cactus Border By - MOHAMMED AL HAWAJRI 2010 by mohammed al hawajri

cactus

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Mohamed Al Hawajri !‫ﺟـﺮ‬%‫ﻟﺤـﻮ‬% ‫ﻣﺤـ*ـﺪ‬

]‫ﻟﻔﻨﻮ‬4^ ‫ﻟﻌﺮﺑﻲ ﻟﻠﺜﻘﺎﻓﺔ‬4 J^‫ﻟﺼﻨﺪ‬4 ‫ﺎﻣﺞ‬6‫ﻞ ﻣﻦ ﺑﺮ‬H‫ ﺑﺘ'ﻮ‬p^‫ﻟ'ﺸﺮ‬4 4‫ﺠﺰ ﻫﺬ‬64 This project funded by The Arab Fund for Arts and Culture

cactus

borders !‫ﺣﺪ(' &ﻟﺼﺒﺎ‬

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Mohamed Al Hawajri !‫ﺟـﺮ‬%‫ﻟﺤـﻮ‬% ‫ﻣﺤـ*ـﺪ‬

”‫ ﻋ'ﻞ “ﺻﺤﺘﺒﻦ ^ﻋﺎﻓﻴﺔ‬:Q‫ﺟﺮ‬4‫ﻟﺤﻮ‬4 ‫ﻫﺮ‬4` ‫ﻟﻄﻔﻞ‬4 Thanks Eltiqa Artists House - Exhibiting hall Almasri family - Cactus field - Al-Bureij Artist: Mohamed Abusal - Help in preparing “Cactus Carpentry” Child: Zahir Alhawajri - Help in performance “Bon Appetit”

‫ﺑﻮﺳﻞ‬% ‫ ﻣﻦ ﺗﺼ'ﻴﻢ ﻣﺤ'ﺪ‬/‫ﻟﻜﺘﺎﻟﻮ‬4 ‫ﺼﺮ‬6 ‫ﻣﻞ‬% 7‫ﻟﻨﺼﻮ‬4 ‫ﺗﺮﺟ'ﺔ‬ ٢٠١٠ ‫ ﺳﻨﺔ‬/‫ﺘﺎ‬64 Design by: Mohamed Abusal Text Translation: Amal Nasr Production: 2010

Mobile :+972 (0) 599 88 23 58 Email: hawajriart@hotmail.com Website: www.mohammedalhawajri.com

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orn in Al Bureij refugee camp in 1976, lives and works in Gaza, and is a founding member of the Group confluence of contemporary art (Eltiqa group). Since 1999 - 2001 participated in summer academy at dar- alfonon(Khlid shoman association) supervised by professor Marwan Qassab Bachi my adviser to choose the contemporary art , won first prize at the Key in the course of Academy. In 1999 established the first personal exhibition at the French Cultural Center in Gaza entitled; new faces;, which was used by the technical fee on certain Microsoft direct the picture represented French Donov Catherine. In 2000 established Studies at first in the Gaza French Cultural Center and the second in Ramallah, which was first submitted to him within the contest organized by the artist promising AM Qattan Foundation on the draft bones of animals used in bone and dead animals has formulated a new way to read, especially motive for the meanings New away from the idea of death and separation. In 2001 the; Curl black; status Khalil Sakakini address crafts Arab free to take abstract nature of contemporary faith in the importance of the Arab trades for the value of aesthetic and visual movement is strong in the painting special magic. In the presentation of its work in 2002 in Amman Gallery zarra - GRAND HAYATT Amman paintings are used to doing spices and food component was present animal strongly, and in the same year was chosen again in the contest,;, the artist Hassan Hourani; from the draft; story tree; Qattan Foundation Ramallah, and the project using different configurations of graphics and photographic and color, to exhibit together on one wall of a new relationship between the use of different techniques that article. In 2007 at the French Cultural Center in Gaza exhibition entitled; spirit and fragrances; advance group of paintings dominated by the presence of symbols with the word Arab. Written always look at everything that is new and tends to use things neglected and consumers employed in substantive work, which takes a contemporary And has participated in numerous group exhibitions inside and outside Palestine. During the past years.

Mohammed Al-Hawajri Information Work and live in Gaza Born in Gaza, Palestine, 1976 Address : 11/1 Al Buriej camp Gaza strip Palestine Achimenes One of the founders of the Fine art programme in the Palestinian Red Crescent Society in Gaza strip. One of the founders of a group Eltiqa of Contemporary Art in Gaza Strip. Member of the Board of ELTIQA artists House ( Gallery) Gaza. Solo Exhibitions 2009 Return from Paris in all centre culture frensh for the consulate general for France in Palestine (Gaza , Jerusalem , Nablus , Al Nasra , Bethlehem , Hebron , Ramallah ) 2007 Spirt & Perfums, In all centre culture frensh for the consulate general for France in Palestine (Gaza , Jerusalem , Nablus , Al Nasra , Bethlehem , Hebron , Ramallah , Berzeit) 2002 Zara Gallery in hotel hayat Amman , Amman – Jordan 2002 Project Story of the trees A.M Qattan foundation Ramallah 2001 Black Dreadlock, Sakakini Culture Center – Ramallah 2000 Second Personal Exhibitions, French Culture Center – Gaza 2000 bone animals sculpture prize the young artist A.M Qattan foundation Ramallah 1999 New Faces, French Culture Center - Gaza Collective Exhibitions 2010 •Proche-Orient Festival -city of Lily-Rose, France •Palestine to jour -gallery arcima - Paris •Vidéo'Appart Dubai International Video Art Biennial - UAE •Creativity in all cases is the Palestinian National Museum of Bahrain •Visual Stories, Eltiqa artists house - Palestine- Gaza •GAZART, Exhibition & Workshop, Eltiqa artists house- Palestine- Gaza •Creative Palestine, Art Sawa, Dubai, UAE •ELTIQA IN RAMALLAH - Sakakini Cultural Center - Ramallah - Palestine 2009 •Autumn of ELTIQA in Toulouse, France •White Night in French Cultural Center and Oran, Algeria •White Night in French Cultural Center Gaza Palestine •Summer of ELTIQA the Palestinian Red Crescent Gaza •Other Shadow of the city in the Palestinian Art Court Jerusalem •Auction in the Hotel Alhambra Palace with undp Jerusalem •Auction in the Palestinian Art Court Jerusalem •Creativity in all cases is the Palestinian, Institut du Monde Arabe Paris •" Skin " galary memory of the future Paris •The Jerusalem Show Al Mamal foundation for contemporary art – Jerusalem •Art Dubai in United Arab Emirates – Dubai •Special opening in Atalye museum Riz Adzak Paris •Video Installation " product of society " le 104 cenquatre Paris •Performance " Outstanding in the past " le 104 cenquatre Paris •Atalye museum Riz Adzak Paris •International theatre festival Artetherapy in Slovakia •Kassel Documentary Film and Video Festival - Kassel German •Art Rest, PRCS Gaza, Palestine •ELTIQA - Galerie Brigitte Graffault, Montauban, France •Traces Du Guerre, CCF Network, Gaza, Ramallah, Jerusalem, Nablus

2008 •In/Scene video art exhibition at Al Hoash Gallery, Jerusalem •3° International Art Prize "Arte Laguna" Roma Italy •International Painting Symposium Mediterranean in Art Waves of emotions-CAM Casoria Contemporary Art Museum Bescara – Italy •XIII Biennale of young artists from Europe and the Mediterranean- Bary Italy •The Jerusalem Show Al Mamal foundation for contemporary art - Jerusalem memory of the future in city international of arts Paris – France •Fair Handal Dar Al Karama Om Al Fahem Palestine selected pieces from Gaza " Galerie I,Acadie " – France •Eltiqa 2008 in university Toulouse France •Occupy the space London England 2007 •Gaza Seasons, Geneva, Switzerland •The white night, CCF, Gaza •Eltiqa, mobile exhibition, Albi, Toulouse, France •Gaza shooed pieces, Albi, Toulouse, Rodez - France •Binale Al Eskandaria Egypt 2006 •The white night, CCF, Gaza •From sands to gray, with Swiss Artist, Gaza •Occupy the space London England 2005 •10 Artists from Palestine - Mobile @ 10 Cities in France •Palestinian Artists - Manior - Margtini - Switzerland •Workshop Palestinian artists and Swiss artists - Geneva - Switzerland •Art contemporary Palestinian International Academy of Arts oslo Norway •Art contemporary Palestinian International Academy of Arts Gaza Ramallah •Video work shop and show in continual art school in Sieer Switzerland 2004 •10 Artists from Palestine - Mobile Exhibition - France 2003 •6 Artist (Nablus, Nazareth, Jerusalem and Gaza) - French Culture Centers. •Proof gallery, studi 1.1- London - UK •Brezies park - London - UK •I Remember 1948, Sidney, Australia 2002 •Winter 2002, Center Culture French, Gaza •International Book festival, Geneva, Switzerland 2001 •Marwan Kassab Bachi Student Exhibition, Darat Al Funun, Jordan •Arabic Jerusalem, Jordanian Artists Union, Amman, Jordan •We Will Be, PRCS, Gaza, Palestine •The 4th Al Sharjah Biennale, UAE •September Harvesting Exhibition Gaza Arts Village •An Nakba Memorial, Joint Mural Painting, Gaza 2000 Gallery de la Crenetle, Louzan, Switzerland. •In the Shadow of Intifada Exhibition, Gaza, Art and Crafts Village 1999-2001 •Amman's Summer Exhibition, Arts Palace, Amman, Jordan 1994-1999 •Shared in different Exhibition between Scholarships •2008- 2009 residence in city international of art (cite des artists) Paris – France •2003 Brezies international workshop - London – UK •2002 participate in " Hasan Horany " prize Qattan Foundation Ramallah •2000 participate in young artist prize in Qattan foundation Ramallah •1999 _ 2001 Nominated by Khalil Sakakini Cultural Center to participate in Khaled Shuman foundation *Darat Al Funun in Summer Academy, under the supervision of Artist Marwan Kassab Bachi, Amman, Jordan, (in the Years 1999, 2000, 2001) •2000 1st prize from khaled shoman foundation Darat Al-Funun Amman Jordan.

‫" ﺟ*ي‬2‫ﻣﺣﻣ) "ﺣﻣ) "ﻟﺣ‬ 2007 63‫ﺳ‬+-‫ﺳ‬٬ ‫ف‬+;‫ﻟﻲ ﺟ‬-9‫ﻟ‬6 ‫ف‬+;‫ﺟ‬:‫ﺟﺎ‬3‫ ﻣﻬ‬٬!‫ ﻏز‬7‫ﺳ‬-‫ ﻣ‬!‫;ﺳﻲ ﻓﻲ ﻏز‬3‫ﻟﻔ‬6 ‫ﻟﺛﻘﺎﻓﻲ‬6 ‫ﻛز‬3‫ﻟﻣ‬6 ٬G‫ﺿﺎ‬+‫ﻠﺔﺑ‬+‫ﻟ‬‫;ﺳﺎ‬3‫ ﻓ‬٬ ‫ز‬-‫ﻟ‬-‫ ﺗ‬٬ ‫ﻟﺑﻲ‬F ٬ .‫ض ﻣﺗ;ﻘ‬3‫ ﻣﻌ‬٬- Eltiqa ‫;ﺳﺎ‬3‫ ﻓ‬-- ‫ز‬+9-3/ ‫ﻪ‬+9-3٬ ‫ز‬-‫ﻟ‬-‫ ﺗ‬٬ ‫ﻟﺑﻲ‬F ٬ !‫ ﻏز‬:‫! ﻣ‬3‫ ﻗ&ﻊ ﻣﺧﺗﺎ‬3‫ ﻣﺻ‬- ‫ﺔ‬+39;‫ﻹﺳﻛ‬6- ‫ﻟﻲ‬-9‫ﻟ‬6 ‫ﺔ‬+39;‫ﻹﺳﻛ‬6‫;ﺎﻟﻲ‬+‫ﺑ‬2006 !‫;ﺳﻲ ﻓﻲ ﻏز‬3‫ﻟﻔ‬6 ‫ﻟﺛﻘﺎﻓﻲ‬6 ‫ﻛز‬3‫ﻟﻣ‬6 ٬ G‫ﺿﺎ‬+‫ﻟﺑ‬6‫ﻠﺔ‬+‫ﻟﻠ‬6!‫ ﻏز‬٬:++3‫ﺳ‬+-‫ﺳ‬ :+;‫ ﻣﻊﻓ;ﺎ‬٬‫ي‬9‫ﻣﺎ‬3‫ﻟ‬6 ‫ﻟﻰ‬K .‫ﻣﺎ‬3‫ﻟ‬6 :‫ ﻣ‬‫ﺎ‬+;‫&ﺎ‬+3‫ﺑ‬:9;‫ ﻟ‬:‫ﻟﻘ&ﺎ‬6 ‫ﺳﺳﺔ‬D‫ك ﻣ‬+6‫ز‬-‫ﻟﻣ‬6‫ت‬+‫ﺑ‬- ‫ﻟﻣﺳﺎﺣﺔ‬6 .‫ﺣﺗﻼ‬6 2005 ‫;ﺳﺎ‬3‫ ﻓﻲ ﻓ‬:9‫ ﻣ‬١٠ @ .+‫ﺑﺎ‬-‫ﻣ‬- :+&‫ﻓﻠﺳ‬:‫ ﻣ‬:-;‫ﻓ;ﺎ‬- 10 63‫ﺳ‬+-‫ﺳ‬Manio -Margtini - 36-;‫;ﺔ ﻟﻣ‬+9‫;ﻲ ﻣﺗﺣفﻣ‬+&‫ﻟﻔﻠﺳ‬6:-;‫ﻟﻔ;ﺎ‬663‫ﺳ‬+-‫ﺳ‬- ‫ف‬+;‫ﺟ‬- :++3‫ﺳ‬+-‫ﻟﺳ‬6 :+;‫ﻟﻔ;ﺎ‬6-:++;+&‫ﻟﻔﻠﺳ‬6 :+;‫ﻟﻔ;ﺎ‬6.‫ﺷﺔ ﻋﻣ‬3-‫ﺞ‬+-3;‫ﻟ‬6-‫ﺳﻠ‬-F :-;‫ﺔ ﻟﻠﻔ‬+‫ﻟ‬-9‫ﻟ‬6‫ﺔ‬+‫ﻣ‬+9‫ﻷﻛﺎ‬6-3‫ﻟﻣﻌﺎﺻ‬6 ‫;ﻲ‬+&‫ﻟﻔﻠﺳ‬6:‫ﻟﻔ‬6‫ ﷲ‬763 :-;‫ﺔ ﻟﻠﻔ‬+‫ﻟ‬-9‫ﻟ‬6‫ﺔ‬+‫ﻣ‬+9‫ﻷﻛﺎ‬6-3‫ﻟﻣﻌﺎﺻ‬6 ‫;ﻲ‬+&‫ﻟﻔﻠﺳ‬6:‫ﻟﻔ‬6Sieer 63‫ﺳ‬+-‫;ﺔﺳ‬+9‫ ﻓﻲﻣ‬:-;‫ﻟﻔ‬6 ‫ﺳﺔ‬39‫ض ﻓﻲ ﻣ‬3‫ﻋ‬- -+9+‫ﻓ‬.‫ﺷﺔ ﻋﻣ‬3-2004 ‫;ﺳﺎ‬3‫ ﻓ‬:9‫ ﻓﻲ ﺑﻌض ﻣ‬.-‫ ﻣﺗﺟ‬:+&‫ﻓﻠﺳ‬:‫ ﻣ‬:-;‫! ﻓ;ﺎ‬3‫ﻋﺷ‬2003 .‫ﺔ‬+‫;ﺳ‬3‫ﻟﻔ‬6‫ﺔ‬+‫ﻟﺛﻘﺎﻓ‬6‫ﻛز‬63‫ﻟﻣ‬6 (‫س‬9‫ﻟﻘ‬6- !3‫ﻟ;ﺎﺻ‬6- ‫ ﻏز! );ﺎﺑﻠس‬:‫ ﻣ‬:+;‫ﻓ;ﺎ‬6 !9‫ﻟﻣﺗﺣ‬6 ‫ﻟﻣﻣﻠﻛﺔ‬6 -- :9;‫ ﻟ‬- ١.١ ‫ي‬3+‫ض ﻓﻲﺟﺎﻟ‬3‫ ﻣﻌ‬!9‫ﻟﻣﺗﺣ‬6 ‫ﻟﻣﻣﻠﻛﺔ‬6 -- :9;‫ ﻟ‬-- ‫ﻘﺔ‬+9‫ﺣ‬- Brezies ‫ﺎ‬+‫ﻟ‬63‫ﺳﺗ‬F٬ ‫;ﻲ‬9+‫ﺳ‬٬ ١۹٤۸ 7‫ ﻋﺎ‬3‫ﺗذﻛ‬F 2002 !‫;ﺳﻲ ﻓﻲ ﻏز‬3‫ﻟﻔ‬6 ‫ﻟﺛﻘﺎﻓﻲ‬6 ‫ﻛز‬3‫ﻟﻣ‬6 ٬ ٢٠٠٢ G‫ﺷﺗﺎ‬63‫ﺳ‬+-‫ﺳ‬٬ ‫ف‬+;‫ﺟ‬٬ ^‫ﻟﻲ ﻟﻠﻛﺗﺎ‬-9‫ﻟ‬6 :‫ﺟﺎ‬3‫ﻟﻣﻬ‬6 2001 :93‫ﻷ‬6 ٬:-;‫ﻟﻔ‬6 !369 ٬‫ ﻗﺻﺎ^ ﺑﺎﺷﻲ‬:6-3‫ ﻣ‬:‫ﻟﻔ;ﺎ‬6 ‫ض &ﻠﺑﺔ‬3‫ ﻣﻌ‬:93‫ﻷ‬6 ٬:‫ ﻋﻣﺎ‬٬:++;93‫ﻷ‬6:+;‫ﻟﻔ;ﺎ‬6‫;ﻘﺎﺑﺔ‬- ٬‫ﺔ‬+‫ﺑ‬3‫سﻋ‬9‫ﻟﻘ‬6 :+&‫ﻓﻠﺳ‬٬!‫ ﻏز‬٬‫;ﻲ‬+&‫ﻟﻔﻠﺳ‬63‫ﻷﺣﻣ‬6 .‫ﻟﻬﻼ‬6 ‫ﺔ‬+‫ﺟﻣﻌ‬٬:-‫ ﺳ;ﻛ‬‫ت‬63‫ﻹﻣﺎ‬6 ٬‫ﻗﺔ‬3‫ﻟﺷﺎ‬6 ‫;ﺎﻟﻲ‬+‫ﺑ‬!‫ ﻏز‬-:-;‫ﻟﻔ‬6 ‫ﺔ‬+3‫ ﻓﻲﻗ‬/ .-‫ﻠ‬+F9‫ ﺣﺻﺎ‬‫ﺔ‬+;+&‫ﻟﻔﻠﺳ‬6‫ﻟﺛﻘﺎﻓﺔ‬6 !36‫ز‬- ‫ﻪ‬+369‫ﺣﺔﺟ‬-‫ ﻟ‬٬ ‫ﻟ;ﻛﺑﺔ‬6 ‫ى‬3‫ ذﻛ‬63‫ﺳ‬+-‫ﺳ‬٬Crenetle - ٬ Louzan ٢٠٠٠ !‫ ﻏز‬:+&‫ ﻏز!–ﻓﻠﺳ‬:-;‫ﻟﻔ‬6 ‫ﺔ‬+3‫ﻟﻘ‬6‫ﻻ;ﺗﻔﺎﺿﺔ‬6 .‫ ظ‬1999-2001 :93‫ﻷ‬6 :‫ ﻋﻣﺎ‬:-;‫ﻟﻔ‬6 !369 :‫ﻣﺎ‬-‫ ﺷ‬9‫ﺳﺳﺔ ﺧﺎﻟ‬D‫ﺔ ﻓﻲ ﻣ‬+‫ﻔ‬+‫ﻟﺻ‬6‫ﺔ‬+‫ﻣ‬+9‫ﻷﻛﺎ‬61997-1999 q‫ﺎ‬+‫ﻋﺎﻟﻣ‬-‫ﺎ‬+‫ﻣﺣﻠ‬.‫ﻟﻌﻣ‬6 ‫ش‬3-- ‫ض‬3‫ﻟﻣﻌﺎ‬6 :‫ ﻣ‬9+9‫ﻟﻌ‬6‫ﻛﺔ ﻓﻲ‬3‫ﻟﻣﺷﺎ‬6 ‫"ﺋز‬2‫"ﻟﺟ‬2 ‫"ﻟﻣ&ﺢ‬ (( 3‫ﻟﺻﺑﺎ‬6 9-9‫ )) ﺣ‬$-3‫ ﻣﺷ‬r‫ﺑﻲ ﻹ;ﺗﺎ‬3‫ﻟﻌ‬6 ‫ﻟﺛﻘﺎﻓﻲ‬6 ‫ق‬-9;‫ﻟﺻ‬6 ‫ ﻣ;ﺣﺔ‬2010 (( ‫;;ﺎ‬+‫ ))ﺑ‬$-3‫ ﻣﺷ‬r‫;ﻲ ﻹ;ﺗﺎ‬+&‫ﻟﻔﻠﺳ‬6:‫ﻟﻔ‬6 ‫ش‬-‫ ﻣ;ﺣﺔ ﺣ‬2010 ‫;ﺳﺎ‬3‫س ﻓ‬+3‫ﺑﺎ‬-:-;‫ﺔ ﻟﻠﻔ‬+‫ﻟ‬-9‫ﻟ‬6‫;ﺔ‬+9‫ﻟﻣ‬6‫ﻹﻗﺎﻣﺔ ﻓﻲ‬6 2008 – 2009 Brezies / !9‫ﻟﻣﺗﺣ‬6 ‫ﻟﻣﻣﻠﻛﺔ‬6 -- :9;‫ ﻟ‬-- ‫ﺔ‬+‫ﻟ‬-9‫ﻟ‬6.‫ﻟﻌﻣ‬6 ‫ﺷﺔ‬3- 2003 ‫ ﷲ‬763 "‫;ﻲ‬63-‫ﻟﺣ‬6 :‫"ﺣﺳ‬:‫ﻟﻘ&ﺎ‬6 :‫ﻟﻣﺣﺳ‬6 9‫ﺳﺳﺔ ﻋﺑ‬D‫ﻛﺔ ﻓﻲ ﺟﺎﺋز! ﻣ‬3‫ﻟﻣﺷﺎ‬6 2002 ‫ ﷲ‬763 :‫ﻟﻘ&ﺎ‬6 :‫ﻟﻣﺣﺳ‬6 9‫ﺳﺳﺔ ﻋﺑ‬D‫ﻟﺷﺎ^ ﻓﻲ ﻣ‬6 :‫ﻟﻔ;ﺎ‬6 !‫ﻛﺔ ﻓﻲ ﺟﺎﺋز‬3‫ ﻣﺷﺎ‬2000 ٬ ‫ف‬+‫ﻟﺻ‬6‫ﺔ‬+‫ﻣ‬+9‫ﻛﺎ‬F‫ ﻓﻲ‬:-;‫ﻟﻔ‬6 !369 * 9‫ ﺧﺎﻟ‬:‫ﻣﺎ‬-‫ﺳﺳـﺔ ﺷـ‬D‫ﻛﺔ ﻓﻲ ﻣ‬3‫ﻟﺛﻘﺎﻓﻲ ﻟﻠﻣﺷـﺎ‬6 ‫;ﻲ‬+‫ﻟﺳﻛﺎﻛ‬F.+‫ﻛزﺧﻠ‬3‫ ﻣ‬.‫ ﻗﺑ‬:‫ﺷﺢ ﻣ‬31999-2001 (٢٠٠١ - ٢٠٠٠ - ١۹۹۹ ‫ )ﻓﻲ ﻋﺎﻣﻲ‬:93‫ﻷ‬6 ٬ :‫ ﻋﻣﺎ‬٬ ‫ ﻗﺻﺎ^ ﺑﺎﺷﻲ‬:6-3‫ ﻣ‬:‫ﻟﻔ;ﺎ‬6 ‫ف‬63‫ﺷ‬K ‫ﺗﺣت‬ :‫ ﻋﻣﺎ‬-:93‫ﻷ‬6 :-;‫ﻟﻔ‬6 !369 :‫ﻣﺎ‬-‫ ﺷ‬9‫ﺳﺳﺔ ﺧﺎﻟ‬D‫ ﻣ‬:‫ﻟﻰ ﻣ‬-‫ﻷ‬6 !‫ ﺟﺎﺋز‬2000

