIA CENSORSHIP IN HER OWN WORK, SHAWA WANTED TO EMPHASIZE THE URGENCY OF SUCH POLITICAL ART. POLITICAL GRAFFITI ART ALLOWS PEOPLE TO CARRY OUT A POLITICAL DISCOURSE WITH A SHARED EXPERIENCE OR MESSAGE IN ITS URGENCY AND CHAOS, GRAFFITI ART CAN CREATE DISCURSIVE UNITY

TARGET, 2013, IS A UNIQUE ARTWORK THAT RESPONDS TO THE TRAGICALLY HIGH DEATH TOLL AMONG GAZAN CHILDREN DURING ISRAELI MILITARY ASSAULTS THAT YEAR IT DRAWS INSPIRATION FROM THE ICONIC TARGET, 1992, IN SHAWA’S WALLS OF GAZA I SILKSCREEN SERIES. AT THE CENTER OF THE PHOTO LIES A CIRCULAR GUN TARGET VECTOR IN BRIGHT RED WITH A WHITE CENTER, AIMED AT A PALESTINIAN BOY’S FACE SHAWA DEPICTS THE PALESTINIAN BOY AS A BULLSEYE TARGET THE CHILD STARES STRAIGHT AHEAD RAISING HIS HAND TO SIGNAL THE VICTORY SIGN

THE UPPER HALF OF THE PHOTO FEATURES GRAFFITI SCRIBBLES IN ARABIC THAT READ, ﺖﻴﻗﺪﻨﺒﻟاﻦﻣﺪﻴﻬﺷ

OR “HAMAS – A MARTYR OF THE WEAPON”

SHAWA IS RENOWNED FOR HER DOCUMENTARY-STYLE PHOTOGRAPHS IN MIXED-MEDIA PIECES SHE ADEPTLY MANIPULATES PHOTOGRAPHS TO ADD COMPLEXITY TO HER SYMBOLISM IN THIS INSTANCE, SHE ADOPTS A STYLE REMINISCENT OF ROY LICHTENSTEIN’S COMIC-BOOK AESTHETIC TO COMMENT ON THE DEHUMANIZATION OF PALESTINIAN LIVES DRAWING A PARALLEL TO A VIDEO GAME EXPERIENCE SHAWA’S INCLUSION OF BOLD AND WARM COLORS IN HER WORK, EMOTIVE PICTURES, AND POLITICAL MESSAGING ALLOWS FOR A CAPTIVATING AND THOUGHT-PROVOKING VISUAL EXPERIENCE

SLMANANISMANSOUR PALESTNE(B 1947)

HOMELAND 2010

CHARCOALANDACRYLICONCANVAS 88X233CM

THE ARTWORK TITLED HOMELAND, 2010, BY ARTIST SLIMAN MANSOUR, ENCAPSULATES THE EXPERIENCES OF CONFINEMENT OF PALESTINIANS BEHIND A SECURITY BARRIER ALONG THE BORDER WITH ISRAEL, AND EXPERIENCES OF DEHUMANIZATION AT CHECKPOINTS AND ISRAELI-CONTROLLED BORDER CROSSINGS

THE PAINTING'S HORIZONTAL COMPOSITION IS VERTICALLY DIVIDED INTO THREE PARTS, SHOWING HALLWAYS WITH PEOPLE PACKED BETWEEN THICK CONCRETE WALLS MANSOUR EMPLOYS A COMMANDING USE OF LINEAR PERSPECTIVE, EMPHASIZING THE TOWERING HEIGHT OF THE WALLS AND SHRINKING THE HUMAN FIGURES TO PORTRAY THE CONCEPT OF DEHUMANIZATION. NOTABLY, FROM THE ONE-POINT PERSPECTIVE, THE VANISHING POINT FOR THE WALLS IS LOWER THAN THAT OF THE INDIVIDUAL, ALLOWING THE HEADS TO ALWAYS BE PERCEPTIBLE. SUCH A PLACEMENT ENHANCES THE VISUAL IMPACT OF THE CONCEPT OF WALLS CLOSING IN AND TOWERING OVER THE HEADS OF PALESTINIANS.

