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International Academy of Art Palestine

Palestinian Art Court – al Hoash

Left: Bashir Makhoul, “Giardino Occupato,” 2013. Detail in-situ, Corrugated cardboard, Size variable. Right: Aissa Deebi, “The Trial,” 2013. A two-channel installation, HD/DVD 15 minute loop, accompanied by 24 drawings.

Palestinian Art Court – al Hoash presents
Bashir Makhoul & Aissa Deebi
Otherwise Occupied
29 May–30 June 2013

Venice Biennale 2013
55th International Art Exhibition

T +972 (0)26273501

Otherwise Occupied is an exhibition of Palestinian artists organized by al Hoash as part of the Venice Biennale 2013. Curated by Bruce Ferguson and Rawan Sharaf, the exhibition features two internationally renowned Palestinian artists: Bashir Makhoul and Aissa Deebi, who were born inside the 1948 borders and emigrated to become citizens of other states operating in a globalised art world. They still think of themselves as Palestinians and are in search of new ways to imagine the nation from a distance.

Palestine, long under occupation, has been constructed by the imaginary of what are widely fragmented communities across the world. Art is capable of occupying cultural spaces that are otherwise inaccessible or invisible. Otherwise Occupied describes other ways of imagining the nation outside and beyond the conflict.

To be otherwise occupied is to be busy elsewhere, to be engaged in activities outside the programme. For these artists this means making work that does not necessarily comply with the agendas determined by the occupation. The ‘otherwise’ for them is an imaginary, parallel space beyond the claims of nationalism that is opened up by global cultural events such as the Venice Biennale.

Exhibition venue: Liceo Artistico Statale di Venezia (LASV) of Palazzo Ca’ Giustinian Recanati.
Address: Dorsoduro 1012, 30123 Venice, Italy

Bashir Makhoul
Giardino Occupato
Bashir Makhoul will be occupying the garden of the Liceo Artistico Statale di Venezia with thousands of cardboard box houses. The occupation will be partly made by members of the public during the exhibition, who can view the growing cardboard shanty town but will also be able to construct their own house from a stack of flat boxes.

This piece is a further exploration of Makhoul’s large-scale installation Enter Ghost Exit Ghost, which consists of a full-sized, interior maze and a large cardboard model of an Arab town or refugee camp and raises questions about the kinds of spaces that have emerged in sites of conflict and in the urban margins of globalization. This piece will be emphasizing the performative aspects of occupation—the act of getting there and of filling the space.

Bashir Makhoul is a Palestinian British-based artist who has a body of work developed over 20 years in a range of media exploring aesthetics and offering nuanced political critique on various topics. Makhoul is currently the Head of Winchester School of Art – University of Southampton, United Kingdom.

The Trial
A two-channel installation, HD/DVD 15-minute loop, accompanied by 24 drawings.

This two-channel installation consists of a re-enactment in English of a speech by Daoud Turki at the Haifa court house in 1973, when he was a defendant during a military trial. Turki, a Palestinian-Arab citizen of Israel, had been arrested by the Israeli military with four other members of the “Red Front” and charged with espionage and collaboration with the enemy. In this speech, Turki tried to advance an idea against the paranoid Zionist fantasy of conflict toward the larger idea of a socialist class struggle, proclaiming solidarity with “…all workers, peasants and those persecuted in Israel society.” The brilliance of his rhetoric and the fullness of his reasoned argument, in which he criticizes Zionism for pitting Jews against Arabs, is caught as an address almost from Franz Kafka’s The Trial, which echoes throughout as the tone of an idealist caught in the jaws of the heinous militaristic state.

Aissa Deebi is a Palestinian artist based in Cairo and New York. His works investigates a range of notions around migration and alienation and diaspora as a creative space. He is the Director of the Visual Cultures Program at the American University in Cairo.

About Al Hoash
Al Hoash is a Jerusalem-based, non-profit Palestinian organization that seeks the development of visual arts as a substantial and critical tool for communication, innovation and free expression through programs that are research-based, community-linked and provide platforms for education, discourse and critical analysis.