!‫ ﻏز‬$‫ش ﻓﻲ ﻗ&ﺎ‬+‫ﻌ‬+- .‫ﻌﻣ‬+ ١۹۷٦ ٬ !‫ ﻏز‬$‫ﺳ& ﻗ&ﺎ‬- ‫ﺞ‬+3‫ﻟﺑ‬6 7+‫ ﻓﻲ ﻣﺧ‬9‫ﻟ‬:+&‫ ﻏز! ﻓﻠﺳ‬$‫ﻗ&ﺎ‬, ‫ﺞ‬+3‫ﻟﺑ‬6 7+‫ ﻣﺧ‬9‫ﺣ‬6- ‫ك‬-‫ﺑﻠ‬٠١/١١ : :6-;‫ﻟﻌ‬6 ‫"&ﺟﺎز"ت‬ !‫ ﻏز‬$‫;ﻲ ﻓﻲ ﻗ&ﺎ‬+&‫ﻟﻔﻠﺳ‬6 3‫ﻷﺣﻣ‬6 .‫ﻟﻬﻼ‬6 ‫ﺔ‬+‫ﻠﺔ ﻓﻲ ﺟﻣﻌ‬+‫ﻟﺟﻣ‬6 :-;‫ﻟﻔ‬6 ‫;ﺎﻣﺞ‬3‫ﺳﺳﻲ ﺑ‬D‫ ﻣ‬9‫ﺣ‬61999 !‫ ﻏز‬$‫ ﻓﻲ ﻗ&ﺎ‬3‫ﻟﻣﻌﺎﺻ‬6 :‫ ﻟﻠﻔ‬G‫ﻟﺗﻘﺎ‬6Eltiqa ‫ﻋﺔ‬-‫ﺳﺳﻲ ﻣﺟﻣ‬D‫ ﻣ‬9‫ﺣ‬F2002 .!‫ ﻓﻲ ﻏز‬:+;‫ﻟﻔ;ﺎ‬6 G‫ﻟﺗﻘﺎ‬6 ‫ت‬+‫! ﺑ‬369K ‫ ﻓﻲ ﻣﺟﻠس‬-‫ﻋﺿ‬2009 ‫ﻣﻌﺎ*ض ﻓ*)(ﺔ‬ :93‫ﻻ‬6 :‫ – ﻋﻣﺎ‬:-;‫ﻟﻔ‬6- ‫ﺑﻲ ﻟﻠﺛﻘﺎﻓﺔ‬3‫ﻟﻌ‬6 ‫ق‬-9;‫ﻟﺻ‬6 :‫ ﻣ‬7‫ﻋ‬9‫ ﺑ‬- !‫ ﺑﻐز‬:+;‫ﻟﻔ;ﺎ‬6 G‫ﻟﺗﻘﺎ‬6 ‫ت‬+‫ﺑ‬- 3‫ﻟﺻﺑﺎ‬6 9-9‫ ﺣ‬2010 2009 :+&‫ﺔ ﻓﻲ ﻓﻠﺳ‬+‫;ﺳ‬3‫ﻟﻔ‬6 ‫ﻟﻌﺎﻣﺔ‬6 ‫ﺔ‬+‫ﻟﺗﺎﺑﻌﺔ ﻟﻠﻘ;ﺻﻠ‬6 ‫ﺔ‬+‫;ﺳ‬3‫ﻟﻔ‬6 ‫ﺔ‬+‫ﻟﺛﻘﺎﻓ‬6 ‫ﻛز‬63‫ﻟﻣ‬6 ‫س – ﺷﺑﻛﺔ‬+3‫ ﺑﺎ‬:‫! ﻣ‬9-‫ﻟﻌ‬6 :+&‫ﺔ ﻓﻲ ﻓﻠﺳ‬+‫;ﺳ‬3‫ﻟﻔ‬6 ‫ﺔ‬+‫ﻟﺛﻘﺎﻓ‬6 ‫ﻛز‬63‫ﻟﻣ‬6 ‫ﺷﺑﻛﺔ‬- ‫ﺋﺢ‬6-3- X-3 2007 :93‫ﻷ‬6 ٬ :‫ﺎ! ﻋﻣﺎ‬+‫ق ﺣ‬9;‫ ﻓ‬Y36‫ي ز‬3+‫ض ﻓﻲ ﺟﺎﻟ‬3‫ﻣﻌ‬2002 ‫ ﷲ‬763 :‫ﻟﻘ&ﺎ‬6 :‫ﻟﻣﺣﺳ‬6 9‫ﺳﺳﺔ ﻋﺑ‬D‫! ﻣ‬3‫ﻟﺷﺟ‬6 ‫ﺎ‬+‫ ﺣﻛﺎ‬$-3‫ﻣﺷ‬2002 ‫ ﷲ‬763 - ‫ﻟﺛﻘﺎﻓﻲ‬6 ‫;ﻲ‬+‫ﻟﺳﻛﺎﻛ‬F ‫ﻛز‬3‫ ﻣ‬٬ G69-‫ﻟﺳ‬6 !3+‫ﻟﺿﻔ‬62001 !‫ ﻏز‬- ‫;ﺳﻲ‬3‫ﻟﻔ‬6 ‫ﻟﺛﻘﺎﻓﻲ‬6 ‫ﻛز‬3‫ﻟﻣ‬6 ٬ ‫ﻟﺛﺎ;ﻲ‬6 ‫ﻟﺷﺧﺻﻲ‬6 ‫ض‬3‫ﻟﻣﻌ‬6 2000 ‫ ﷲ‬763 :‫ﻟﻘ&ﺎ‬6 :‫ﻟﻣﺣﺳ‬6 9‫ﺳﺳﺔ ﻋﺑ‬D‫ ﻣ‬- ‫;ﺎت‬6-+‫ﻟﺣ‬6 7‫ ;ﺣت ﻋظﺎ‬2000 !‫ ﻏز‬- ‫;ﺳﻲ‬3‫ﻟﻔ‬6 ‫ﻟﺛﻘﺎﻓﻲ‬6 ‫ﻛز‬3‫ﻟﻣ‬6 - !9+9‫ ﺟ‬Y-‫ﺟ‬- 1999 ‫"ﻟﻣﻌﺎ*ض "ﻟﺟﻣﺎﻋ(ﺔ‬ 2010 3‫س – ﻣﺻ‬+-‫ﻟﺳ‬6 ‫ ﻣﺣﺎﻓظﺔ‬:-;‫ﻟﻲ ﻟﻠﻔ‬-9‫ﻟ‬6 3‫ﻷﺣﻣ‬6 3‫ﻟﺑﺣ‬6 :‫ﺟﺎ‬3‫ﻣﻬ‬‫;ﻲ‬+&‫ﻟﻔﻠﺳ‬6 :‫ﻟﻔ‬6 ‫ش‬-‫ﺣ‬- 3‫ﻟﻣﻌﺎﺻ‬6 :‫ ﻟﻠﻔ‬.‫ﻟﻣﻌﻣ‬6 ‫ﺳﺳﺔ‬D‫س(ﻣ‬9‫ﻟﻘ‬6 ‫ض‬-3‫ﻟﺟ;ﺔ )ﻋ‬6 ^6-‫ﺑ‬F ‫ض ﻋﻠﻰ‬3‫`ﺎق ﻣﻌ‬3K ‫س‬+3‫ﺑﺎ‬- ‫ﻣﺎ‬+‫ت ﺳ‬3F ‫ي‬3+‫ﺋﻣﺎ ﻓﻲ ﺟﺎﻟ‬69 :+&‫ﻓﻠﺳ‬‫;ﺳﺎ‬3‫ز ﻓﻲ ﻓ‬-3 ‫ﻠﻲ‬+‫;ﺔ ﻟ‬+9‫ ﻣ‬:‫ﺟﺎ‬3‫ق ﻣﻬ‬3‫ﻟﺷ‬6 :‫^ ﻣ‬+3‫ﻗ‬- Vidéo'Appart ‫ت‬63‫ﻹﻣﺎ‬6 -- ‫ﺑﻲ‬9 ‫ﻟﻲ‬-9‫ﻟ‬6 ‫ت‬3F -+9+‫ﻟﻔ‬6 ‫;ﺎﻟﻲ‬+‫ﺑ‬ :+3‫&;ﻲ ﻟﻠﺑﺣ‬-‫ﻟ‬6 ‫ﻟﻣﺗﺣف‬6 ‫ﻊ ﺣﺎﻻﺗﻪ‬+‫;ﻲ ﻓﻲ ﺟﻣ‬+&‫ﻟﻔﻠﺳ‬6 $69‫ﻹﺑ‬6:+&‫ – ﻏز! ﻓﻠﺳ‬:+;‫ﻟﻔ;ﺎ‬6 G‫ﻟﺗﻘﺎ‬6 ‫ت‬+‫ ﺑ‬٬ ‫ﺔ‬+3‫ﻟﺑﺻ‬6 ‫ﻗﺻص‬ - GAZART :+&‫ –ﻏز! ﻓﻠﺳ‬:+;‫ﻟﻔ;ﺎ‬6 G‫ﻟﺗﻘﺎ‬6 ‫ت‬+‫ ﻓﻲ ﺑ‬.‫ﺷﺔ ﻋﻣ‬3- - ‫ض‬3‫ﻣﻌ‬ ‫ت‬63‫ﻹﻣﺎ‬6 ٬ ‫ﺑﻲ‬9 ٬ 6-‫ت ﺳ‬3F ‫ي‬3+‫ﺟﺎﻟ‬٬ ‫;ﻲ‬+&‫ ﻓﻠﺳ‬$69‫ﻹﺑ‬6:+&‫ ﷲ ﻓﻠﺳ‬763 ‫ﻟﺛﻘﺎﻓﻲ‬6 ‫;ﻲ‬+‫ﻟﺳﻛﺎﻛ‬F .+‫ﻛز ﺧﻠ‬3‫ﻣ‬- ‫ ﷲ‬763 ‫ ﻓﻲ‬G‫ﻟﺗﻘﺎ‬6 2009 ‫س‬+3‫ﺑﻲ ﺑﺎ‬3‫ﻟﻌ‬6 7‫ﻟﻌﺎﻟ‬6 9‫ﻊ ﺣﺎﻻﺗﻪ ﻣﻌﻬ‬+‫;ﻲ ﻓﻲ ﺟﻣ‬+&‫ﻟﻔﻠﺳ‬6 $69‫ﻹﺑ‬6 ‫;ﺳﺎ‬3‫ ﻓ‬٬ ‫ز‬-‫ﻟ‬-‫ﻓﻲ ﺗ‬ELTIQA ‫ف‬+3‫ﺧ‬3‫ﺋ‬6‫ﻟﺟز‬6 ٬ :63`- ‫;ﺳﻲ‬3‫ﻟﻔ‬6 ‫ﻟﺛﻘﺎﻓﻲ‬6 ‫ﻛز‬3‫ﻟﻣ‬6 ‫ ﻓﻲ‬G‫ﺿﺎ‬+‫ﻟﺑ‬6 ‫ﻠﺔ‬+‫ﻟﻠ‬6!‫;ﺳﻲ ﻏز‬3‫ﻟﻔ‬6 ‫ﻟﺛﻘﺎﻓﻲ‬6 ‫ﻛز‬3‫ﻟﻣ‬6 ‫ ﻓﻲ‬G‫ﺿﺎ‬+‫ﻟﺑ‬6 ‫ﻠﺔ‬+‫ﻟﻠ‬6!‫;ﻲ ﻏز‬+&‫ﻟﻔﻠﺳ‬6 3‫ﻷﺣﻣ‬6 .‫ﻟﻬﻼ‬6 ‫ﺔ‬+‫ﺟﻣﻌ‬ELTIQA ‫ف‬+‫ ﺻ‬:+&‫س ﻓﻠﺳ‬9‫ﻟﻘ‬6 ‫;ﻲ‬+&‫ﻟﻔﻠﺳ‬6 :‫ﻟﻔ‬6 ‫ش‬-‫;ﺔ ﺣ‬+9‫ ﻟﻠﻣ‬3‫ﻷﺧ‬6 .‫ﻟظ‬6‫س‬9‫ﻟﻘ‬6undp ‫ﻹ;ﻣﺎﺋﻲ‬6 !9‫ﻟﻣﺗﺣ‬6 7‫ﻷﻣ‬6 ‫;ﺎﻣﺞ‬3‫ ﻣﻊ ﺑ‬G63‫ﻟﺣﻣ‬6 3‫ق ﻗﺻ‬9;‫ ﻓﻲ ﻓ‬٬ 96‫ ﻣز‬‫س‬+3‫ ﺑﺎ‬.‫ﻟﻣﺳﺗﻘﺑ‬6 !3‫ﻛ‬6‫ي ذ‬3+‫ "ﺟﺎﻟ‬9‫" ﺟﻠ‬ ‫س‬9‫ﻟﻘ‬6 -- 3‫ﻟﻣﻌﺎﺻ‬6 :‫ ﻟﻠﻔ‬.‫ﻟﻣﻌﻣ‬6 ‫ﺳﺳﺔ‬D‫ ﻣ‬٬ ‫س‬9‫ﻟﻘ‬6 ‫ض‬-3‫ ﻋ‬‫ﺑﻲ‬9 -- !9‫ﻟﻣﺗﺣ‬6 ‫ﺔ‬+‫ﺑ‬3‫ﻟﻌ‬6 ‫ت‬63‫ﻹﻣﺎ‬6 ‫ﻟﺔ‬-9 ‫ﺑﻲ ﻓﻲ‬9 ‫ت‬3F ‫س‬+3‫ﻓﻲ ﺑﺎ‬Atalye Adzak ‫ ﻣﺗﺣف‬-+9-‫ﺳﺗ‬F‫س‬+3‫ﺑﺎ‬cenquatre ١٠٤ ‫ﺳﺳﺔ‬D‫ " ﻣ;ﺗﺞ ﻣﺟﺗﻣﻌﻲ " ﻣ‬-+9+‫ﻓ‬‫س‬+3‫ﺑﺎ‬cenquatre ١٠٤ ‫ﺳﺳﺔ‬D‫ﻟﻣﺎﺿﻲ"ﻣ‬6 ‫ "ﻋﺎﻟق ﻓﻲ‬G69F ‫ﺎ‬+‫ﻓﺎﻛ‬-‫ﻓﻲ ﺳﻠ‬Art therapy ‫ﻟﻲ‬-9‫ﻟ‬6 3‫ﻟﻣﻌﺎﺻ‬6 ‫ﻗص‬3‫ﻟ‬6- X3‫ﻟﻣﺳ‬6 :‫ﺟﺎ‬3‫ ﻣﻬ‬‫ﺎ‬+;‫ﻟﻣﺎ‬F .‫ﻛﺎﺳ‬-- -+9+‫ﻟﻔ‬6 7‫ ﻷﻓﻼ‬.‫ ﻛﺎﺳ‬:‫ﺟﺎ‬3‫ﻣﻬ‬!‫;ﻲ ﻓﻲ ﻏز‬+&‫ﻟﻔﻠﺳ‬6 3‫ﻷﺣﻣ‬6 .‫ﻟﻬﻼ‬6 ‫ﺔ‬+‫ ﺟﻣﻌ‬٬ :‫ﺎ ﻓ‬+‫ﺑﻘ‬‫;ﺳﺎ‬3‫ ﻓ‬:‫ﺑﺎ‬-‫;ﺗ‬-‫ ﻣ‬٬ ‫ت‬+‫ﺟ‬+3‫ﺑ‬Graffault ‫ي‬3+‫ﺟﺎﻟ‬- ELTIQA :+&‫ﺔ ﻓﻲ ﻓﻠﺳ‬+‫;ﺳ‬3‫ﻟﻔ‬6 ‫ﺔ‬+‫ﻟﺛﻘﺎﻓ‬6 ‫ﻛز‬63‫ﻟﻣ‬6 ‫ ﺷﺑﻛﺔ‬٬ ^3‫ ﺣ‬3‫ﺛﺎ‬g2008 ‫س‬9‫ﻟﻘ‬6 ٬‫ي‬3+‫ش ﺟﺎﻟ‬-‫ﻟﺣ‬6 ‫ض‬3‫ ﻓﻲ ﻣﻌ‬-+9+‫ﻟﻔ‬6 :‫ض ﻓ‬3‫ﻣﻌ‬ - In/Scene ‫ﺎ‬+‫&ﺎﻟ‬+6Bescara - 3‫ﻟﻣﻌﺎﺻ‬6 :‫ ﻟﻠﻔ‬63‫ﺳ& ﻓﻲ ﻣﺗﺣف ﺑﺳﻛﺎ‬-‫ﻟﻣﺗ‬6 ‫ض‬+‫ﻷﺑ‬6 3‫ﻟﺑﺣ‬6 ‫ض‬-‫ ﺣ‬:‫ﺣﺎت ﻣ‬-‫ﻟﻲ ﻟﻠ‬-9‫ﻟ‬6 G‫ﻟﻠﻘﺎ‬6‫ﺎ‬+‫&ﺎﻟ‬+6-‫ى‬3‫ﺳ& ﺑﺎ‬-‫ﻟﻣﺗ‬6 ‫ض‬+‫ﻷﺑ‬6 3‫ﻟﺑﺣ‬6- ‫ﺑﺎ‬-3-F :‫ﻟﺷﺑﺎ^ ﻣ‬6 :+;‫ﻟﻔ;ﺎ‬6 ‫;ﺎﻟﻲ‬+‫ﺑ‬‫س‬9‫ﻟﻘ‬6 3‫ﻟﻣﻌﺎﺻ‬6 :‫ ﻟﻠﻔ‬.‫ﻟﻣﻌﻣ‬6 ‫ﺳﺳﺔ‬D‫ﻣ‬- ‫ﻟﺟ;ﺔ‬6 ^6-‫س ﻋﻠﻰ ﺑ‬9‫ﻟﻘ‬6 ‫ض‬-3‫ ﻋ‬‫;ﺳﺎ‬3‫ ﻓ‬- ‫س‬+3‫ ﺑﺎ‬:-;‫ﺔ ﻟﻠﻔ‬+‫ﻟ‬-9‫ﻟ‬6 ‫;ﺔ‬+9‫ﻟﻣ‬6 .‫ﻟﻣﺳﺗﻘﺑ‬6 ‫ﻓﻲ‬٤۸ .g :+&‫ ﻓﻠﺳ‬7‫ﻟﻔﺣ‬6 7F ‫ﻣﺔ‬63‫ﻟﻛ‬6 369 ‫ض ﺣ;ﺿﻠﺔ‬3‫ ﻣﻌ‬3‫ﺎ‬+‫ﺧﺗ‬6‫;ﺳﺎ‬3‫ز ﻓ‬-‫ﻟ‬-‫ﻓﻲ ﺟﺎﻣﻌﺔ ﺗ‬- Eltiqa 2008 ‫ﺎ‬+;‫&ﺎ‬+3‫ ﺑ‬:9;‫ﻟ‬- :‫ﻟﻘ&ﺎ‬6 ‫ﺳﺳﺔ‬D‫ك ﻣ‬+6‫ز‬-‫ﻟﻣ‬6 ‫ت‬+‫ﺑ‬- ‫ﻟﻣﺳﺎﺣﺔ‬6 .‫ﺣﺗﻼ‬6 -