THE RESTRICTED COLOR PALETTE OF BLACK, WHITE, AND BROWN COUPLED WITH THE NUANCED POSTURES AND FACIAL EXPRESSIONS OF THE DEPICTED FIGURES, COLLECTIVELY FOSTER AN EMOTIONALLY CHARGED ATMOSPHERE INVOKING A PROFOUND AND SEEMINGLY UNENDING SENSE OF SORROW

AS WE DELVE INTO MANSOUR'S EXTENSIVE BODY OF WORK SPANNING DECADES IT BECOMES EVIDENT THAT RECURRING THEMES OF MOVEMENT RESTRICTION AND STEADFASTNESS SHAPE HIS PORTRAYAL OF JERUSALEM, THE PALESTINIAN LANDSCAPE, AND THE HOMELAND MORE GENERALLY THESE THEMES BECOME A COMMENTARY ON THE ENDURING INJUSTICES FACED BY THE PALESTINIAN PEOPLE

2- THE LITTLE PRINCE OF GAZA MEMORIAL

DIAALAZZAW IRAQ(B 1939) MARTYRSGNATURE(HANDHALLAH) 2012 BRONZE

EDITONNUMBER:3/9 32X17×92CM

HANZALA’ OR ‘HANDHALLAH’ IS A PROMINENT NATIONAL SYMBOL AND PERSONIFICATION OF THE PALESTINIAN PEOPLE. THE CHARACTER WAS CREATED IN 1969 BY POLITICAL CARTOONIST NAJI AL-ALI THE FIGURE DEPICTS A TEN-YEAR-OLD BOY AND IS OFTEN CONSIDERED AN APPLAUD FOR RESISTANCE AND THE PALESTINIAN IDENTITY. MOREOVER HE SERVES AS A SYMBOL OF PALESTINIAN REFUGEES YEARNING FOR THE RIGHT TO RETURN INITIALLY, THE NAME HANZALA FINDS ITS ROOTS IN CITRULLUS COLOCYNTHIS, A PERENNIAL PLANT INDIGENOUS TO PALESTINE THE PLANT BEARS A BITTER FRUIT, REGROWS WHEN CUT, AND BOASTS DEEP ROOTS, SYMBOLIZING DISPLACED PALESTINIANS’ ENDURING PAIN AND SORROW.

HANZALA WAS INITIALLY PORTRAYED WITH HIS FACE TOWARD THE VIEWERS IT UNDERWENT A SYMBOLIC TRANSFORMATION IN 1973. DISHEARTENED BY THE NORMALIZATION OF RELATIONS BETWEEN THE UNITED STATES, THE ARAB WORLD, AND ISRAEL, NAJI AL ALI TURNED HANZALA’S BACK TO THE AUDIENCE AL ALI EXPRESSED THAT THIS ACT WAS A “REJECTION AT A TIME WHEN SOLUTIONS ARE PRESENTED TO US THE AMERICAN WAY” AND A “SYMBOL OF REJECTION OF ALL THE PRESENT NEGATIVE TIDES IN OUR REGION.” NAJI AL-ALI ENVISIONED HANZALA REMAINING TEN YEARS OLD UNTIL THE BOY COULD RETURN TO PALESTINE. THE CHARACTER EVOLVED INTO AN ICONIC REPRESENTATION, EMBODYING A JUST CAUSE IN PALESTINE AND GLOBALLY NAJI AL- ALI, WHO JOINED THE ARAB NATIONALIST MOVEMENT IN 1959, FACED ACUTE CHALLENGES FOR HIS CRITICAL AND INFLUENTIAL WORK HE WAS ASSASSINATED IN LONDON IN 1987, BUT HANZALA’S LEGACY ENDURES.

MARTYR SIGNATURE, 2012 A BRONZE STATUE CREATED BY DIA AZZAWI, DEPICTS HANZALA’S FIGURE STANDING 32 CM LONG IT PAYS HOMAGE TO THE ENDURING LEGACY OF HANZALA AND NAJI AL-ALI, THE VISIONARY CREATOR. HANZALA IS SHOWN BAREFOOTED IN TATTERED ATTIRE, WITH AN UNSMILING COUNTENANCE, SHOULDERS SLUMPED, AND HANDS BOUND BEHIND HIS BACK IN THIS STOIC POSTURE, HE BECOMES A LIVING WITNESS TO THE HARDSHIPS BEFALLING HIS NATION, EMBODYING THE RESILIENT SPIRIT OF PALESTINIAN RESISTANCE.