*‫) "ﻟﺻﺑﺎ‬2)‫ﺣ‬ ‫ ﻓﻲ‬-‫;ﻣ‬+.6‫ ﻣﺎ ز‬-`- .7`63‫ ﻗـ‬9-9‫! ﻓﻲ ﺣـ‬3+‫ﻟﺻﻐ‬67‫ﺎﺗﻬ‬+‫ﻣﻠﻛ‬:-‫ﻟﻔﻼﺣ‬6 ‫& ﺑﻪ‬+‫ﺣ‬+٬‫ﺔ ﻣﻛﺎ;ﺔ `ﺎﻣﺔ‬+;+&‫ﻟﻔﻠﺳ‬6‫ﺔ‬+‫ﻓ‬63‫ﻟﺟﻐ‬6‫ ﻓﻲ‬3‫ﻟﺻﺑﺎ‬6 .‫ﺣﺗ‬+ ‫ﺷﺑـﻪ‬F 3‫ﻟﺻﺑـﺎ‬6 ‫ق ;ﺑـﺎت‬63-F .‫ ﺷﻛ‬:F ‫ ﻟﻲ‬-9‫ﺑ‬+.‫ ﺳﻛﺎ;ﻬﺎ‬3+‫ﺗﻬﺟ‬-٬‫ﻟ;ﻛﺑﺔ‬6 3‫ﺛ‬K .‫ﻻﺣﺗﻼ‬6 ‫`ﺎ‬3‫ﻣ‬9 ‫ﻟﺗﻲ‬6 ‫ﺔ‬+;+&‫ﻟﻔﻠﺳ‬6‫ى‬3‫ﻟﻘ‬6 ‫ﻗﻊ‬6-‫ ﻣ‬:‫ ﻣ‬3+‫ﻟﻛﺛ‬6 9‫ﻟﺻﺎﻣ‬6 ‫;ﻲ‬+&‫ﻟﻔﻠﺳـ‬6:‫ﻹ;ﺳـﺎ‬6 !‫ﺎ‬+‫ﺷﺑﻪﺑﺣ‬F ‫ﺑﺗﻪ‬3‫ﺑﺗﺷﺑﺛﻪ ﺑﺗ‬- ‫ﺔ‬+‫ﻟﻘﺎﺳ‬6‫ﺋﺔ‬+‫ﻟﺑ‬6‫ف‬-3‫ ﻓﻲ ﺑﻘﺎﺋﻪ ﻟظ‬.‫ﻻﺣﺗﻣﺎ‬6 ‫ﺗﻪ ﻋﻠﻰ‬39‫ﻓﻲ ﻗ‬- ٬3‫ﻟﺑﺷ‬6 ‫س‬-D3‫ﺑ‬ ٬‫ ﺑﺎﻟﺗ;ﺎﻗـﺿﺎت‬G‫ ;ﺑـﺎت ﻣﻠﻲ‬3‫ﻟﺻﺑـﺎ‬6 .‫ﻟﻔ;ﻲ‬6 $69‫! ﻣﻠﻬﻣﺔ ﻟﻺﺑـ‬9‫ﻟﻪ ﻟﻣﺎ‬-‫ﻟﻰ ﺗ;ﺎ‬K 3‫ﺧ‬g- ‫ﻗـت‬- :+‫ﺑ‬9-‫ﻋ‬F 6‫ ﻟﻬذ‬.‫ﺿﻪ‬3‫ﻟﻣﺗﻣﺳك ﺑﺄ‬6- ‫&;ﻪ‬- ‫ﻓﻲ‬ 7‫ﺎﺗﻬ‬+‫ﺑﺣـ‬:3‫ ﺗﻘـﺗ‬٬:++;+&‫ﻟﻔﻠﺳـ‬6 ‫ى‬9‫ﺑـﺔ ﻟ‬-‫ ﻓﺎﻛﻬﺔ ﻣﺣﺑ‬3‫ ﺗﻌﺑـ‬٬ ‫ق‬6‫ﻟﻣذ‬6 !-‫ ﺣﻠ‬3‫ﻟﺛﻣﺎ‬- ‫ﻠﺔ‬+‫ﺟﻣ‬63‫ز`ﺎ‬F ‫ف‬+‫ﺑﺎﻟﺻ‬3`‫ز‬+٬Y3‫! ﻣظﻬ‬-‫ ﻗﺳ‬7‫ﻏ‬3‫ﻓ‬ ‫ﻟﻬﻣ;ﻲ ;ﺑـﺎت‬F .:+9‫ﺔﻟﻠﻣﻌﺗ‬+‫ذ‬D‫ﻣ‬-‫ك ﺻﻠﺑـﺔ‬6-‫ ﺑﺄﺷـ‬Y3‫ﺛﻣﺎ‬- ‫ﺗﻪ‬6‫ﺣـﻣﻲ ذ‬+-‫ ﻓﻬ‬٬‫ﺔ‬+‫ﺎﺋ‬+‫ز‬+‫ﻟﻔ‬6 ‫ﺗﻪ‬+;‫ `ﺷﺎﺷـﺔﺑـ‬7‫ﻏ‬3- .:-3‫ﻟﻘـ‬6 ‫ت‬63‫ ﻋﺷـ‬3‫ﻋﺑـ‬ 3+‫ﺛ‬+.‫ز‬+7‫ﻟ‬- 3‫ﺛﺎ‬F 9‫ ﻓﻘـ‬٬‫ﺔ‬+;‫ﻋﻣﺎﻻﻓ‬F ‫ﻎ‬+‫ﺻ‬F:F Y9-‫ﺟ‬-- ‫ﺎﺗﻪ‬+‫ﻌﺔﺣـ‬+‫&ﺑ‬-Y3‫ﻌﺔ ﻣظﻬ‬+‫ﻟ&ﺑ‬-‫ﺔ‬+;+&‫ﻟﻔﻠﺳ‬6!‫ﺎ‬+‫ﻟﺣ‬6‫ﺗﻪ ﻓﻲ‬+‫ﺻ‬-‫ﻟﺧﺻ‬3‫ﻟﺻﺑﺎ‬6 ‫ﻣﺎ‬- ٬‫ﺎز‬+‫ﻟﻔ;ﻲﺑـﺎﻣﺗ‬6 3‫ ﻓﻲ ﻣﺧﺗﺑـ‬.‫ﺧ‬9+-`- ٬‫ﺔ‬+‫ﻠ‬+‫ﻟﺗﺷـﻛ‬6‫ي‬3‫ﻟﺑﺻ‬6 :‫ﻟﻔ‬6 ‫ﻬﺎ ﺑﻠﻐﺔ‬+‫^ﻋﻠ‬+‫ﺟ‬F:F .-‫ﺣﺎ‬F- ٬‫ﻻت‬D‫ﻟﺗﺳﺎ‬6 :‫ ﻣ‬9+9‫ﻟﻌ‬6‫ﺧﻠﻲ‬69 ‫ﻓﻲ‬ .‫ ﻛﻣﺎ ﻋﻣ‬.‫ﺔ‬+3+‫ﻟﺗﻌﺑـــ‬6‫ﺎﺗﻪ‬+;‫ﻣﻛﺎ‬K-^+‫ﻟﻌﺟ‬6‫ﻟ;ﺑـــﺎت‬6 6‫ﺎت `ذ‬+‫ﻬﺎﺟﻣﺎﻟ‬+‫زﻓ‬3‫ ﺗﺑـــ‬٬!3‫ﺔ ﻣﻌﺎﺻ‬+;‫ ﻣ;ﺗﺟﺎتﻓ‬7+9‫ﻠﺔﻟﺗﻘـــ‬+‫ﺳــ‬-‫ﻪ‬+‫ﻓ‬9‫ﺟ‬F ‫زﻟت‬ ٬:+&‫ ﻓﻲﻓﻠﺳـ‬7`9-‫ﺟ‬-‫ ﻟ‬6‫ﻣز‬3 3‫ﻟﺻﺑـﺎ‬6 ‫ ;ﺑـﺎت‬.‫ﻟﻰ ﺟﻌ‬K :-‫ﺳـﻌ‬+٬7‫ﻬ‬+‫ﻟ‬KY-‫;ﺳﺑ‬- ‫ﻟﺷﻌﺑﻲ‬6 ‫ﺛ;ﺎ‬63‫ﻗﺔ ﺗ‬3‫ ﻋﻠﻰ ﺳ‬:-‫ﻟﻣﺗﻌﺻﺑ‬6 :-+‫ﻠ‬+‫ﺋ‬63‫ﻹﺳ‬6 ‫ﺔ‬+‫ﺟ‬-‫ﻟ‬-+9+‫ﻷ‬6 ‫ﺔ‬+‫ﻋﺎ‬9‫ﻟ‬6:‫ ﻣ‬$-;‫ﺔ ﻛ‬+‫ﻋﺎﻟﻣ‬-‫ﺔ‬+‫ﺎتﻣﺣــﻠ‬+-‫ض ﻋﻠﻰﻣﺳــﺗ‬3‫ ﺗﻌ‬٬‫ﺔ‬+;‫ﻓ‬.‫ﻋﻣﺎ‬F ‫ﻟ;ﺑـﺎت ﻓﻲ‬6 6‫ `ذ‬7‫ﻬ‬+;‫ﻓ;ﺎ‬:‫ﻟﺑـﻌض ﻣ‬6 ‫ظف‬-+‫ﻘـﺔ‬+‫ﺣﻘ‬.‫ﻣﺛ‬+3‫ﻟﺻﺑﺎ‬6 ‫ ;ﺑﺎت‬:‫ﻹﺣﺳﺎس ﺑﺄ‬6 ‫;;ﻲ‬-‫ﻛ‬3‫ﺷﺎ‬+:++;+&‫ﻟﻔﻠﺳ‬6 :+‫ﻟﻣﺛﻘﻔ‬6-:+;‫ﻟﻔ;ﺎ‬6:‫ ﻣ‬3+‫ﻛﺛ‬.:+&‫ ﻓﻲﻓﻠﺳ‬9+9‫ﻣ‬9‫ﺟ‬6-‫ﺔ ﻟﺗ‬+;-+‫ﻟﺻﻬ‬6 ‫ﻛﺄ;ﻪ ﻓﻲ‬- ٬X‫ﻟﺳـﻼ‬6 !-‫ ﻣ;ﻬﺎ ﺑﻘ‬3‫ﻟﺗﻲ `ﺟ‬6 Y63‫ﻗ‬- ‫;ﻪ‬9‫ ﻣ‬3‫ﻣﺎ‬9 ‫ ﻋﻠﻰ‬9`‫ﻟﺷﺎ‬6- ٬‫&;ﻪ‬- ‫ ﻓﻲ‬Y9-‫ﺻﻣ‬- Y3‫! ﺻﺑ‬-‫ﻗ‬- ‫;ﻲ‬+&‫ﻟﻔﻠﺳ‬6:‫ﻹ;ﺳﺎ‬6 9-‫ﺟ‬3`‫ز‬+.6‫ ( ﻣﺎ ز‬3‫ﻟﺻﺑـ‬6 ) 3‫ﻟﺻﺑـﺎ‬6 ‫ ;ﺑـﺎت‬.‫ﺎ‬+‫ﻓ‬63‫ﻟﺟﻐ‬69-9‫ ﺣـ‬7‫ﺳـ‬3+٬‫ﻟﻣﺣـﺗﻠﺔ‬6 :+&‫! ﻓﻲﻓﻠﺳـ‬3‫ﻣ‬9‫ﻟﻣ‬6 ‫ى‬3‫ﻟﻘ‬6 ^‫ﺋ‬63‫ ﻓﻲ ﺧ‬Y3‫;ﺗﺷﺎ‬6- ‫ﺑﻘﺎﺋﻪ‬ 6‫`ذ‬- ‫ﻟﻔ;ﻲ؛‬6 $69‫! ﻣﻠﻬﻣﺔ ﻟﻺﺑ‬9‫ﻟﻪ ﻛﻣﺎ‬-‫ﻟﻰ ﺗ;ﺎ‬K 3‫ﺧ‬g- ‫ﻗت‬- :+‫ﺑ‬9-‫ﻋ‬F 6‫ ﻟﻬذ‬.:++‫ﻘ‬+‫ﻟﺣﻘ‬6 ‫ﻪ‬+‫ﻣﺣﺑ‬-‫ﻪ‬+‫ﻋ‬36‫!ز‬9-‫ ﻋ‬3‫;ﺗظﺎ‬6 ‫ﺗﻪ ﻓﻲ‬9‫ ﻛﻌﺎ‬٬3‫ﺛﻣ‬+.6‫ﺿﻲ `ذ‬3‫ ﻓﻲ ﻣﻌ‬3‫ﻟﺻﺑﺎ‬6 9-9‫ﺣ‬