HANZALA EMERGES AS A DYNAMIC SYMBOL IN DEMONSTRATIONS AGAINST ISRAEL, RESONATING AS A POTENT GRAPHIC REPRESENTATION OF PALESTINIAN RESILIENCE. HIS INFLUENCE TRANSCENDS THE REALM OF SCULPTURE, PERMEATING VARIOUS ART FORMS AND INSPIRING COUNTLESS ARTISTS AND WRITERS THE CHARACTER, BORN FROM THE CREATIVE MIND OF NAJI ALALI CONTINUES TO WEAVE ITS NARRATIVE INTO THE FABRIC OF PALESTINIAN EXPRESSION STEADFASTLY TESTIFYING TO THE ENDURING SPIRIT OF A PEOPLE DETERMINED TO OVERCOME ADVERSITY.

LAZZAW IRAQ,(B 1939) ARGET,2012 ZE

ONNUMBER:5/7 8×125CM

THE SCULPTURE TITLED THE TARGET, 2021, CRAFTED FROM BRONZE DEPICTS A GEOMETRIC REPRESENTATION OF THE HUMAN FIGURE, WITH ARMS OVERSTRETCHED LIKE WINGS INTO LONG RECTANGULAR FORMS TWO PERPENDICULAR THIN LINES SYMBOLIZING A PLUS TARGET SIGN, COVER THE CHEST AREA OF THE RECTANGULAR HUMAN FIGURE THE EVENTUAL POSE MAKES THE HUMAN FIGURE A SHOOTING TARGET. THE RIGHT-WING OF THE SCULPTURE EXTENDS TWICE AS FAR AS THE LEFT ONE, THUS CREATING AN UNSETTLING (IM)BALANCE BOTH WINGS ARE PERFORATED WITH HOLES THAT LOOK LIKE BULLET WOUNDS

AL AZZAWI’S SCULPTURES SKILLFULLY MELD WESTERN MODERNIST PRINCIPLES OF ABSTRACTION WITH EVOCATIVE POLITICAL COMMENTARY HIS WORKS, CHARACTERIZED BY A HARMONIOUS BLEND OF GEOMETRIC AND ORGANIC ELEMENTS, DRAW INSPIRATION FROM THE INTRINSIC BEAUTY OF NATURAL OBJECTS.

3- COLLECTIVE MEMORY OF EVIL

HOME, ALSO DOUBLES AS A TERM FOR FAMILY NAME IN COLLOQUIAL ARABIC. THIS DUAL MEANING REFERS TO D FAMILIES RESIDED TOGETHER, ENCOMPASSING CHILDREN MARRIED SONS, AND GRANDCHILDREN UNDER ONE DITION, REFLECTIVE OF THIS ARRANGEMENT, WHEN A FAMILY REACHED THE END OF ITS BLOODLINE, THE DOOR OUSLY LOCKED, AND THE KEY WAS TOSSED ONTO THE ROOF

E REFUGEE SHIP, CRAFTED BY AHMAD CANAAN, FEATURES A SHIP-LIKE STONE BASE CARRYING TWENTY BRONZE S A DIRECT SYMBOL OF THE PALESTINIAN'S HOME OWNERSHIP AS IMPLIED BY ITS TITLE (THE REFUGEE SHIP), THE SCULPTURE ADDRESSES THE FORCED DISPLACEMENT OF PALESTINIANS FROM THEIR HOMELAND EVEN IN SEEKING REFUGE ELSEWHERE, THEY STILL HOLD ONTO THEIR HOUSE KEYS

WITH ITS ELEVATED STERN AND LOW BOW, THE STONE SHIP, MIMICKING A PHOENICIAN SHIP, ALLUDES TO A JOURNEY INTO THE SEA. IT CARRIES OVERSIZED KEYS STRATEGICALLY SCATTERED IN AN ARTFUL RANDOM ARRANGEMENT. THE KEYS REPRESENT THE DESERTED HOMES AND THEIR UNJUSTLY EXILED OWNERS THEY STAND AS A TESTAMENT TO THE INTERNATIONALLY RECOGNIZED RIGHT OF RETURN GUARANTEED DURING AL-NAKBA, A REQUEST THAT TRAGICALLY REMAINS UNFULFILLED

AL-NAKBA IN ARABIC, MEANING THE CATASTROPHE, REFERS TO THE 1948 ARAB-ISRAELI WAR THAT LED TO THE OCCUPATION OF PALESTINE AND THE CREATION OF THE ISRAELI STATE ON MAY 15 OF THAT YEAR MORE THAN 750,000 PALESTINIANS WERE DISPOSSESSED OF THEIR HOMES AND PROPERTIES, AND 500 VILLAGES WERE DESTROYED. AL-NAKBA'S DEVASTATING INCIDENT IS COMMEMORATED ANNUALLY ON MAY 15 THIS EVEN SYMBOLIZES THE ONGOING STRUGGLE AGAINST OPPRESSION ROOTED IN THE EMERGENCE OF ZIONISM IN THE LATE 19TH CENTURY CENTRAL TO THE PALESTINIAN IDENTITY, AL-NAKBA HAS FUELED THEIR PURSUIT OF JUSTICE AND THE RIGHT TO RETURN HOME SINCE MAY 15, 1948.

LE PARDON, 2017, CREATED BY SHADI ALZAQZOUQ IS A COMPELLING 220X327 CM PAINTING THAT VIVIDLY DEPICTS A THEATRICAL SCENE THE DIAGONAL POSITIONING OF A WOUNDED MAN IN THE FOREGROUND DISRUPTS THE SYMMETRICAL COMPOSITION OF THE PAINTING THE VIEWER S ATTENTION IS CAPTIVATED BY A BULLET HOLE IN THE YOUNG MAN’S ABDOMEN THE WOUNDED MAN S HAND FALLS TO THE GROUND POINTING AT A SPRAY CAN IN THE FOREFRONT, A WOMAN IN TRADITIONAL PALESTINIAN THOBE AND A KEFFIYEH CRADLES THE MAN’S BODY, REMINISCENT OF MICHELANGELO’S ICONIC LA PIETA, 1498-1499

LE PARDON IS A DIRECT COMMENTARY ON THE HORRIFIC SITUATION OF PALESTINIANS UNDER AN APARTHEID REGIME. THE ARTIST ALSO ADDRESSES THE OPPRESSION OF PALESTINIAN ARTISTS AND THE CENTRALITY OF NONVIOLENT RESISTANCE COMPARABLE TO JESUS CHRIST, THE PALESTINIAN MARTYR LAYS IN THE WOMAN’S HANDS CREATING A VISUAL RESEMBLANCE TO MARY AND HER SON IN THE MADONNA DELLA PIETA. THE VISUAL COMPARISON SPEAKS TO THE CYCLICAL NATURE OF HISTORY AND THE RECURRENCE OF TRAGEDY ON THE SAME LAND

BEHIND THIS DUO, A GOLDEN FRAME UNVEILS A BLACK-AND-WHITE PHOTOGRAPH DEPICTING THE BUCHENWALD CONCENTRATION CAMP DURING THE HOLOCAUST THIS UNSETTLING IMAGE IS HELD BY TWO WESTERN CHEERLEADERS DRESSED IN THE PATRIOTIC AMERICAN FLAG COLORS OF BLUE, RED AND WHITE THE DUAL PERSPECTIVE INTRODUCES IRONY AND CONTRADICTION INTO THE DEBATE BY SHEDDING LIGHT ON THE SELECTIVE PRACTICE OF WESTERN VALUES AND THE WEST S ATTEMPT TO WASH AWAY ITS COLONIAL SINS WITH THE ZIONIST STATE

THE BACKDROP OF THE ENTIRE TABLEAU JUXTAPOSES THE SERENE BEAUTY OF THE SUNSET, WITH THE APARTHEID WALL SERVING AS A LITERAL AND VISUAL REPRESENTATION OF THE TERM “OPEN-AIR PRISON”

AMERSHOMAL PALESTINE (B 1981) GOLDENFRAME 2013 ACRYLCONCANVAS 40×100CM

SHADIALZAQZOUQ

B 1981)

4- A LOST PARADISE

SMAILSHAMMOUT PALESTINE (B 930D 2006)

HERESATMYFATHER 1957

OILONCANVAS

ISMAIL SHAMMOUT'S PAINTING, HERE SAT MY FATHER, 1957, DEPICTS A CHILD SEEMINGLY ORPHANED BY THE ISRAELI MILITARY ATTACKS ON PALESTINE. THE EMACIATED CHILD, BAREFOOT WITH SLUMPED SHOULDERS, SITS NEXT TO A BLOODSTAINED BROKEN STOOL/KURSI HE STARES MOROSELY AT THE KURSI WHERE HIS FATHER USED TO SIT, HIS OWN LITTLE BODY STREAKED WITH BLOOD