‫ي‬3‫ ﺟ‬6-‫ﻟﺣ‬6 9‫ﺣﻣ‬6 9‫ﻣﺣﻣ‬ 2009-2010

actus occupies significant position in the Palestinian geography. Palestinian farmers used to take it as fence to enclosure their properties. It still grows very beautify in many Palestinian villages against many occasional annexations by the Israeli occupation starting from Al-Nakba or the catastrophe till today. I have my own vision of cactus as I see in its leaves something analogous to the human head. It's strong fortitude to survive within an extremely sordid environment and to stay persistent on ground typify the life in Gaza. Inspirational and conducive to creative art, cactus is very recurrent in my works. Its hard shape and appearance contradict with its interior component storing water, and blooming with flowers and fruits. In spite of its fragile structure, cactus has sharp nails as defensive power to any assault. I felt inspired by this plant for its exclusiveness in the life of Palestinians and for the nature of its existence as I try to articulate my affection in terms of visual art. Cactus is taking very dear place in my studio as I try to highlight every possible potential of this plant. In as much as it is an authentic figure, it occupies many contemporary artworks as a dominant theme. However; many Israeli efforts try to attribute cactus as a symbol of their identity. Many Israeli artists try to include cactus as marketing their ideological Zionism to suggest their right of Palestine. Most Palestinian artists share with me their belief of cactus as representation of Palestinians in their patience and long term of determination. Cactus is an eye witness to the many Israeli violations against my people and will always form one of its rich geographical components. Cactus is still blooming and waiting patiently Palestinian farmers to cultivate their land with love. These are the borders of cactus through my artworks.

Mohammad Alhawajri 2009/2010 The Palestinian Performance

‫ﺋﻲ‬4W% ‫ﻓﻦ‬

‫)ﻟﻔﻠﺴﻄﻴﻨﻲ‬

‫ي‬3‫ﻟﻔﻛ‬6 ‫ ﺑﺣــﺛﻪ‬39‫ﻊ ﻣﺻﺎ‬+-;‫ﺗ‬-٬‫ﺔ‬+;‫ﻟﻔ‬6‫ ﺛﻘـﺎﻓﺗﻪ‬3+-&‫ ﻓﻲﺗ‬9‫ﺟﺗﻬ‬+.!3‫ ﺳﺎﺣـ‬9+-٬!‫ز‬+‫ﺎﻣﺗﻣ‬+D3-٬‫ ﺛﺎﻗﺑـﺔ‬:+‫يﻋ‬3‫ﺟ‬6-‫ﻟﺣـ‬6 9‫ ﻣﺣـﻣ‬:‫ﻟﻔ;ﺎ‬6 ‫ﻣﺗﻠك‬+ ‫ﻣﻲ‬-‫ق ﻗــ‬-‫ ﻓ‬-` ‫ﻟﻣﺎ‬- ٬‫ ﺷﻌﺑــﻲ‬-` ‫ ﻟﻣﺎ‬٬‫ﺔ‬+;‫ﻟﻔ‬6‫ﺗﻪ‬693‫^ ﻓﻲ ﻣﻔ‬3‫ﻘــﺗ‬+٬‫ﻗـﻊ‬-‫ ﻣﺗ‬3+‫ﻏ‬-` ‫ﻣﺎ‬- ‫ف‬-‫ ﻣﺄﻟ‬-` ‫ ﻣﺎ‬:+‫ت ﻓ;ﻪﺑـ‬-‫ﺗﻔﺎ‬+.‫ﺑـﻲ‬-‫ﻷﺳﻠ‬6- ‫ﻟﻔ;ﻲ‬6 ‫ﻟﻰ‬K ‫ﺔ‬+;‫ﻟﻔ‬6‫ﻋﻣﺎﻟﻪ‬F :‫ ﻣ‬99‫^ ﻓﻲ ﻋ‬3‫ﻗـﺗ‬6 :K- !99‫ﺔ ﻣﺣـ‬+;‫ﺳﺔﻓ‬39‫ﻔﻪ ﻋﻠﻰ ﻣ‬+;‫ﺗﺻ‬:‫س ﺑﺎﻹﻣﻛﺎ‬+‫ﻟ‬.!93‫ﺔ ﻣﺗﻔ‬+;‫ﺔﻓ‬+‫ ﻣﺣﻘﻘﺎ ﻓﻲ ذﻟكﺷﺧﺻ‬٬3‫ﻣﻌﺎﺻ‬ ‫ﻟﻰ‬K ^‫;ﻘـﻠ‬+‫ ﻣﺎ‬:‫ﻋﺎ‬3‫ﺳـ‬- ٬‫ﻟك‬6‫ ذ‬-F ‫ﻋﻲ‬69‫ﻹﺑـ‬6 Y‫ﻻﺗﺟﺎ‬6 6‫ `ذ‬:‫;ﺎ ﻣ‬+‫ﺑﻪﺣـ‬3‫ﻘ‬+‫ﻟﺟﻣﺎﻟﻲ‬6 ‫;ﺷﻐﺎﻟﻪ ﻓﻲ ﺑﺣﺛﻪ‬6 :F ‫ ﺑﻣﻌ;ﻰ‬.‫ﺔ ﻣﺛﻼ‬+‫ﻛﺎﻻ;&ﺑﺎﻋ‬٬‫ﻓﻬﺎ‬3‫ﻣﺷﺎ‬ ‫ﺔ‬+‫;ﺎﺣـ‬:‫ ﻣ‬.^-‫ﻟﺷـﻌ‬6 ‫^ ﺛﻘـﺎﻓﺎت‬3‫ﺗﺗﻘـﺎ‬- ‫ﺔ‬+;‫ﻟﻔ‬6^3‫ﻟﺗﺟﺎ‬6 ‫ﻪ‬+‫ﻓ‬$-;‫ ﺗﺗ‬3‫ﻋﺎ ﻓﻲ ﻋﺻ‬-3‫ﻣﺷـ‬- ‫ﻣﺎ‬+‫ﺎﺳـﻠ‬+‫ﺑﺎﺑﺣـﺛ‬39 ‫ﺳﻠك‬+6‫ ﻓﻲ `ذ‬-`- ‫؛‬3‫ﺧ‬g Y‫ﺗﺟﺎ‬6 7+9‫ ﻓﻲﺗﻘـ‬Y9‫ ﺗﺳﺎﻋ‬٬‫ زﻣﻼﺋﻪ‬:+‫!ﺑ‬93‫ﺔ ﻣﺗﻔ‬+;‫ﻓ‬.‫ﺧ‬69‫ ﻣ‬7+9‫ ﻓﻲﺗﻘ‬Y9+‫ﻔ‬+‫ﻟذي‬6 3‫ﻷﻣ‬6 ٬‫ﻟﺗﻘ;ﻲ‬6 ‫ﻟﺑﺣث‬6 $-;‫ﺔ ﺑﺗ‬+;‫ﻟﻔ‬6‫ي‬3‫ﺟ‬6-‫ﻟﺣ‬6 ‫ﺑﺔ‬3‫ ﺗﻣﺗﺎز ﺗﺟ‬٬‫ى‬3‫ﺧ‬F ‫ﻬﺎ ﺧﺎﻣﺎت‬+‫ظفﻓ‬-+‫ ﻣﺎ‬63+‫ﻛﺛ‬٬‫ﺔ ﻣﻠﺣـﺔ‬+‫ﺟﺗﻣﺎﻋ‬6-‫ﺔ‬+‫ﺎﺳ‬+‫ﺳ‬:+‫ﺿﺎﺣﻲﻟﻣﺿﺎﻣ‬+‫ﻹ‬63+-‫ﻟﺗﺻ‬6-93‫ﻟﺳ‬6 :‫ ﻋ‬69+‫ﻛز!ﺑﻌ‬3‫ﺔ ﻣ‬+‫ﺟﻣﺎﻟ‬-‫ﺔ‬+3‫ﻓﻛ‬7+`‫ﻣﻔﺎ‬ 3‫ﻟﺻﺑـﺎ‬6 ‫ى ;ﺑﺎت‬3‫ﺧ‬F !3‫ ﻣ‬.-‫ﺗ;ﺎ‬+٬3‫ﻹ&ﺎ‬6 6‫ ﻓﻲ `ذ‬.‫ﺔ‬+;&-‫ﻟ‬6‫ﺔ‬+‫ﻟﻣﺣﻠ‬6‫ﺎت‬+‫ﺻ‬-‫ﻟﻠﺧﺻ‬6‫ز‬63‫ﺑ‬K- ‫ﺎ‬+‫ﻣ‬-‫ﻋﻣﺎﻟﻪ ﻣﻐزىﻗ‬F ‫ ﺗﻌ&ﻲ‬٬ ‫ﺔ‬+‫ﻣﺣﻠ‬3‫ﻋ;ﺎﺻ‬٬‫;ﻲ‬+&‫ﻟﻔﻠﺳ‬6‫ﻗﻊ‬6-‫ﻟ‬6 ‫ﺔ ﻓﻲ‬+‫ﺎﺗ‬+‫ﻟﺣ‬6-‫ﺔ‬+‫ﻣز‬3‫ﻟ‬6‫ﺗﻪ‬+‫ﻷ`ﻣ‬٬‫ي‬3‫ﻟﻔﻛ‬6- ‫ﻟﻔ;ﻲ‬6 ‫ ﻟﻠﺑﺣث‬$-‫ﺿ‬-‫ﻣ‬- !9‫ ﻛﻣﺎ‬٬‫ﺔ‬+‫ﺧ‬+3‫ﻟﺗﺎ‬6:+&‫ ﻓﻲﻓﻠﺳ‬9‫ﺟ‬6-‫ﻟﺗ‬6 3+‫يﻛﺛ‬9+‫ﻟﺗﻘﻠ‬6 ‫س‬+‫ﺣﺎﺳـ‬F-G63g- 7+`‫ضﻣﻔﺎ‬3‫ﻟﻰ ﻋ‬K 6‫ﺿﻪ `ذ‬3‫ﺔ ﻓﻲ ﻣﻌ‬+;‫ﻟﻔ‬6‫ﺗﻪ‬6G‫;ﺷـﺎ‬K ‫^ ﻓﻲ‬3‫ﻘـﺗ‬+.‫ﻟﺷـﻛﻠﻲ‬6 Y3‫ﻣظﻬ‬- ‫ي‬-‫ﻟﻌﺿ‬6 ‫ﻌﺔ ﺑـ;ﺎﺋﻪ‬+‫&ﺑـ‬:‫ ﻣ‬69+‫ﻣﺳﺗﻔ‬ :+;‫ﻟﻔ;ﺎ‬6:‫ ﻣ‬3+‫ﻛﺛ‬.-‫ ﺗ;ﺎ‬7‫ﻏ‬3 .‫;ﻲ‬+&‫ﻟﻔﻠﺳــ‬6^‫ﻟﺷــﻌ‬6 ‫ﺷــﻬﺎ‬+‫ﻌ‬+‫ﻟﺗﻲ‬6 ‫`;ﺔ‬63‫ﻟ‬6 !‫ﺎ‬+‫ﻟﺣــ‬6‫ﺑــﺔ‬-‫ﺻﻌ‬- ٬‫ز‬+‫ﻟﻌز‬6‫ﺗﺑـ& ﺑـﺎﻟﻣﺎﺿﻲ‬3‫ ﺗ‬٬‫ﺔ‬+;&-‫ﺔ‬+‫ﻋﺎ&ﻔ‬ .‫ي‬3‫ﻟﻔﻛ‬6 ‫ﻟﻔ;ﻲ‬6 ‫ﻟﺑﺣث‬6 ‫ﺻﺎﻟﺔ ﻓﻲ‬F- ‫ﺔ‬+‫ﺻ‬-‫يﺑﺧﺻ‬3‫ﺟ‬6-‫ﻟﺣ‬6 9‫ ﻣﺣﻣ‬.‫ﻋﻣﺎ‬F ‫ز‬+‫ﺗﺗﻣ‬٬‫ﺔ‬+;‫ﻓ‬.‫ﻋﻣﺎ‬F ‫ﻟ;ﺑﺎت ﻓﻲ‬6 6‫ `ذ‬:++;+&‫ﻟﻔﻠﺳ‬6