THE PAINTING'S SOMBER COLOR PALETTE, CHARACTERIZED BY DARK REDS AND OCHRE TONES, HEIGHTENS THE OPPRESSIVENESS OF WARTIME DESTRUCTION SIMILARLY, THE DESOLATE BACKGROUND OF BOMBARDED HOUSES AND BURNT TREES INTENSIFIES THE SENSE OF DESPAIR THE THEME OF PARENTAL LOSS IS CENTRAL TO THIS PIECE, SYMBOLIZED HERE BY THE THREE-LEGGED KURSI, WHERE ITS FOURTH LEG HAD BEEN BROKEN, AND THE ROOFLESS HOUSE BOTH ELEMENTS SUGGEST THE CHILD'S LOSS OF PROTECTION AND STABILITY, WHILE THE BRIGHT WHITE OF HIS SHIRT EMPHASIZES HIS INNOCENCE AMIDST ALL THE DESTRUCTION

HERE SAT MY FATHER EXEMPLIFIES SHAMMOUT’S EARLY PAINTING STYLE, PARTICULARLY EVIDENT IN HIS FIRST CRITICALLY ACCLAIMED WORK, WHERE TO? 1953, WHICH HAD COME TO BE KNOWN AS THE SYMBOL OF THE PALESTINIAN CAUSE. HIS WORKS DURING THIS PERIOD FAVORED AN EXPRESSIVE FIGURATIVE STYLE, WHERE THE FOCUS, AS SEEN IN THIS PAINTING, WAS ON EMOTIONAL INTENSITY, BOLD BRUSHWORK, SUBJECTIVE REPRESENTATION, AS WELL AS SYMBOLISM AND METAPHOR. HIS EARLIER WORKS, UP UNTIL THE EARLY 1960S, OFTEN REVOLVED AROUND THEMES OF DISPLACEMENT AND SUFFERING IN RELATION TO THE 1948 NAKBA AND HIS PERSONAL EXPERIENCE OF THE LYDDA DEATH MARCH THE COMING DECADES, ESPECIALLY BETWEEN THE 1960S AND 1970S, WOULD SEE A GENERAL SHIFT BY THE ARTIST TO A MORE VIBRANT PALETTE THAT PRIORITIZES RESISTANCE IN THE FACE OF OPPRESSION

PAINTEDBYJUMANAELHUSSEINI THESPRINGOFPALESTINE,1970 SHOWSTHEMAPOFPALESTINEINWHITE,AGAINSTAGOLDEN YELLOWBACKGROUND.THEMAPISFILLEDWITHTHEWORDSOFAPOEMBYMAHMOUDDARWISH,ARENOWNEDPALESTINIAN RESISTANCEPOET BIRDSARESURROUNDINGTHECALLIGRAPHY,EACHBIRDADORNEDWITHMOTIFSINSPIREDBYTRADITIONAL PALESTINIANEMBROIDERYPATTERN.

THEPOEM,TRANSLATEDFROMARABIC,READS: "DON'TBLAMEME!HATREDIGNITESMYBLOOD,ANDMYNOSTALGIASWELLSINMYVEINS DON'TBLAMEMEIFMYLANDWEEPS

CANIENDURESILENCEWHILETHEMOTHERSUFFERS?!SHEISMYMOTHER,ANDIDONOTKNOWHER OHORIZONTHATSURROUNDSMEANDFLARESUP IAMAGENERATIONNOTALONE,AREBEL WEHAVEPLEDGEDTOADVANCE"

ELHUSSEINI'SUSEOFBIRDSREFLECTSDARWISH’SOWNUSEOFTHEMETAPHOR,ESPECIALLYINHISBOOKBIRDSFROMWHICH THISPOEMISEXTRACTED INHISPOETRY,BIRDSOFTENSYMBOLIZETHECOLLECTIVEYEARNINGFORFREEDOM,HOMELAND RETURN,ANDRESILIENCEINTHEFACEOFADVERSITY THETITLE,THESPRINGOFPALESTINE,SIGNIFIESHOPEANDRENEWAL.THE BIRDS,DRAWNINADELIBERATELYSIMPLISTICANDNAÏVESTYLETOACCENTUATETHEIRSYMBOLISM,DENSELYFRAMETHEMAP SUGGESTINGUNITYANDCOMMUNITY.THEYFUNCTIONASHERALDSOFAFUTUREMARKEDBYPEACEANDFREEDOMFOR PALESTINE

THISISIMPORTANTBECAUSEDURINGTHE1960SAND1970S,BEIRUT’SPALESTINIANARTISTICLANDSCAPE WHICHELHUSSEINITOOK PARTIN,TENDEDTOEITHERFOLLOWTHEPLOEXPRESSIVESYMBOLICSTYLEAIMEDATUNIFYINGTHEPALESTINIANSBEHINDTHE CAUSE ORTHEMORECOSMOPOLITANWORLDOFBEIRUT’SARTSCENEANDITSGALLERIES THESPRINGOFPALESTINEEXEMPLIFIES ELHUSSEINI’SCAPACITYTOBRIDGEBOTHWORLDSTHROUGHMERGINGTHEPOLITICALWITHHERUNIQUEARTISTICAPPROACH THISISEVIDENTINTHESTYLISTICRENDERINGOFTHE‘HANDICRAFT BIRDS,WHICHHIGHLIGHTSHERAPPROACHOFBLURRINGTHE BOUNDARIESBETWEENARTISTICMEDIA,ANDWHATISCONSIDEREDFINEART

5- AL-INTIFADA

THE GLOW OF AL-INTIFADA, 2001, BY ISMAIL SHAMMOUT NARRATES THE STORY OF THE SECOND INTIFADA WHICH BEGAN IN LATE SEPTEMBER 2000 SHAMMOUT EMPLOYS DYNAMIC BOLD STROKES THAT ANIMATE THE PALESTINIANS FIGURES IN THE BOTTOM RIGHT CORNER, WHILE THE BLUE FIGURES OF THE ISRAELI FORCES ON THE LEFT ARE CONDENSED AND UNDIFFERENTIATED AS THEY EXTEND INTO THE BULLDOZERS DESTROYING THE LAND. HE USES A MULTITUDE OF COLORS IN MARKING OUT THE PALESTINIANS AND THE BACKGROUND TREES AND HOUSES OF THE VILLAGE OTHER MARKS OF VIBRANCY ARE BOTH THE PALESTINIAN FLAG, AND THE BURNING FIRES, ACCENTUATING THE MAIN UNDERLYING STRUGGLE

THE PAINTING EMPLOYS VISUAL STRATEGIES REMINISCENT OF MEXICAN MURALISM IN PARTICULAR, IT PRIORITIZES DYNAMIC COMPOSITION TO GIVE A SENSE OF URGENCY IN ITS DEPICTION OF A HISTORIC EVENT. SHAMMOUT ALSO UTILIZES NARRATIVE STORYTELLING TECHNIQUES IN WHICH THE PAINTING PRESENTS A SEQUENCE OF EVENTS; HERE, FOR INSTANCE, THE PALESTINIAN PEOPLE ARE ALL UNITED IN THEIR RESISTANCE OF THE AGGRESSOR, AND ARE OPTIMISTICALLY VICTORIOUS IN THEIR EFFORTS, AS DEPICTED IN THE LEFT UPPER CORNER BY THEM RISING TOGETHER AND HOLDING THE VIBRANT PALESTINIAN FLAG SYMBOLISM AND ALLEGORY ARE A RECURRENT ASPECT OF SHAMMOUT'S ARTISTIC REPERTOIRE.

IN THE CONTEXT OF THE SECOND INTIFADA, PROPAGANDA ART, MEANING ART THAT IS MEANT TO CONVEY A PARTICULAR VIEWPOINT OR MESSAGE, EMERGED AS A TOOL FOR EXPRESSING POLITICAL AND NATIONALISTIC SENTIMENTS REFLECTING THE PALESTINIAN STRUGGLE FOR SELF-DETERMINATION, RESISTANCE AGAINST ISRAELI OCCUPATION, AND THE DESIRE FOR INDEPENDENCE VARIOUS FORMS OF VISUAL MEDIA, INCLUDING PAINTINGS, WERE USED TO CONVEY MESSAGES MOBILIZE SUPPORT, AND MEMORIALIZE EVENTS

ISMALSHAMMOUT

PALESTNE B 1930D 2006 THEGLOWOFAL-INTIFADA 2001 OILONCANVAS1035×154CM

LAILA SHAWA S SCREAM, 2011, IS A MIXED MEDIA AND PHOTOGRAPHY ARTWORK, DEPICTING A STILL FRAME FROM CCTV FOOTAGE OF A FEMALE SUICIDE BOMBER CAPTURED AT AN ISRAELI BORDER CHECKPOINT SCREAM FEATURES TEN CONSECUTIVE RENDITIONS OF THE SCREAMING WOMAN IN TWO ROWS, WITH THE BOTTOM FIVE FOCUSING ON THE WOMAN'S GAPING MOUTH.