*‫ "ﻟﺻﺑﺎ‬/ ‫"ﺟ*ي‬2‫ﻣﺣﻣ) "ﻟﺣ‬ ‫ﺑـﺔ‬3‫ﻟﺗ‬6- Y‫ﺎ‬+‫ﻟﻣ‬6‫ﺣـﺔ‬+‫ﺋﺔﺷﺣ‬+‫ﺑـ‬:‫`ﺎ ﺿﻣ‬9-‫ﺟ‬- ‫ﻌﺔ‬+‫ﻟ;ﺑـﺗﺔﻟ&ﺑـ‬6 Y‫ ﺑـﻬذ‬3‫ﻟﺗﺄﺛ‬6 6‫ `ذ‬9-‫ﻌ‬+-.‫;ﻲ‬+&‫ﻟﻔﻠﺳ‬6:‫ﻟﻔ‬6 ‫ ﻓﻲ‬33‫ ﻣﺗﻛ‬.‫ﻣز ﺑﺷﻛ‬3‫ ﻛ‬3‫ﻟﺻﺑﺎ‬6 3‫ظﻬ‬+ !‫ ﻓﻲ ﻏز‬:+;‫ﻟﻔ;ﺎ‬6.‫ ﺟﻌ‬3‫ﺛﻣﺎ‬- 3-`‫ ز‬:‫ ﻣ‬.‫ﺗ;ﺎﻗــض ﻣﻊ ﻣﺎ ﺗﺣــﻣ‬+‫ﻟذي‬6 ‫ﻟﺷــﺎﺋك‬6 ‫ﺟﻲ‬3‫ﻟﺧﺎ‬6 ‫ﺷــﻛﻠﻬﺎ‬- .3‫ﺗﺳـﺗﻣ‬- 3`‫ ﺗز‬:F :‫ﻣ;ﻌﻬﺎ ﻣ‬+‫ﻟذي ﻻ‬67+‫ﻟﺗﺻﻣ‬6-9‫ﻟﺟﻠ‬6 :‫ ﻣ‬39‫ﻟﻘـ‬6 6‫ `ذ‬.‫ﺔ‬+‫ﺑـ‬+‫ﻛ‬3‫ﻟﺗ‬67‫ﻋﻣﺎﻟﻬ‬F- ,7`3-‫ ﺻ‬,7‫ﺣﺎﺗﻬ‬-‫! ﻓﻲ ﻟ‬3`‫`ﺎ ظﺎ‬9‫ ﻓ;ﺟ‬7‫ﺎﺗﻬ‬+‫ﺣ‬-7‫ﺋﺗﻬ‬+‫ﻟﺑ‬9+‫ﻛﺗﺟﺳ‬-7‫ﺣﻲ ﻟﻬ‬-‫;ﻬﺎ ﻛ‬-‫ﺗﺧذ‬+ ‫ﻷﻟﻔﺔ‬6 :‫ﻬﺎ ﻣ‬+‫ﻓ‬6-9‫ﺟ‬- :+‫ﻟذ‬6:+;‫ﻟﻔ;ﺎ‬6G‫ﻻ‬D` ‫ﻟﻰ ﺟ;^ ﻣﻊ‬K ‫ ﺟ;ﺑـﺎ‬-‫ﻟﺗﻲ ﺗ;ﻣ‬6 ‫ﻟ;ﺑـﺗﺔ‬6 ‫ﺷﺑـﻪ ﺗﻠك‬+‫ﺔ‬+‫ﻣ‬-+‫ﻟ‬67‫ﺎﺗﻬ‬+‫ﺔ ﺗﻌﺻفﺑﺣ‬+‫ﺎﺳ‬+‫ﺎتﺳ‬+9‫ﺟﻪﺗﺣ‬- ‫ﻓﻲ‬ 6‫ `ذ‬9‫ﺗﺑ&ﺔ ﺑﺄﺑﻌﺎ‬3‫ﻟﻣ‬6 G‫ﻷﻋﺑﺎ‬6 ‫ﻋﺔ‬-‫ﻟﻣﺟﻣ‬6 Y‫ﺗﻌﻛس `ذ‬- . 3‫ ﻣﺟﺎزي ﻟﻠﺣﺻﺎ‬3+‫ﻬﺎﻛﺗﻌﺑ‬+‫ﻟ‬K9-‫ﻌ‬+‫ي‬3‫ﺟ‬6-‫ﻟﺣ‬6 9‫ ﻣﺣﻣ‬9‫ ;ﺟ‬:‫`ﺎ ;ﺣ‬- .7‫ ﻟﻬﻣﻬ‬G6‫ﻟﻌز‬6.‫ﺧﺎ‬9K ‫ ﻓﻲ‬7‫^ ﺑﺎﻟﺗﺣـﻛ‬-‫ﻟﻣﺻﺣـ‬6 ‫ﺔ‬+3‫ﺑﺣـ‬3‫ﻟﺳـﻔ‬6 ‫! ﻋﻠﻰ‬39‫ﻟﻘـ‬6 79‫ ﻋ‬.!‫ ﺷﻌﺑـﻪ ﻓﻲ ﻏز‬G‫ﺑـ;ﺎ‬F :‫;ﺻف ﻣ‬- :-+‫ﻟﻰ ﺟﺎ;^ﻣﻠ‬K Y‫ﺎ‬+‫ﺣـ‬+‫ﻟذي‬6 3‫ﻟﺣـﺻﺎ‬6 ‫ ﻣﺎ‬63+‫ﻛﺛ‬9+9‫ﻟﻌ‬69‫ﺔ ﻓﺗﺟ‬+9‫ﻟﻣﺎ‬6YG‫ﻋﺑﺎ‬F :‫ ﻣ‬7‫ﻛ‬63+‫ﻟذي‬6- ‫ﺔ‬+;+-‫ﻟﺗﻣ‬6‫ﻟﺑﺿﺎﺋﻊ‬6 ‫! ﻋﻠﻰ‬3‫ﺻﺑﺣت ﻣﻘﺗﺻ‬F ‫ﻟﺗﻲ‬6 ^‫ﻟﺷﻌ‬6 6‫ﻟﻣﺧﺗﻠﻔﺔ ﻟﺣﺎﺟﺎت `ذ‬6 936-‫ﻟﻣ‬6 ‫ ﺷــﻛﻠﻬﺎ‬Y9‫ﺟﺳــ‬+9‫ﻋﻣق ﻣﻣﺎ ﻗــ‬F ‫ﻟﻰ‬K ‫ﺄﺧذ;ﺎ‬+‫ﻟﻣﻌﺎ;ﻲ ﻣﺎ‬6 :‫ﻟ;ﺑــﺗﺔ ﻣ‬6 Y‫ﺔ `ذ‬+‫ﻣز‬3‫ﻟﻰ‬K 9‫ﺿﺎف ﻣﺣــﻣ‬F 9‫ﻗـ‬- .G6‫ ﻏذ‬-F G6-9 ‫ ﻋﻠﻰ‬.-‫ ﻟﻠﺣـﺻ‬$3‫ﻬ‬+ :‫ﻟ;ﺎﺗﺞ ﻋ‬6 7‫ﻷﻟ‬6 ‫ﻌﻛس‬+‫ﻟ‬3‫ﻟﺻﺑـﺎ‬6 ‫ك‬6-‫ﺷـ‬F ‫ظف‬- ‫ث‬+‫&;ﻪﺣـ‬- ‫س ﻋﻠﻰ‬3‫ﻣﺎ‬+‫ﻟذي‬6 3‫ﻣﺎ‬9‫ﻟ‬6 39‫ﺎﺗﻬﺎ ﻗـ‬+&‫ ﻓﻲ‬.‫ ﺗﺣـﻣ‬69‫ﺑـﻌﺎ‬F ‫ﺿﺎف‬F 9‫ ﻟﻘ‬.‫ﺟﻲ‬3‫ﻟﺧﺎ‬6 !39‫ ﻗـ‬:‫ﻋﻣﺎﻟﻪ ﻋ‬F ‫ى‬9‫ﺣـ‬K ‫ ﻓﻲ‬9‫ ﻣﺣـﻣ‬.G‫ﺗﺳـﺎ‬+-.‫ﻟﻣﺿﺣـﻛﺔ‬6 ‫ﺔ‬+‫ﻟﻬزﻟ‬6:‫ﻋﺎ ﻣ‬-; 9‫ ﺗﺟ‬.‫ﻷﻋﻣﺎ‬6 Y‫ﺔ `ذ‬+9‫ﺟ‬39‫ﺑﻘ‬- .‫ش‬+‫ﻟﺗﻔﺗ‬6&‫;ﻘﺎ‬- ‫ﺟز‬6-‫ﻟﺣ‬6 ‫ﺗﺧ&ﻲ‬ &‫;ﻘـﺎ‬- ‫ز‬3+63‫ ﻟﻣﻌﺑ‬69+‫ك `ﻲﺗﺟﺳ‬6-‫ﻷﺷ‬6- 3+‫ﻟﻣﺳﺎﻣ‬6Y‫ ﻓﻬذ‬3+‫ﻟﻣﺳﺎﻣ‬6:‫ﺔ `ﺎﺋﻠﺔ ﻣ‬+‫ز ﻓﻲﻛﻣ‬-3‫ﻟﻣﻐ‬6 G6‫ﻟﺣذ‬6 6‫ﻣﺎ ﻣ;ﺗﻌﻼ `ذ‬9‫ﻟﻣﺿﻲ ﻗ‬6 ‫ ﻋﻠﻰ‬G3‫ﻟﻣ‬6 ‫ﺔ‬+‫ﺷـﻬ‬-9‫ﻟﺗﻲ ﺗﺑـ‬6 ‫ﻌﺔ‬+3‫ﻟﺳـ‬6‫ﺟﺑـﺎت‬-‫ ﻣﺷﺎﺑﻬﺎ ﻟﻠ‬.‫ ﺑ‬.69-‫ﺟ‬-‫ﻌﺔ ﻣ‬+‫ﻟﻣﺻﺎﺣ^ﻟﻠ&ﺑ‬6 .‫ﻟﺟﻣﺎ‬6 9‫ﻌ‬+7‫ ﻟ‬. 9-9‫ﻟﺣ‬6 Y‫ `ذ‬.‫ ﺧﻼ‬.‫ ﺳﺗﺻ‬:+F‫ﻟﻰ‬K...‫ش‬+‫ﻟﺗﻔﺗ‬6 ‫ ﻻ‬3‫ ﻓﺎﻟﺻﺑـﺎ‬:‫ﻟﺛﻣ‬6 ‫ﻓﻊ‬9‫ ﺗ‬:F :-9 ‫ ﻋﻠﻰ ﻗـﺿﻣﺔ‬.‫ ﺗﺣـﺻ‬:F ‫ﻊ‬+&‫ﺗﺳـﺗ‬:‫;ك ﻟ‬6 ‫ك‬39‫ﻟﻛ;ك ﺗ‬- $-‫ﻟﺟ‬6 ‫ ﺑﻬﺎ ﻓﻲ ﻟﺣظﺔ‬3‫! ﻟﺻﺣﺗك ﻓﺗ;ﺑﻬ‬3‫ﻣ‬9‫ﻟﻛ;ﻬﺎ ﻣ‬.‫ﺎ‬+9‫ﻣﺎ‬-‫ﺎ‬+‫ﺣ‬-3‫&;ﻪ‬-‫& ﺑ‬+‫ﻟﺗﻲﺗﺣ‬6- ‫ﺟز‬6-‫ﻟﺣ‬6- 9-9‫ﻟﺣ‬6 Y‫ﺔ `ذ‬+‫ﻋ‬3‫ﺷ‬:‫ ﻋ‬9‫ ﻣﺣﻣ‬.G‫ﺗﺳﺎ‬+,!‫ﺎ! ﻓﻲ ﻏز‬+‫ﻠﻪﻟﻠﺣ‬+‫ﺗﺣﻠ‬.‫ ﺧﻼ‬:‫ﻣ‬- .‫ى‬3‫ﻟﻛﻣﺛ‬6 .‫ﺣﻣ‬+ 8‫ﺳ(ﺎ ﺟﺎﻓﺎ‬: 82&‫ﺑﺎﺣﺛﺔ ﻓ‬

:6-‫ﺿ‬3 ‫ق‬+‫ﺷﻔ‬.9 12/11/2010

Mohamed Al Hawajri

ohammad Al Hawajri is an artist gifted with keen observation, peculiar vision, and outstanding craftsmanship. Working hard to expand his art education, Mohammad appreciates diversity in his intellectual, post-conceptual approach. His artwork varies between the common and uncommon portraying not only public scenes but further global and contemporary. By that Mohammad is leading a very unique individuality in the art sphere. In spite of his tendencies toward Impressionism, it is rather inaccurate to classify him under a particular school of art. His unsettled style is one of the virtues that enables him to continue within the variety of the modern art canon where intellectual and social converge very often takes place. On the other hand, Mohammad's art experience is one of very colored talking about his technical search and variety of resources as he is much distinguished in the speculative and conceptual motifs he suggests past the narrative and demonstrative styles highlighting urgent political and social connotations. He employs local symbols of his society which give his art production an aura of a very native patriotic sensation. Emerging from such background, Mohammad represents the traditional cactus very common in historical Palestine as a recurrent theme in his speculative search due to its dominant appearance as a symbol and in life of Palestine. Mohammad uses its shape to convey sentimental nationalism bridging our dear past with the current challenges which intrinsically distinguish him as an accomplished comprehensive artist. Dr. Shafiq Rudwan 12/12/2010

he cactus is a symbol that is used time and time again in Palestinian art. The plant grows in the most severe settings. The soil is barren as water is scarce but despite this the plant grows and flourishes. Its prickly exterior is in contrast to the flower and the sweet fruit it bears. Artists in Gaza return to it in their paintings, photos and installations as a representation of themselves and Palestinians. Strong fortitude and resolve in the face of political challenges that bombard their daily lives in shape of a stranglehold. The metaphors underlying this exhibition by Mohammad Al-Hawajri are related to life under the siege. The series reflects the burdens under the confines of the borders. He and the million and half people’s lives are encased in the strip. The inability to live and leave freely to return to work or to travel combined with mere trickle of essential supplies has put a huge emotional and financial burden on the people of Gaza. The bare necessities enter the strip leaving people scrambling for proper medication or just supplies needed on a daily basis. Mohammad has given new meaning to the symbolism associated with the cactus. He has taken it to another level. These works are not merely of the plant or its fruit and flowers. The added dimension represents the devastation of the stranglehold on his home. The cactus is now cloaked or a part of an “other”. It does not stand alone in its environment. The plant is manipulated as is his Gaza. The focus of his work relies heavily on the outside influence and the thorns of the cactus are painful. The associations within these works are dark, even though sometimes comical. All the art represents life under the siege and how its closing in on the lives of the people of Gaza. Take the flip flops for example; One can walk with them, but how far will the thorns poke through ones feet before one has to stop? You cant go too far with those shoes. The thorns are Erez and other checkpoints. How far can one move in the confines of Gaza? The beauty being born from the plant is no more. Grenades; instruments of death, replace the sweetness. The blossoms that remind us of beauty and rebirth are replaced by icons of destruction. Even food; a basic right does not nourish. Take the McDogazawi , just like Western Fast food chain McDonald’s. The food looks good but is truly destructive to your health. One cannot even take a bite out of these burgers. If one cannot work one cannot eat. There are no pears of the cactus only the thorns. His analysis of life in Gaza through this series of works is s a question of the validity of the fences that surround his homeland spiritually and physically. Asieh L Nassehi Javan Concept to Art

From Humanity Concerns to the Post-conceptual Arts n the land of Palestine, many of the things that can be transformed into artworks come from the identity of this place despite the struggle and pain lived over decades and until today. Belonging to such identity, the researcher artist Mohammed Al Hawajri captures cactus as one of the very dominant symbols of determination in Palestine. He finds in the sever environment of cactus an outlet to the harsh siege imposed on his people. The artist continues saying that he sees cactus as a plant suitable for drawing borders. Here comes the parallel question: which borders the artist means? Is it only the geographical borders? The audience may find in the artworks of the current gallery something analogous to their life, as cactus is reconstructed through its strength and hardness. The harmonious beauty of its hardness and sweet fruit has succeeded in penetrating into the life of people . In its interior form, cactus retains water to survive and bloom against all circumstances of shortage. Hawajri's manifestation of his people suffer through cactus is very much uplifting as he is dealing with a plant that lives from its inside and draws hope from its spirit. This hope was plucked by the artist with his dream of moments of time to be turned into artworks made with patience, thought and philosophical depth. In his new Exhibition , Borders of cactus of Al Hawajri are artworks standing up, screaming and resisting the oppressor and his oppression. They also include fun that make us laugh and think and then escape into the artwork to find shelter in his philosophy of drama. All this in that plant, which turns into nails and bitter sickness in the abdomen of the occupying enemy and sometimes into faces of people martyrs. The enemy does not know that in Arab culture we say: “At the head of each martyr there is a lamp”. The lamps Al Hawajri are his cactus, which instilled in him the spirit of human resistance as the cactus itself instilled the same divine spirit of resistance from the heart and the sole of the land that celebrated humanity and the heavenly religions, the pure land of Palestine, and the culture of the conscious artist and his knowledge of the visual arts and his knowledge of issues of his society. He took into account the details in the painting, weaved lines of his passion on the Media Art, and made his artworks with innate intelligence, accompanied by the sincerity and consciously of the innovator. About his earlier works, we may give a completive scrutiny on one of his works which formed a transformation of Guernica into a novel poster .From his artworks, the smart conversion of Guernica project to reflect a new image for the poster arts. When Picasso painted Guernica children and the cries of their suffering parents, Intellectuals and the New Pioneers joined to the defense of what Picasso painted, although he used collage in is artwork, which was not desirable at that time. Today comes Mohammed Al Hawajri, the free Palestinian artist, without artistic comparisons or approaches. However, there are paradoxes that intersect and meet at several points, including: First: - What Picasso raised of slogans in that artwork and what Al Hawajri raises today of parallel slogans to defend the besieged Gaza using the equivalent Arts of modernity and post-modernity. In fact, he is an important human and innovator. Second: - The time intersection with Picasso’s Guernica and the introduction of elements of collage, here comes the use of Al Hawajri ’s collage in the use of technology that keep pace with the modern age as visual cases. He introduces the use of modern technology such as computer software and technical design as an element of renewal in the spirit of the post-conceptual art. Time in Guernica was associated with the spirit of revolution and renewal. That historical stage, exists but the time here at Al Hawajri emphasized the imperative of the use and introduction of new elements, for renewal in the spirit of Arab adventure on the road to modernity and beyond. That is what pleased the audience while standing in front of the artist. But despite the existence of a state of happiness, only the state of drama controls the atmosphere of the place when we find the exterior shape based on the elements the lightness of spirit and beauty of the image. However, through stage by stage diving into corners of the artwork, we discover the drama of the artist, which parallels the drama of the besieged society, in a city where often there is no light of electricity, which is a part of daily life, or colors or papers and pens. However, they are not without lovers of the homeland. Human minds, emotions and cactus are elements defying all besieged. Here the artist's message transcends and the innovator’s voice rises, which announces, from that miserable life, the usage of other solutions. He replaces the colors and raw materials with ideas as if he is a researcher in the lab of humanity writing and running after clippings of time. Al Hawajri’s collage or his use of modern technologies in his artwork is only paintings that manipulate the idea of war, destruction and turn them into human paintings to stay in the visual memory of a witness used every day to see thousands of rapes of his simple sight or the rest of his sight. But Al Hawajri reconciliate between vision of the receiver “the audience” and the image as a structural element, as well as the interdependence of the elements of human creativity and the land, and document it in an impartial, distinctive and innovative manner. Who has already picked up a candle of Picasso's painting is willing to move it to ignite hope in to home plate “Palestine” a candle that lights the creative side in the homelands of humanity and exposes the unjust practices against his homeland and its children. The artworks of Al Hawajri are visual texts that respect the observer’s mind, and take into account the culture of the knower and stresses on his identity as a free, creative and knower Palestinian son, holding a message without lies and deception, such as many. Our patience shelter today visually in the artist’s cactus in the land of Palestine and glaring at a laboratory of the artist who holds the ideas of the revolutionaries, and the creative adventure with tastes and eye-sighted in guidance and semantics of the universe, the space of earth and the identity of the homeland.