THE ORIGINAL VIDEO WHICH THE ARTWORK IS BASED UPON SHOWS THE PALESTINIAN FEMALE SUICIDE BOMBER IN A SECURITY CAGE BEING ORDERED BY THE ISRAELI SOLDIERS TO DISROBE AND REVEAL THE EXPLOSIVE DEVICE SHE WAS HIDING THE WOMAN FAILS TO DETONATE THE DEVICE THE CAMERA DISPASSIONATELY RECORDS HER ANGUISH AND BREAKDOWN AS SHE COMES TO THE REALIZATION THAT SHE WILL NOT ESCAPE THROUGH DEATH AS A SHAHIDA, AND, INSTEAD, WILL BE CONDEMNED TO THE MERCY OF THE ISRAELI MILITARY

THE DECISION TO RENDER THIS PIECE IN THE POP ART STYLE IS IMPORTANT TO UNDERSTANDING THE BROADER PERSPECTIVE THAT GUIDED THIS WORK POP ART IS CHARACTERIZED BY FEATURES SUCH AS TRANSIENCE, CONSUMERISM, AND EXPENDABILITY BY DEPICTING A SUICIDE BOMBER, SHAWA ALLUDES TO ANDY WARHOL'S ICONIC MERILYN DIPTYCH, 1962, PAINTINGS, WHICH WERE DONE AFTER THE ACTRESS SUICIDE. HOWEVER, IN HER CRITIQUE OF THE PHENOMENON OF SPECIFICALLY PALESTINIAN FEMALE SUICIDE BOMBERS, SHAWA IS NOTING THAT THESE WOMEN MAY HAVE HAD VERY LITTLE CHOICE IN THE MATTER.

BY JUXTAPOSING THE CHARACTERISTICS OF POP ART WITH THE FEMALE SUICIDE BOMBER, SHAWA IS POINTING OUT HOW THIS WOMAN, AND OTHERS LIKE HER, ARE REDUCED IN TWO WAYS. THE FIRST IS THROUGH THEIR OWN ENVIRONMENTS, WHICH SEE THESE WOMEN AS EXPENDABLE AS SHAWA COMMENTED, "THE MORE I LEARNED THE FACTS OF HER CASE, THE MORE SHE SEEMED THE VICTIM, A MINOR PAWN IN SOMEONE ELSE'S POWER-GAME, WHOSE VOLUNTEERING FOR MARTYRDOM' ONLY SPARED HER FROM BECOMING ANOTHER CASUALTY OF HONOR KILLING " THE SECOND WAY IN WHICH PALESTINIAN WOMEN ARE BEING REDUCED IS THROUGH THE MEDIA REPORTS ABOUT FEMALE SUICIDE BOMBERS, IN WHICH THESE WOMEN ARE DENIED THEIR OWN IDENTITY AS COMPLETE HUMAN BEINGS BY MEMORIALIZING THIS HARROWING MOMENT AS A LOOP OF POP ART HORROR, SHAWA IS MAKING CLEAR THE NECESSARY CRITIQUES THAT NEED TO BE MADE

LAILASHAWA PALESTNE SCREAM 2011 MEDUM MXEDMEDIAAND PHOTOGRAPHYONCANVAS 100X2505CM

CURATORIAL TEXT

I KEPT LOOKING AT MY HAND TO REMEMBER

BY INTRODUCING IMAGES FROM THE PAST INTO THE PRESENT, GESTURES OF REMEMBRANCE IN CINEMA UNSETTLE THE CONVENTIONAL COMPREHENSION OF HISTORY WHEN TRANSPLANTED INTO A TIME THAT IS NOT THEIRS, IMAGES ARE STRIPPED OF THEIR ORIGINAL CONTEXT, REINVESTED IN NEW AND PARADOXICAL WAYS, PROMPTING A REASSESSMENT OF THEIR IMPACT THIS JUXTAPOSITION OF DIFFERENT TEMPORALITIES CHALLENGES OUR PERCEPTION OF TIME AS A LINEAR UNDERSTANDING OF PAST, PRESENT, AND FUTURE UNFOLDING IN A CONTINUOUS AND PREDICTABLE MANNER.

THE INTERCONNECTED NATURE OF TIME MIRRORS THE COMPLEXITY OF MEMORY AT WORK, AS THE ACT OF REMEMBERING IS NOT CONFINED TO A LINEAR PROGRESSION BUT EXISTS AS AN INTERWOVEN MULTIFACETED WEB OF EXPERIENCES IT ECHOES WALTER BENJAMIN S CONCEPT OF 'MESSIANIC TIME THAT OFFERS A VISION OF THE PAST THAT CAN UNEXPECTEDLY AND RADICALLY TRANSFORM THE PRESENT HOW CAN CINEMA BE PERCEIVED AS THE SITE FOR SUCH ACTS OF TRANSFORMATION THAT BREAK THE USUAL FLOW OF HISTORY?