Abdul Razeq Okasha Artist, critic and member of the Autumn Salon French Paris, October 2010 11

‫ ﻣﺎﺑﻌ)"ﻟﻣﻔﺎ<(ﻣ(ﺔ‬82&‫"ﻹ&ﺳﺎ&(ﺔ ?ﻟﻰ ﻓ‬A2‫ <ﻣ‬8‫ﻣ‬ 9-‫ ﻋﻘـ‬369‫ ﻋﻠﻰ ﻣ‬7‫ﻻ‬g- $63‫ ﺻ‬:‫ ﻣ‬:‫ﻟﻣﻛﺎ‬6 6‫ش `ذ‬+‫ﻌ‬+‫ ﻣﺎ‬7‫ﻏ‬3 :‫ﻟﻣﻛﺎ‬6 ‫ﺻﺎﻟﺔ‬F :‫ﺔ ﺗﺄﺗﻲ ﻣ‬+‫ﻗـ‬63‫ﺔ‬+;‫ﻓ‬.‫ﻋﻣﺎ‬F ‫ﻟﻲ‬6 .-‫ ﺗﺗﺣ‬:K :‫ﻟﻣﻣﻛ‬6 :‫ﻟﺗﻲ ﻣ‬6 G‫ﺎ‬+‫ﻷﺷ‬6:‫! ﻣ‬9+9‫ﻟﻌ‬6:+&‫ضﻓﻠﺳ‬36 ‫ﻓﻲ‬ ‫ﺎ‬+‫ﻓ‬63‫ ﺛﺎﻗﺑﺔ ﺗﺑﺣـث ﻓﻲﺟﻐ‬:+‫ﻟﺗﻘ&ﻪﺑﻌ‬6 3‫ﻟﺻﺑﺎ‬6 ‫ ;ﺑﺎت‬.‫ ﺧﻼ‬:‫`ﻲ ﻣ‬- ‫ت‬63‫ﻹﺷﺎ‬6- ‫ﻟﻌﻼﻣﺎت‬6 Y‫ `ذ‬9‫ﺣ‬F ‫ى‬3‫ ﺟ‬6-‫ﻟﺣ‬6 9‫ﻟﺑﺎﺣث ﻣﺣﻣ‬6 :‫ﻟﻔ;ﺎ‬6 &‫ﻟﺗﻘ‬6 ‫ض‬3‫ﻷ‬6 !‫ `ذ‬:‫ ﻓﻣ‬6‫ﻣ;ﺎ `ذ‬-+‫ﺣﺗﻰ‬‫ى‬3+- ‫;ﻲ‬+&‫ﻟﻔﻠﺳ‬6:‫ﻹ;ﺳﺎ‬6 ‫ﺑﺔ ﺷﻛﻠﻪ ﺗﺗﺷﺎﺑﻪ ﻣﻊ‬63‫ ﻏ‬:K 3‫ﻟﺻﺑﺎ‬6 .-‫ ﺣ‬9‫ ﻣﺣﻣ‬:‫ﻟﻔ;ﺎ‬6 .-‫ﻘ‬+‫ﺔ‬+69‫ﻟﺑ‬6‫ﻟﻣﺟﺗﻣﻊ ﻓﻔﻲ‬6 $‫ﺟﺎ‬-F ‫ ﻓﻲ‬X3‫;ﻪ ﺗﺑﺣث ﺑﻣ‬+‫ﻓﻌ‬. ‫ﺔ‬+‫ﻟﺣ‬6‫ﺔ‬+;‫ﻟزﻣ‬6‫ﻟﻠﺣظﺔ‬6 7‫ﻟ‬F- :&-‫ﻟ‬6 ‫ﺔ ﻓﻘــ& ؟‬+‫ﻓ‬63‫ﻟﺟﻐ‬69-9‫ﻟﺣـ‬6 ‫ `ﻲ‬.`‫ ؟‬:‫ﻟﻔ;ﺎ‬6 ‫`ﺎ‬9‫ﻘـﺻ‬+9-9‫ﺔ ﺣـ‬+F‫ز‬6-‫ ﻣ‬.6D‫ﺄﺗﻲ ﺳـ‬+‫`;ﺎ‬- 9-9‫ﻟﺣـ‬6 7‫ﺳـ‬3‫ﺻﻠﺢ ﻟ‬+ ‫ ;ﺑـﺎﺗﺎ‬3‫ﻟﺻﺑـﺎ‬6 ‫ ﻓﻲ‬69`‫ ﻣﺷـﺎ‬:‫ﻟﻔ;ﺎ‬6 .‫ﻛﻣ‬+-9‫ ﻟﻛ;ﻪ ﺻﺎﻣ‬- ‫;ﻪ ﻗـﺎس‬F ‫! ﺻﻼﺑـﺗﻪ‬-‫ ﻗـ‬:‫ ﻣ‬3‫ﻟﺻﺑـﺎ‬6 :F ‫ﻬﺎ‬+‫ىﻓ‬3+‫ﺔ‬+;‫ﻓ‬.‫ﻋﻣﺎ‬F ‫ﻟﻰ‬K ‫ﻟﺧﺎص‬6 ‫ﻓﻰ ﻣﻌﻣﻠﻪ‬- :‫ﻟﻔ;ﺎ‬6 9+‫ ﺗﺣـت‬.-‫ﻟذي ﺗﺣـ‬6 ‫ﻟ;ﺑﺎت‬6 6‫ﺎ ﻟﻬذ‬+‫ز‬6-‫ﺋﺎ ﻣ‬+‫ﻟﺣﺎﻟﻲﺷ‬6 ‫ض‬3‫ﻟﻣﻌ‬6 .‫ﻋﻣﺎ‬F ‫ى ﻓﻲ‬3+‫ﻓﺎﻟﻣﺗﻠﻘﻲ‬ ‫ ﻓﻬﻲ ﺗﻌﻛس‬7‫ﻟ&ﻌﺎ‬6 !9‫ﺣـﺔ ﻣﺎﺋ‬-‫ ﻟ‬.‫ ﻣﺛ‬:‫ﻟﻔ;ﺎ‬6 ‫ﻋﻲ‬-‫ ﺑـ‬7‫ ﻣ;ﺳـﺟ‬7‫ﻓﻬ‬- ‫ﻗـﻪ‬9‫ﻛﺑﺔ ﺑ‬3‫ﻣ‬- !3-‫ﺣﺎت ﻣﺻ‬-‫ﻟﻰ ﻟ‬K ‫ﻟﻬﺎ‬-‫ﺣ‬+-!‫ﺎ‬+‫ﻟﺣ‬6.9‫ﺑ‬+‫! ﻟ‬9+9‫ﺟزﻋ‬6-‫ق ﺣ‬63‫ﺧﺗ‬6 ‫ﺗﻪ ;ﺟﺢ ﻓﻰ‬-‫ ﻗﺳ‬.‫ﺟﻣﺎ‬‫ﻟﺟﺎف‬6 ‫ﺟﻲ‬3‫ﻟﺧﺎ‬6 ‫ ﻋﻠﻰ ﺷـﻛﻠﻪ‬.‫ﺧ‬69‫ﻟ‬6 6‫ `ذ‬3‫;ﺗﺻ‬+:+‫ﺣـ‬- ‫ﺟﻲ‬3‫ﻟﺧﺎ‬6 ‫ﺎ! ﻓﻲ ﺗ;ﺎﻗـض ﻣﻊ ﺷـﻛﻠﻪ‬+‫ﻟﺣـ‬6G‫ﺣـﺗﻔظ ﺑـﻣﺎ‬+‫ﺔ‬+‫ﺧﻠ‬69‫ﻟ‬6‫ﺣـﻪ‬-3 ‫ ﻓﻲ‬, ‫ﻟذي‬6 3‫ ﻓﺎﻟﺻﺑـﺎ‬. ‫ﺔ‬+‫ﻣ‬-+‫ﻟ‬6!‫ﺎ‬+‫ﻟﺣـ‬6‫ت‬6-9F ‫ﻋﺔ‬-;‫ ﻣﺻ‬.‫ﻋﻣﺎ‬F ‫ﻟﻲ‬6 .-‫ﺗﺣـ‬+‫ﺔ‬+;‫ ﻣﻊ ﺣﻠﻣﻪ ﻓﻲ ﻟﺣـظﺎتزﻣ‬:‫ﻟﻔ;ﺎ‬6 ‫ﻟﺗﻘ&ﻪ‬6 .‫ﻷﻣ‬6 6‫`ذ‬- .‫ﻷﻣ‬6 ‫ﺣﻪ‬-3 :‫ ﻣ‬9‫ﺳﺗﻣ‬+ ‫ﺧﻠﻪ‬69 :‫ش ﻣ‬+‫ﻌ‬+‫ ﺻﺎﺋﺑﺎ ﻷ;ﻪ ﺗﻌﺎ&ﻲ ﻣﻊ ;ﺑﺎت‬:‫ ﻛﺎ‬:‫ﻟﻔ;ﺎ‬6 3‫ﺎ‬+‫ﻓﺎﺧﺗ‬ 7‫ ﺛ‬.‫;ﺗﺄﻣ‬- ‫ﺟﻌﻠ;ﺎ ;ﺿﺣــك‬+‫ﻣﺎ‬X3‫ﻟﻣ‬6 :‫ﺿﺎ ﻣ‬+F‫ﻬﺎ‬+‫ﻓ‬- .‫ظﻠﻣﻪ‬- 7‫ﻟظﺎﻟ‬6 7-‫ ﺗﻘــﺎ‬9‫ﺗﺻﻣ‬- ‫خ‬3‫ ﺗﺻ‬.‫ﻋﻣﺎ‬F 9+9‫ﻟﺟ‬6‫ﺿﻪ‬3‫ي ﻓﻲ ﻣﻌ‬3‫ ﺟ‬6-‫ﻟﺣــ‬6,,3‫ ﺻﺑﺎ‬.‫ﻋﻣق ﻓﻠﺳــﻔﻲ‬- 3‫ﻓﻛ‬- 3‫ﺑﺻﺑـ‬ 7‫ﻬ‬+‫ ﻛﺗ^ﻋﻠ‬3‫ ﺑﺷـ‬Y-‫ﺟ‬- ‫ﻟﻲ‬6 ‫ﺎ;ﺎ‬+‫ﺣـ‬F-.‫ﻟﻣﺣـﺗ‬6 -9‫ﻟﻌ‬6 ‫ف‬-‫ ﻓﻲ ﺟ‬63‫ ﻣ‬7‫ﺳﻘـ‬- 3+‫ﻟﻰﻣﺳـﺎﻣ‬K .-‫ﺗﺣـ‬+‫ﻟذي‬6 ‫ﻟ;ﺑﺎت‬6 ‫ك‬6‫ ﻛﻠﻪ ﺑذ‬6‫`ذ‬- ‫ﺔ‬+‫ﻣ‬639‫ﻟ‬6‫ ﻟ;ﺣﺗﻣﻲ ﺑﻔﻠﺳﻔﺗﻪ‬.‫ﻟﻌﻣ‬6 .‫ﺧ‬69 ‫ﻟﻰ‬K ^3‫;ﻬ‬ ‫س‬3‫ﺔ ﻛﻣﺎ ﻏ‬+3‫ﻟﺑﺷـ‬6‫ﻣﺔ‬-‫ﻟﻣﻘـﺎ‬6 X-3 ‫ﻪ‬+‫سﻓ‬3‫ﻟذي ﻏ‬6 Y3‫ى `ﻲ ﺻﺑـﺎ‬63‫ﺟ‬-‫ﻟﺣ‬6 .+9‫ﻗ;ﺎ‬-_.+9;‫ﻗ‬9+‫سﺷﻬ‬F3 .‫ ﻋﻠﻲ ﻛ‬:K _ .-‫ﺔ ;ﻘ‬+‫ﺑ‬3‫ﻟﻌ‬6!‫ﺎ‬+‫ﻟﺣ‬6‫ ﻓﻲ‬:F ‫ف‬3‫ﻌ‬+‫ﻻ‬-9‫! ﻓﺎﻟﻌ‬9‫ﻟﺷﻬﺎ‬6 :-;‫ﻋﻠﻣﻪ ﺑـﺎﻟﻔ‬- ‫ﻋﻲ‬6-‫ﻟ‬6 :‫ﻟﻔ;ﺎ‬6 ‫! ﺑﺛﻘـﺎﻓﺔ‬3`‫ﻟ&ﺎ‬6 :+&‫ضﻓﻠﺳـ‬36 ‫ﺔ‬+-‫ﻟﺳـﻣﺎ‬6:‫ﺎ‬+9‫ﺑـﺎﻷ‬- ‫ﺔ‬+3‫ﺣﺗﻔتﺑﺎﻟﺑﺷـ‬6 ‫ﺿﺎ‬3F :&‫ﺑﺎ‬- ^‫ ﻗﻠ‬:‫! ﻣ‬39‫ﻟﺻﺎ‬6 ‫ﺔ‬+;‫ﺑﺎ‬3‫ﻟ‬6‫ﻣﺔ‬-‫ﻟﻣﻘﺎ‬6 X-3 ‫ﺗﻪ‬6‫ ذ‬3‫ﻟﺻﺑﺎ‬6 .$9‫ﻟﻣﺑـ‬6 ‫ق‬9‫ﺻ‬- ‫ﻋﻲ‬-‫^ ﺑ‬-‫ي ﻣﺻﺣ‬3&‫ ﻓ‬G‫ﻋﻣﺎﻟﻪ ﺑذﻛﺎ‬F .‫ﺷﻛ‬- ‫ت‬3F ‫ﺎ‬+9+‫ﻟﻣ‬6‫& ﻋﺷﻘﻪ ﻋﻠﻰ ﺟﻬﺎز‬-&‫;ﺳﺞ ﺧ‬- ‫ﺣﺔ‬-‫ﻟﻠ‬6 ‫ ﻓﻲ‬.+‫ﻟﺗﻔﺎﺻ‬6‫ﻋﻰ‬63 ‫ﺎ ﻣﺟﺗﻣﻌﻪ‬+‫ﻓﺗﻪﺑﻘﺿﺎ‬3‫ﻣﻌ‬- ‫ﺔ‬+3‫ﻟﺑﺻ‬6 9‫ﺟﺳـ‬+‫ﻟ‬G‫ﻛﺎ ﻓﻲ ذﻛﺎ‬+;3‫ﻟﺟ‬6$-3‫ ﻣﺷـ‬.+-‫ﻋﻣﺎﻟﻪ ﺗﺣـ‬F :‫ض ﻓﻣ‬3‫ﻟﻣﻌ‬6 6‫ﻟﻰ `ذ‬K ‫ﺣـﻠﻪ‬3 ‫ ﺑـ;ﺎ ﻓﻲ‬.‫ﺻ‬- ‫ﻟذي‬6 :‫ﻟﻔ;ﺎ‬6 $69‫ﺑـ‬K :‫ ﻷ;ﻬﺎ ﻣﺣ&ﺔ ﺿﻣ‬63+‫ﻣﺎﻣﻬﺎﻛﺛ‬F ‫ﻟﺳﺎﺑﻘﺔ ﻓ;ﻘف‬6 ‫ﻋﻣﺎﻟﻪ‬F ‫ﻣﺎ‬F ‫ﺳــﻣﻪ‬3 ‫ ﻣﺎ‬:‫ ﻋ‬$‫ﻓﺎ‬9‫ﻟ‬6 ‫ﻟﻰ‬K 99‫ﻟﺟ‬6 :-+‫ﻌ‬+‫ﻟ&ﻠ‬63‫;ﻔﺟﺎ‬6- :+‫ﻟﻣﺛﻘـﻔ‬6^‫;ﺿﻣت ﻛﺗﺎﺋ‬6, :+‫ﻟﻣﻌذﺑـ‬67‫`ﻠﻬ‬F ‫ﺧﺎت‬3‫ﺻ‬- ‫ﻛﺎ‬+;3‫ﺟ‬.‫&ﻔﺎ‬F -‫ﻛﺎﺳـ‬+‫ﺑ‬7‫ﺳـ‬3 :+‫ﻟﻣﻠﺻقﻓﺣـ‬6 :‫! ﻟﻔ‬9+9‫!ﺟ‬3-‫ﺻ‬ ‫ﺑـﺎت‬3‫ﻻ ﻣﻘﺎ‬- ‫;ﺎت‬3‫ ﻣﻘـﺎ‬:-9 3‫ﻟﺣـ‬6 ‫;ﻲ‬+&‫ﻟﻔﻠﺳـ‬6:‫ﻟﻔ;ﺎ‬6 ‫ى‬3‫ ﺟ‬6-‫ﻟﺣـ‬6 9‫ﺄﺗﻲ ﻣﺣـﻣ‬+7-+‫ﻟ‬6,, ‫ﻗـت‬-‫ﻟ‬6 ‫ ﻣﺳﺗﺣﺑﺎ ﻓﻲ ذﻟك‬:‫ﻛ‬+7‫ ﻣﺎ ﻟ‬-`- ..‫ﻟﻌﻣ‬6 ‫ ﻓﻲ‬r‫ﻻ‬-‫ﻣﻪ ﻟﻠﻛ‬69‫ﺳﺗﺧ‬6 7‫ﻏ‬3‫ ﺑ‬-‫ﻛﺎﺳ‬+‫ﺑ‬ ‫ﺔ‬+‫ز‬6-‫تﻣ‬63‫ ﺷـﻌﺎ‬:‫ى ﻣ‬3‫ ﺟ‬6-‫ﻟﺣـ‬6 7-+‫ﻟ‬6‫ﻓﻌﻪ‬3+‫ﻣﺎ‬- .‫ﻟﻌﻣ‬6 ‫ت ﻓﻲ ذﻟك‬63‫ ﺷـﻌﺎ‬:‫ ﻣ‬-‫ﻛﺎﺳـ‬+‫ﻓﻌﻪﺑ‬3 ‫ ﻣﺎ‬-:‫ﻻ‬-F :‫! ;ﻘـﺎ& ﻣ;ﻬﺎ‬9‫ ﻓﻲ ﻋ‬.‫ﺗﺗﻘﺎﺑـ‬- ‫ﻗـﺎت ﺗﺗﻘـﺎ&ﻊ‬3‫ `;ﺎك ﻣﻔﺎ‬:‫ ﻟﻛ‬.‫ﻪ‬+;‫ﻓ‬ -‫ﻛﺎﺳـ‬+‫ﻛﺎﺑ‬+;3‫ﻟزﻣ;ﻲ ﻣﻊﺟ‬6 ‫ﻟﺗﻘـﺎ&ﻊ‬6 -:‫ﺎ‬+;‫ ﺛﺎ‬7‫ﻋﻰ ﻣﻬ‬69‫ﺑـ‬6- ‫;ﺳـﺎ;ﻰ‬6 ‫ ﺣـق‬-‫ﺛﺔ ﻓﻬ‬69‫ﻟﺣـ‬6 9‫ﻣﺎ ﺑﻌ‬- ‫ﺛﺔ‬69‫ﻟﺣ‬6 :-;‫ ﻓ‬:‫ﻬﺎ ﻣ‬+‫ز‬6-+‫ﻣﺎ‬- !3-‫ﻟﺻ‬6 ‫ﻣﺎ‬9‫! ﻣﺳﺗﺧ‬3‫ﻟﻣﺣﺎﺻ‬6 !‫ ﻏز‬:‫ ﻋ‬$‫ﻓﺎ‬9‫ﻟﻠ‬ .‫ﺛﺔ ﻣﺛ‬+9‫ﻟﺣـ‬6‫ﺎت‬+;‫ﻟﺗﻘـ‬6769‫ﺳـﺗﺧ‬6 .‫ﺧ‬9+-. ‫ﺔ‬+3‫ ﻛﺣـﺎﻻتﺑـﺻ‬3‫ﻟﻌﺻ‬6 ^‫ﻛ‬6-+ ‫ﺟﻲ‬-‫ﻟ‬-;‫ ﺗﻛ‬769‫ﺳـﺗﺧ‬6 :‫! ﻋ‬3‫ي ﻋﺑـﺎ‬3‫ ﺟ‬6-‫ﻟﺣ‬6 r‫ﻻ‬-‫ ﻛ‬769‫ﺳﺗﺧ‬6 ‫ﺄﺗﻲ‬+‫ `;ﺎ‬r‫ﻻ‬-‫ﻟﻛ‬6 3‫ ﻋ;ﺎﺻ‬.‫ﺧﺎ‬9K‫ ﺛﻣﺔ ﺗﻠك‬9+9‫ﻟﺗﺟ‬6-!3-‫ﻟﺛ‬6 X-3‫ﺗﺑــ& ﺑــ‬36 ‫ﻛﺎ‬+;3‫ﻟﺟ‬6‫ ﻓﻲ‬:‫ﻟزﻣ‬6 .‫ﺔ‬+‫ﻣ‬+`‫ﻟﻣﻔﺎ‬69‫ ﻟﻣﺎ ﺑــﻌ‬:‫ﻟﻔ‬6 X-3 ‫ ﻓﻲ‬9+9‫ﻟﺗﺟ‬63‫ ﻋ;ﺎﺻ‬:‫ ﻣ‬63‫ﺻﻔﻪ ﻋ;ﺻ‬-‫ ﺑــ‬- ‫ﻟﻔ;ﻲ‬6 7+‫ﻟﺗﺻﻣ‬6‫;ﺎﻣﺞ‬3‫ﺑـ‬- 3‫ﺗ‬-+‫ﻟﻛﻣﺑـ‬6 ‫`ﺎ‬9‫ﻣﺎ ﺑـﻌ‬- ‫ﺛﺔ‬69‫ﻟﺣـ‬6 ‫ق‬+3&‫ﺔ ﻋﻠﻰ‬+‫ﺑـ‬3‫ﻟﻌ‬6!3‫ﻟﻣﻐﺎﻣ‬6 X-3 ‫ ﻓﻲ‬9+9‫ﻟﺗﺟ‬6.‫ﺟ‬6 :‫ﻣ‬, !9+9‫ﺟ‬3‫ ﻋ;ﺎﺻ‬.‫ﺧﺎ‬9K- 769‫ﺳـﺗﺧ‬6 ‫ﺔ‬+‫ ﺣﺗﻣ‬9‫ﻛ‬F ‫ى‬3‫ﺟ‬-‫ﻟﺣ‬6 9;‫ `;ﺎ ﻋ‬:‫ﻟزﻣ‬6 :‫ﺔ ﻟﻛ‬+‫ﺧ‬+3‫ﻟﺗﺎ‬6‫ﺣﻠﺔ‬3‫ﻟﻣ‬6 ‫ﺗﻛز ﻋﻠﻰ‬3+‫ﺟﻲ‬3‫ﻟﺧﺎ‬6 .‫ﻟﺷـﻛ‬6 9‫ ;ﺟ‬:+‫ﺣـ‬:‫ﻟﻣﻛﺎ‬6 G6-‫ﺟ‬F ‫ ﻋﻠﻰ‬3&+‫ﻣﺎﺗﺳـ‬639‫ﻟ‬6 ‫ ﺣـﺎﻟﺔ‬:F ‫ﻻ‬K !9‫ﻟﺳـﻌﺎ‬6 ‫ ﺣـﺎﻟﻪ‬9-‫ﺟ‬- 7‫ﻏ‬3 :‫ ﻟﻛ‬:‫ﻟﻔ;ﺎ‬6 .‫ﻋﻣﺎ‬F 7‫ﻣﺎ‬F ‫ﻘـف‬+:+‫ﻟﻣﺗﻠﻘﻲﺣـ‬6 9‫ﺳﻌ‬+‫ ﻣﺎ‬6‫`ذ‬‫;ﻪ‬+9‫ ﻓﻔﻲﻣ‬3‫ﻟﻣﺣــﺎﺻ‬6 ‫ﻟﻣﺟﺗﻣﻊ‬6 ‫ﻣﺎ‬639 ‫زى‬6-‫ﻟﺗﻲ ﺗ‬6 :‫ﻟﻔ;ﺎ‬6 ‫ﻣﺎ‬639 ‫ﻛﺗﺷــﺎف‬6 ‫ ﻓﻲ‬F9‫ ;ﺑـ‬.‫ﻟﻌﻣ‬6 :‫ﻛﺎ‬3F .‫ﺧ‬69 ‫ﺣـﻠﻪ‬3‫ﺣـﻠﻪ ﻣ‬3‫ص ﻣ‬-‫ ﺑـﺎﻟﻐ‬:‫ ﻟﻛ‬.!3-‫ﻟﺻ‬6 ‫ﺔ‬+‫ﺟﻣﺎﻟ‬-X-3‫ﻟ‬6 ‫ ﺧﻔﺔ‬3‫ﻋ;ﺎﺻ‬ 3‫ﺻﺑـﺎ‬- _‫&ف‬6-‫ﻋ‬- 3‫ﻟﺑﺷـ‬6 .-‫ ﻋﻘـ‬.:&-‫ ﻋﺷـﺎق ﻟﻠ‬:‫ ﻣ‬-‫;ﻬﺎ ﻻ ﺗﺧﻠ‬F ‫ﻻ‬K ,7‫ﻗﻼ‬F- ‫ق‬63-F -F :-‫ﻟ‬F -F ‫ﺔ‬+‫ﻣ‬-+‫ﻟ‬6‫ﺎﺗﻪ‬+‫ﺣ‬:‫ ﻣ‬6‫ﻟﺗﻲ `ﻲ ﺟز‬6- G‫ﺑﺎ‬3‫ﻟﻛﻬ‬6 G-‫! ﺿ‬3+‫ﺎ;ﺎﻛﺛ‬+‫ﺣ‬F‫ ﺑﻬﺎ‬9‫ﺟ‬-+‫ﻻ‬ Y3‫ﺧﺎﻣﺎﺗﻪ ﺑـﺄﻓﻛﺎ‬- ‫;ﻪ‬6-‫ﻟ‬F .9‫ﺳﺗﺑـ‬+-‫ى‬3‫ﺧ‬F ‫ﻻ‬-‫ ﺣـﻠ‬79‫ﺳـﺗﺧ‬6 ‫ﻟﺑﺎﺋﺳـﺔ‬6 !‫ﺎ‬+‫ﻟﺣـ‬6‫ ﺗﻠك‬:‫ ;ﺎ ﻣ‬:‫ﻌﻠ‬+‫ﻟذي‬6 $9‫ﻟﻣﺑـ‬6 ‫ت‬-‫ ﺻ‬-‫ﻌﻠ‬+-:‫ﻟﻔ;ﺎ‬6 ‫ﺳﺎﻟﺔ‬3 -‫ `;ﺎ ﺗﺳﻣ‬3‫ ﻣﺣﺎﺻ‬.‫ى ﻛ‬9‫ ﺗﺗﺣ‬3‫_ﻋ;ﺎﺻ‬ ‫ ﻣﻌﺎﻟﺟﺔ‬3-‫ﻻ ﺻ‬K ‫ﻋﻣﺎﻟﻪ ﻣﺎ `ﻲ‬F ‫ﺛﺔ ﻓﻲ‬+9‫ﻟﺣـ‬6‫ﺎت‬+;‫ﻟﺗﻘـ‬6‫ﻣﺎ‬69‫ﺳـﺗﺧ‬6 -F ‫ى‬3‫ ﺟ‬6-‫ﻟﺣـ‬6 r‫ﻻ‬-‫ ﻛ‬. :‫ﻟزﻣ‬6 ‫ ﻗـﺻﺎﺻﺎت‬G63- ‫ﻠﻬث‬+-^‫ﻛﺗ‬+-}3‫ﻔ‬+‫ﻪ‬+;‫ﻻ;ﺳـﺎ‬6.‫ﻛﺄ;ﻪ ﺑﺎﺣـث ﻓﻲ ﻣﻌﻣ‬‫ ﻣﺎ ﺗﺑﻘـﻰ ﻟﻪ‬-F &+‫ﻟﺑﺳـ‬6Y3‫ﻏﺗﺻﺎ^ ;ظ‬6 ‫ﺎت‬+‫ﻋﻣﻠ‬:‫ﻵﻻف ﻣ‬F ‫ﺎ‬+‫ﻣ‬-+Y3‫س ﻋﻠﻰ ﺑﺻ‬3‫ ﺗﻣﺎ‬9`‫ﺔ ﻟﻣﺷﺎ‬+3‫ﻟﺑﺻ‬6!3‫ﻛ‬6‫ﻟذ‬6 ‫ﻪ ﺗﺛﺑت ﻓﻲ‬+;‫;ﺳﺎ‬K3-‫ﻟﻰ ﺻ‬K ‫ﻬﺎ‬+‫ﻟ‬-‫ﺗﺣ‬-3‫ﻣﺎ‬9‫ﻟ‬6- ^3‫ﻟﺣ‬6 !3‫ﻟﻔﻛ‬ ‫ز‬+‫ﻣﻣ‬-9+‫ﻣﺣـﺎ‬.‫ﻘـﻪ ﺑﺷـﻛ‬+‫ﺛ‬-‫ﺗ‬- ‫ض‬3‫ى ﺑـﺎﻷ‬3‫ﻟﺑﺷـ‬6 $69‫ﻹﺑـ‬6 3‫ﺑـ& ﻋ;ﺎﺻ‬63‫ﻛذﻟك ﺗ‬- . ‫ ﺑـ;ﺎﺋﻲ‬3‫! ﻛﻌ;ﺻ‬3-‫ﻟﺻ‬6- ‫ﻟﻣﺗﻠﻘـﻲ‬6 !3+‫ﺑﺻ‬:+‫ﻟﺗﺻﺎﻟﺢﺑ‬6 9+‫ﻌ‬+‫ى‬3‫ ﺟ‬6-‫ﻟﺣ‬6 :‫ ﻟﻛ‬3‫ ﺑﺻ‬:‫ﻣ‬ ‫ﺗﻔﺿﺢ‬- ‫ﻪ‬+;‫ﻻ;ﺳـﺎ‬6:‫&ﺎ‬-F ‫ﻋﻰ ﻓﻲ‬69‫ﻻﺑ‬6 ^;‫ﻟﺟﺎ‬6 3‫ ﺷﻣﻌﺔ ﺗﺿﺊ &ﻬ‬:+&‫ﻓﻠﺳ‬:&-‫ﻟ‬6 ‫ﺣﺔ‬-‫ ﻓﻲ ﻟ‬.‫ﻷﻣ‬6 .‫ﻏﺑﺎ ﻓﻲ ;ﻘﻠﻬﺎ ﻹﺷﻌﺎ‬63 -‫ﻛﺎﺳ‬+‫ﺣﻪﺑ‬-‫ ﻟ‬:‫ ﺷﻣﻌﺔ ﻣ‬.‫ﻟﺗﻘ& ﺑﺎﻟﻔﻌ‬6 ‫ ﻓﺎﻟذي‬99‫ﻣﺟ‬‫;ﻲ‬+&‫ﻓﻠﺳـ‬:‫ﺗﻪ ﻛﺎﺑـ‬+-`‫ ﻋﻠﻰ‬9‫ﻛ‬D‫ﺗ‬- ‫ف‬3‫ﻟﻌﺎ‬6 ‫ق ﺛﻘﺎﻓﺔ‬9‫ﻋﻲ ﺑﺻ‬63‫ﺗ‬- ‫ﻟﻣﺗﺎﺑﻊ‬6 .‫ ﻋﻘ‬73‫ﺔ ﺗﺣﺗ‬+3‫صﺑﺻ‬-‫ى `ﻲ ;ﺻ‬3‫ ﺟ‬6-‫ﻟﺣ‬6 .‫ﻋﻣﺎ‬F .‫&ﻔﺎﻟﻪ‬F- :&-‫ﻟ‬6 ‫ﺟﻪ‬- ‫ﺳﺎت ظﺎﻟﻣﻪ ﻓﻲ‬3‫ﻣﻣﺎ‬ .‫ﻟﺣـﺎﻣ‬6 :‫ﻟﻔ;ﺎ‬6 .‫خ ﻓﻲ ﻣﻌﻣ‬3‫ﻟﺻﺎ‬6- :+&‫ضﻓﻠﺳـ‬36 ‫ ﻓﻲ‬:‫ﻟﻔ;ﺎ‬6 3‫ﺎ ﻓﻲ ﺻﺑـﺎ‬+3‫ﺑﺻ‬7-+‫ﻟ‬6‫ﺣﺗﻣﻲ‬+‫;ﺎ‬3‫ ﻓﺻﺑ‬:+3+‫ﻟﻛﺛ‬6.‫ﺧﺿﻊ ﺑﻬﺎ ﻣﺛ‬+-^‫ﻛذ‬+‫ﺳﺎﻟﺔ ﻻ‬3 .‫ﺣﺎﻣ‬- ‫ف‬3‫ ﻋﺎ‬$9‫ﻣﺑ‬- 3‫ﺣ‬ . :&-‫ﻟ‬6 ‫ﺔ‬+-`-‫ض‬3‫ﻷ‬6 G‫ﻓﺿﺎ‬- :-‫ﻟﻛ‬6 ‫ﻻﻻت‬9- ‫ت‬693‫ﺷﺎ‬36 ‫! ﻓﻲ‬3‫ﻟﻣﺑﺻ‬6 :+‫ﻟﻌ‬6-‫ﻗﻪ‬6‫ ﺻﺎﺣ^ ﻟذ‬$9‫ﻟﻣﺑ‬6 !3‫ﻣﻐﺎﻣ‬- 36-‫ﻟﺛ‬6 3‫ﻷﻓﻛﺎ‬