1 KEPT LOOKING AT MY HAND TO REMEMBER IS A FILM PROGRAM THAT PONDERS THESE DISRUPTED BOUNDARIES BETWEEN MEMORY AND REALITY, WHEN DEALING WITH A PAST AND A PRESENT MARKED BY VIOLENCE, DISPLACEMENT AND LOSS THE PROGRAM FEATURES FOUR FILMS THAT PERCEIVE CINEMA AS A DYNAMIC MEDIUM THROUGH WHICH THE DIVIDES OF TIME ARE FUZZY, ALLOWING FOR A DEEPER EXPERIENCE OF THE ENDLESSLY SHIFTING NATURE OF HISTORY

IN / HATE THEATER, I LOVE PORNOGRAPHY, RAED YASSIN SEEKS TO CREATE A BOND WITH HIS LATE UNCLE THROUGH THE WEAVING OF PERSONAL MEMORIES AND DISCOVERED OLD FOOTAGE VARTAN AVAKIAN'S THE VIDEO STORY EXPLORES THE DISTINCTION BETWEEN FILM AS A DIRECT CAPTURE OF REALITY VERSUS ITS ABILITY TO FABRICATE FANTASY IN HIS FILM THIS HAUNTING MEMORY THAT IS NOT MY OWN, PANOS APRAHAMIAN JUXTAPOSES THE HAUNTING MEMORY OF THE ARMENIAN GENOCIDE TO A CURRENT ECOCIDE HAPPENING IN THE SAME AREA WHERE THE GENOCIDE SURVIVORS FIRST ARRIVED. THE PROGRAM CONCLUDES WITH GIORGIO BASSIL S ARCHIVE OF THE FUTURE, A FILM THAT EXPERIMENTS WITH THE ACT OF RECOLLECTION OF VISIONS FROM THE FUTURE

THROUGH THE INTIMATE LENS OF PERSONAL FOOTAGE AND THEIR USE OF SYMBOLS AS SIGNS THESE FILMS ENCOURAGE US TO CONTEMPLATE THE INTRICACIES OF NARRATIVE CONSTRUCTION AND THE ELUSIVE NATURE OF PERSONAL AND COLLECTIVE MEMORIES, INVITING US TO RECALL ITERATIONS OF A PAST THAT MAY OR MAY NOT BE THIS PROGRAM IS CURATED BY DAOUD ANDOS, GHIWA EL TAYAR, ARDA KASHKASHIAN, ZOÉ LUNVEN AND NOUR KHAIR ALANAM, STUDENTS OF THE MASTERS IN ART CRITICISM AND CURATORIAL STUDIES AND THE MASTERS IN CINEMA IN THE FRAMEWORK OF THE FILM PROGRAMMING SEMINAR LEAD BY NOUR OUAYDA AT USJ

WRITTEN BY DAOUD ANDOS EDITED BY NOUR OUAYDA

1- I HATE THEATRE I LOVE PORNOGRAPHY

2- THE VIDEO STORY

3- THIS HAUNTING MEMORY THAT IS

NOT MY OWN

4- ARCHIVE OF THE FUTURE

HARMONIZING COLORS

"HARMONIZING COLORS," SHOWCASES RAOUF RIFAÏ'S ARTWORKS ALONGSIDE A LIVE PERFORMANCE BY COMPOSER NICOLAS J. CHAANINE

THE PAINTING "DARWICH ABOU EL CHANAB" PORTRAYS A DARWICH FIGURE SET AGAINST A BRIGHT YELLOW BACKGROUND HORIZONTAL BRUSHSTROKES BLEND COLORS DYNAMICALLY, IMPARTING A SENSE OF MOVEMENT AND ENERGY TO THE COMPOSITION

CHAANINE'S MUSICAL COMPOSITION, INSPIRED BY THE ARTWORK, REFLECTS THE PAINTING'S VISUAL ELEMENTS THROUGH ITS ORCHESTRATION EACH VISUAL MOTIF CORRESPONDS TO A MUSICAL INSTRUMENT CREATING A SYNTHESIS OF VISUAL AND AUDITORY ART FORMS

THIS FUSION DEMONSTRATES ART'S ABILITY TO PROVOKE EMOTIONS AND TRANSCEND TRADITIONAL BOUNDARIES THE RESULT IS AN IMMERSIVE SENSORY EXPERIENCE THAT CELEBRATES THE DIVERSE FORMS OF ARTISTIC EXPRESSION