‫ﻋﺑ) "ﻟ*"زق ﻋﻛﺎﺷﺔ‬ ‫;ﺳﻲ‬3‫ﻟﻔ‬6 ‫ف‬+3‫ﻟﺧ‬6 :-‫ ﻣﺟﻠس ﺻﺎﻟ‬-‫ﻋﺿ‬- 9‫;ﺎﻗ‬- :‫ﻓ;ﺎ‬ ٢٠١٠ 3‫ﺑ‬-‫ﻛﺗ‬F ‫س‬+3‫ﺑﺎ‬ 10

Design ‫ﺗﺼ'ﻴﻢ‬

McDogazawi Installation design ‫ﺗﺼ'ﻴﻢ ﺗﺮﻛﻴﺒﻲ‬

Bon Appetit Performance ‫ﺋﻲ‬4W% ‫ﻋﺎﻓﻴﺔ ﻓﻦ‬. ‫ﺻﺤﺘﻴﻦ‬

Bon Appetit Installation ‫ﻋﺎﻓﻴﺔ ﻋ'ﻞ ﻣﺮﻛﺐ‬. ‫ﺻﺤﺘﻴﻦ‬

Fruit of War Installation ‫ ﻋ'ﻞ ﻣﺮﻛﺐ‬c‫ﻟﺤﺮ‬4 K‫ﺛ'ﺎ‬

Installation ‫ﻋ'ﻞ ﻣﺮﻛﺐ‬

Installation Land day ‫? ﻋ'ﻞ ﻣﺮﻛﺐ‬K‫ﻷ‬4 M‫ﻮ‬H

Cactus Shoes Installation sculpture and performance

‫ﺤﺖ ﺗﺮﻛﻴﺒﻲ‬6 K‫ﻟﺼﺒﺎ‬4 D4‫ﻟﺤﺬ‬4

Installation sculpture ‫ﺤﺖ ﺗﺮﻛﻴﺒﻲ‬6

Although... Performance ‫ﺋﻲ‬4W% ‫ ﻓﻦ‬..‫ﺑﺎﻟﺮﻏﻢ ﻣﻦ‬

Installation sculpture ‫ﺤﺖ ﺗﺮﻛﻴﺒﻲ‬6

Performance ‫ﺋﻲ‬4W% ‫ﻓﻦ‬

Conceptual Art December 2010

Conceptual Art April 2010

٢٠١٠ h^4 ]‫ﻮ‬6‫ﻛﺎ‬

٢٠١٠ ]‫ﻴﺴﺎ‬6

‫ﻓﻦ ﻣﻔﺎﻫﻴ'ﻲ‬

H"2< 8‫ﺣﻘ‬ ‫ﻔﺎ ﻻ‬+‫ ﻣﻛﺛﻔﺔ ﺗﺟﻌﻠﻪﺿﻌ‬3+‫ﻋﺎتﺻﻐ‬3‫ ﺟ‬.‫ ﺧﻼ‬:‫ ﻣ‬9‫ﻟﺟﺳـ‬6 ‫ﻟﻰ‬K .‫;ﺗﻘ‬+‫ﻟذي‬6 ‫ﺎﺳﻲ ﻣﺎ‬+‫ﺳ‬9‫ﺟﺗﺎ ﻟﻔﺳﺎ‬+‫ي ;ﺗ‬9‫س ﻣﻌ‬-3+‫ﻓ‬:‫ ﻣ‬-F ‫ﺔ‬+‫ﺑ‬3‫ﻟﺗ‬6‫ ﻓﻲ‬.‫ﺟﺗﺎ ﻟﻺ`ﻣﺎ‬+‫ض ﺗﺄﺗﻲ;ﺗ‬63‫ﻣ‬F ^‫ﻟﺗﻌﺻ‬6- ‫ﺔ‬+‫ﻟﻌﺻﺑ‬6-.‫ﻟﺟﻬ‬6 :K ‫ﺟﻠﻬﺎ‬F :‫ ﻣ‬3‫ﻟﺑﺷـ‬6 .‫ﻘـﺎﺗ‬+- ‫;ﻬﺎ‬-9‫ﺎ! ﺑ‬+‫ﺔ ﻓﻼ ﻣﻌ;ﻲﻟﻠﺣ‬+3‫ﻟﺣ‬6‫`ﻣﻬﺎ‬F :‫ ﻣ‬- ‫ﻋﺔ‬-3‫ﻟﻣﺷ‬6- ‫ﺔ‬+‫ﻌ‬+‫ﻟ&ﺑ‬6‫ﻗﻪ‬-‫;ﺎ ﺣﻘ‬9F :-9 ‫ش‬+‫ﻟﻌ‬6 ‫ﻊ‬+&‫ﺳﺗ‬+‫ﻟذي ﻻ‬6 :‫ﻟﻣﻬﻠﻛﺔ ﻟﻺ;ﺳﺎ‬6 ‫ض‬63‫ﻷﻣ‬6 Y‫ﻣﺔ ﻣﺳﺗﺳﻠﻣﺎ ﻟﻬذ‬-‫ﻟﻣﻘﺎ‬6 ‫ﻊ‬+&‫ﺳﺗ‬+ ‫ﺻﺎﺑـﻪ ﻋﻘـﻠﺔ‬F !3+‫ﺔﺻﻐ‬+‫ﻣ‬-+‫&ﺎت‬-‫ﺔ ﺑﺳﺑـ^ ﺿﻐ‬+‫ﻟﻌﺻﺑـ‬6‫ﻟﺗﺷ;ﺟﺎت‬6 :‫ﺑﺎت ﻣ‬-;‫ﺻﺎ^ ﺑ‬+‫ﻟذي‬6 :‫ﻹ;ﺳﺎ‬6- ‫ﺗﻪ‬+;‫;ﺳﺎ‬K-‫ﻣﺎ ﻟﻌﻘﻠﺔ‬63‫ﺣﺗ‬6 ‫ش ﻓﻲ‬+‫ﻌ‬+‫;ﺳﺎ;ﺎ‬K 3‫ﺧ‬g- :‫;ﺳﺎ‬K- 3‫ﺧ‬g- ‫ ﺷﻌﺑﺎ‬:+‫قﺑ‬3‫ﻟﺗﻲ ﺗﻔ‬6 ‫ﻓﻬﻲ‬ !3‫ﻟﺣـ‬6 ‫ﻟﻣﺳﺎﺣـﺔ‬6 ‫ ﺑﺳﺑـ^ ;ﻔﺎذ‬G6‫ﺟز‬F ‫ﻟﻲ‬6 ‫ﺗﻣزق‬+‫;ﺗﻔﺦ ﺣـﺗﻰ‬+‫ﻟذي‬6 :-‫ﻟﺑﺎﻟ‬6 .‫ف ﻣﺛ‬+‫ﺿﻌ‬9‫ﻟﺗﻪ ﻟﺟﺳ‬-‫ﻟﺗﻲ ﺣ‬6- !‫ﺎ‬+‫ﻟﻣﺣﺑﺔﻟﻠﺣ‬6 ‫ﻟﻣﺳﺎﻟﻣﺔ‬6 ‫ﻌﺗﻪ‬+‫&ﺑ‬:‫ﺑﺔ ﻋ‬+3‫ﻏ‬3‫ث ﺑﺄﻓﻛﺎ‬-‫ﻟذي ﺗﻠ‬6 Y9‫ﺗﻌﺑت ﺟﺳ‬F ‫! ﺣﺗﻰ‬3‫ﻣﺑﺎﺷ‬ ‫ﻟﻌ;ف‬6 ‫ق‬9;‫ﻻ;زﻻق ﻓﻲ ﺧ‬6 ‫ﻟﻲ‬6 ‫ﺻﻠﺗﻪ‬-F ‫ﻟﺗﻲ‬6- :‫ ﻣ;ذ زﻣ‬:‫ﻹ;ﺳــﺎ‬6 ‫س ﻋﻠﻰ‬3‫ﻟﺗﻲ ﺗﻣﺎ‬6 .‫ﺳــﺎﺋ‬-‫ﻟ‬6 :‫ `ﻣﺎ ﻣ‬:6‫ﻟﻠذ‬6 3‫ﻟﺣــﺻﺎ‬6 - &‫ﺟﺗﺎ ﻟﻠﺿﻐ‬+‫ي ﻟﺣـظﺔ ;ﺗ‬F ‫ ﻓﻲ‬3‫ﻻ;ﻔﺟﺎ‬6 ‫ﻟﻲ‬6 ‫ﺿﺎ‬3‫ﺻﺑـﺢ ﻣﻌ‬+‫ﺧﻠﺔﻓ‬69 ‫ﻓﻲ‬ :‫ ))ﺣﻘـ‬Y6-‫ ﻣﺣـﺗ‬:‫} ﻣ‬63‫ﻟﻔ‬6 .‫ﻷﻣ‬6 :‫ ﻣ‬:‫ ﺑﺣﻘـ‬:‫ﺎ‬+‫ﻷﺣ‬6‫ ﻓﻲ ﺑﻌض‬3‫ﺧﺿ‬+‫ﻟذي‬6- ‫ﻌﻲ‬+‫ﻟ&ﺑ‬6.‫ﺎﺗﻪ ﺑﺎﻟﺷﻛ‬+‫ﺳﺔﺣ‬3‫ ﻣﻣﺎ‬:‫ ﻣ‬7-3‫ﻟﻣﺣ‬6- ‫ﻗﻪ‬-‫;ﻰ ﺣﻘ‬9‫ ﻷ‬9‫ﻟﻔﺎﻗ‬6 7‫ﻟﻌﺎﻟ‬6 ‫ ﻓﻲ‬3‫ﻟﻣ;ﺗﺷ‬6 - ^‫`ﺎ‬3‫ ﺑﺎﻹ‬:‫ﻵ‬6 ‫ف‬-3‫ﻟﻣﻌ‬6 .7-+‫ﻟ‬6‫ﻟﻣﺑ;ﺞ‬6 7‫ﻟﻌﺎﻟ‬6 .‫ ﺣﺎ‬-` 6‫ `ذ‬:-‫ﻛ‬+‫ﻟ‬9+9‫ﺟ‬:‫ ﻣ‬:63-9‫! ﺑﺎﻟ‬3‫ﺋ‬69‫ﻟ‬6 6G9‫ ﻟﺗﺑ‬3‫ﻟﺻﻔ‬6 ‫ﺟﺔ‬39 ‫ﻟﻰ‬K ‫ﺿﻊ‬-‫ﻟ‬6 9+‫ﻟﻬﺎﻟﺗﻌ‬-‫ذ`^ ﻣﻔﻌ‬+‫ ﻣﺎ‬:‫ﻋﺎ‬3‫ﻟﺗﻲ ﺳ‬6 (( G6-‫ﻟﻬ‬6 ‫ي‬3‫ﺟ‬6-‫ﻟﺣ‬6 9‫ﻣﺣﻣ‬ ٢٠١٠-٢٠٠۷ ,!‫ ﻏز‬,‫ﻗﺎﺋق‬9 ۳ -+9+‫ﻓ‬

Air injection

he ignorance and fanaticism and intolerance diseases comes as results of neglect in education or contagious virus infection as results to the corruption of a politician who moves to the body through small intensive doses make it weak and cannot resistance, surrendering to these deadly diseases to humans who cannot live without condemned his natural rights and legitimate and the most important of freedom there is no meaning to life without them and fight the humans for it is that divide between the people and another man and another man to live in respect for the mind and humanity and the human who gets fits of convulsions nerve because of the daily pressures that affects his Mind directly so exhausted his body, which pollution ideas alien to the nature of the peaceful love of life and which turned to the body is weak like a balloon that is getting even torn into pieces due to out of free space within it becomes exposed to an explosion at any moment as results to pressure and blockade, which are the means of exercising the rights long ago and that brought him to slip in a moat of violence is now known to terrorism and the widespread the world's loss to the lowest of his rights and deprived of the exercise of his life as normal and that greening in some cases, injection of hope for the completion of the content of the ((air injection)), which quickly goes ineffective to restore the situation to the point of zero and the circle to spin again to be the case for the world under anesthesia today . Mohammed El hawajri. Three minute video-Gaza 2007-2010

Video Art, 3 minutes Q‫ﻮ ﺑﺼﺮ‬H‫ﻓﻴﺪ‬

WAIT Installation and Performance 35

‫ﺋﻲ‬4W% ^ ‫ﺘﻈﺮ ﻋ'ﻞ ﺗﺮﻛﻴﺒﻲ‬64

Welcome

elcome ... Is a set of more strings were used during the welcome reception of guests or friends, whether this was the reception in the homes or the country as it is a feeling of security at any meeting in some homes may sometimes found written on a small rug at the entrance of the house as part of outdoor furniture has And also used this sentence in a different way, especially while moving or travel always written at the entrances to the land border heard through communication system to draw the attention of international travelers in airports. The fact is this is wholesale transformation of the verbal phrase to phrase the actual act that we know when we get to the checkpoints and the security screening of body bags and that the expression of Welcome ... All this after a long wait and the difficulties of these actions diverted from the phrase welcome to the phrase "immoral" and reached the utmost insult to humanity in some countries that have made the man an enemy of himself as a result of the absence of tolerance and dialogue.

A‫ﺳﻬﻼ ﺑﻛ‬2 ‫<ﻼ‬G .‫ﺳﺗﻘﺑـﺎ‬6 G‫ﺛ;ﺎ‬F ^+‫ﺣـ‬3‫ﻣﺎﺑﺎﻟﺗ‬9‫ﺳﺗﺧ‬6 .‫ﻟﺟﻣ‬6 3‫ﻛﺛ‬F :‫ `ﻲ ﺟﻣﻠﺔ ﻣ‬...7‫ﺳﻬﻼ ﺑﻛ‬- ‫`ﻼ‬F ‫`ﻲ‬- 9‫ﻟﺑــﻼ‬6 -F ‫ت‬-+‫ﻟﺑـ‬6‫ ﻓﻲ‬.‫ﻻﺳﺗﻘﺑـﺎ‬6 6‫ `ذ‬:‫ ﻛﺎ‬G6-‫ ﺳـ‬G‫ﻗـﺎ‬9‫ﻷﺻ‬6 -F ‫ف‬-+‫ﻟﺿ‬6 ‫ﺎ;ﺎ‬+‫ﺣــ‬F ‫`ﺎ‬9‫ ;ﺟ‬9‫ت ﻗــ‬-+‫ﻟﺑـ‬6‫ ﻓﻔﻲ ﺑـﻌض‬G‫ي ﻟﻘـﺎ‬F 9;‫ ﻋ‬:‫ ﺑـﺎﻷﻣﺎ‬3-‫ﻟﺷـﻌ‬6 3‫ﺗﻌﺗﺑـ‬ ‫ﺟﻲ ﻟﻪ‬3‫ﻟﺧﺎ‬6 ‫ﻷﺛﺎث‬6 :‫ ﻣ‬G‫ ﻛﺟز‬.‫ﻟﻣ;ز‬6 .‫ﺧ‬69‫ ﻣ‬7‫ﻣﺎ‬F !3+‫!ﺻﻐ‬9‫ﺑﺔ ﻋﻠﻰ ﺳـﺟﺎ‬-‫ﻣﻛﺗ‬ ‫`ﺎ‬9‫ ﻓ;ﺟ‬3‫ﻟﺳﻔ‬6- .‫ﻟﺗ;ﻘ‬6 G‫ﺛ;ﺎ‬F ‫ﺧﺎﺻﺔ‬- ‫ﻘﺔ ﻣﺧﺗﻠﻔﺔ‬+3&‫ﺿﺎﺑ‬+F‫ﻟﺟﻣﻠﺔ‬6 !‫ `ذ‬79‫ ﺗﺳﺗﺧ‬‫ﻟذي‬6 .‫ﻻﺗﺻﺎ‬6 ‫ ﺟﻬﺎز‬3‫;ﺳــﻣﻌﻬﺎ ﻋﺑــ‬-F ‫ﺔ‬+3‫ﻟﺑــ‬69-9‫ﻟﺣــ‬6 .‫ﺧ‬69‫ﺑــﺔ ﻋﻠﻰ ﻣ‬-‫ﻣﻛﺗ‬ :‫ﻣﺎ ﻋ‬F ‫ﺔ‬+‫ﻟ‬-9‫ﻟ‬6‫ت‬63‫ﻟﻣ&ﺎ‬6 .‫ﺧ‬69 :+3‫ﻟﻣﺳﺎﻓ‬6Y‫;ﺗﺑﺎ‬6 ‫! ﻟﻠﻔت‬99‫ ﻣﺗﻌ‬3-‫ ﻷﻣ‬79‫ﺳﺗﺧ‬+ ‫ف‬3‫ﺔ ﺑـﺎﻟﺗﺻ‬+‫ﻟﻲ ﺟﻣﻠﺔﻋﻣﻠ‬6 ‫ﺔ‬+‫ ﺟﻣﻠﺔﻟﻔظ‬:‫ﻟﻬﺎ ﻣ‬-‫ ﺗﺣـ‬-` ‫ﻟﺟﻣﻠﺔ‬6 Y‫ `ذ‬3‫ﻣ‬F ‫ﻘـﺔ‬+‫ﺣﻘ‬ 9‫ﻷﻣ;ﻲ ﻟﻠﺟﺳـــ‬6 ‫ﻟﻔﺣـــص‬6- ‫ش‬+‫ﻟﺗﻔﺗ‬6&‫ﻟﻰ ;ﻘــﺎ‬K .‫ﻣﺎ ;ﺻ‬9;‫ﻓﻪ ﻋ‬3‫ﻟذي ;ﻌ‬6 ‫ﻟﻔﻌﻠﻲ‬6 3‫;ﺗظﺎ‬6 .-& 9‫ ﺑــﻌ‬6‫ `ذ‬.‫ﻛ‬- ...7‫ﺳـﻬﻼ ﺑــﻛ‬- ‫`ﻼ‬F :‫ ﻋ‬3+‫ذﻟكﻟﺗﻌﺑـ‬- ^‫ﻟﺣﻘـﺎﺋ‬6‫ﺻﻠت‬- ‫ﺔ‬+‫ﺧﻼﻗـ‬F‫ﻟﻲ ﺟﻣﻠﺔ ﻻ‬6 ‫ﺑﻪ‬+‫ﺣ‬3‫ ﺟﻣﻠﺔﺗ‬:‫ﻟﺗﻬﺎ ﻣ‬-‫ﻓﺎت ﺣ‬3‫ﻟﺗﺻ‬6 Y‫ﻣﺷﻘﺔ ﻓﻬذ‬:‫ﻹ;ﺳـﺎ‬6 ‫ﻟﺗﻲ ﺟﻌﻠت‬6- .-9‫ﻟ‬6 ‫ﺔ ﻓﻲ ﺑـﻌض‬+;‫ﻹ;ﺳـﺎ‬6‫ﻻ`ﺎ;ﺔ‬6 ‫ﺟﺎت‬39 ‫ﻗـﺻﻰ‬F ‫ﻟﻲ‬6 . 36-‫ﻟﺣ‬6 - ‫ﻟﺗﺳﺎﻣﺢ‬6 ^‫ﺎ‬+‫ﺟﺔﻏ‬+‫ ﻟ;ﻔﺳﻪ ;ﺗ‬6-9‫ﻋ‬

!! ...‫ﻫﻼ ^ﺳﻬﻼ ﺑﻜﻢ‬% ‫ﺳﻢ‬١٢٠*٤٠ ‫ ﺑﺤﺠﻢ‬K‫ﻟﺼﺒﺎ‬4 k‫ﺒﺎ‬6 ‫ ﻣﻦ‬VW‫ﺸﺎﺋﻲ ﺳﺠﺎ‬6m ‫ﻋ'ﻞ‬

Installation of carpet cactuses Size: 40 * 120 cm