Winchester School of Art, University of Southampton
American University in Cairo

Mohamed Ali Fadlabi, Anawana Haloba, Jumana Manna and Sille Storihle at the Sharjah Biennial 11: ‘Re:emerge, Towards a New Cultural Cartography’

Still from The Goodness Regime by Jumana Manna and Sille Storihle, 2013.
Courtesy of the artists


the participation of Mohamed Ali Fadlabi, Anawana Haloba, Jumana Manna and Sille Storihle at the Sharjah Biennial 11: ‘Re:emerge, Towards a New Cultural Cartography’

Curator: Yuko Hasegawa
Exhibition Dates: 13 March–13 May 2013
Press Conference: Tuesday 12 March / 10:00

Sharjah Biennial 11, Sharjah, United Arab Emirates

According to the organisers, in ‘Re:emerge, Towards a New Cultural Cartography’, curator Yuko Hasegawa proposes a Biennial that ‘reassess the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin America’. Hasegawa was inspired by the courtyard in Islamic architecture, in particular the historical courtyards of Sharjah, where ‘elements of both public and private life intertwine, and where the objective political world and the introspective subjective space intersect and cross over. Within the network of intensifying international and globalising links, the courtyard as an experiential and experimental space comes to mirror something of Sharjah as a vital zone of creativity, transmission, and transformation’. For the Sharjah Biennial 11, Hasegawa has selected more than one hundred artists, architects, filmmakers, musicians and performers whose artworks and practices resonate with strands of the curatorial theme: ‘the complexity and diversity of cultures and societies; spatial and political relations; notions of new forms of contact, dialogue, and exchange and production through art and architectural practices of new ways of knowing, thinking, and feeling’.

Within this context, Mohamed Ali Fadlabi will present the installation project The Prediction Machine, commissioned by Sharjah Art Foundation. While maintaining its roots in African culture, the work is ‘tempered by irony and postcolonial theoretical discourse as the artist seeks to seduce the viewer with a series of culturally defunct frames of reference’. Telling stories of saints and superheroes, The Prediction Machine references Ethiopian church paintings, African barber salon art, Sun Ra’s afrofuturism, retrofuturism and music. The work questions Western norms in art, the meaning of Europe today and the persistent division between what is designated the West and the non-West.

In her project titled This and Many More?, Anawana Haloba explores conflicts that occurred during periods of colonisation and resistance, looking at how such conflicts affected approaches to development. Haloba reenacts events, such as the 1930 Salt March led by Mahatma Gandhi in India, via gestures and narratives that allow the viewer to approach history from a different vantage point, creating links between past and present conflicts. The installation unfolds over two sections. In the first are four barrels cast from polyester, fiberglass and metal dust. Each barrel widens at the top to create a large flat surface that functions as a screen, onto which four videos are projected. The second section is a brightly lit white cube gallery in which stands a heap of coarse salt, 150 kilos in weight, and around which people can sit. The work has been commissioned by the Sharjah Art Foundation.

Jumana Manna and Sille Storihle will participate in the Sharjah Biennial 11 with a documentary titled The Goodness Regime, exploring the image of Norway as a country of peace and benevolence. Archival footage of political speeches and clips from Hollywood films are woven together with a series of enactments by children, in which they recount the myths, historical events and cultural personae that have propelled the understanding of this Scandinavian nation. In a satirical deconstruction of the ‘goodness regime’, the artists explore the past moral dilemmas of one of the wealthiest countries on Earth.

Right To Live Society

New exhibitions Guernica Gaza

Exhibition opening: Points of Departutre 15 Jan at Al Mahatta Gallery Ramallah @ 17:00

e-vite eng (PDF)

Invitation to “Building Jericho(s)” talk

“The Miracle in the Holy Land” talk and conversation


Beautiful Eyes Gallery is an exciting new contemporary art space located in the heart of Jerusalem. The gallery will exhibit work from established artists working in a variety of disciplines such as conceptual ceramics, video, drawing, sculpture, photography and mixed media. The gallery will feature both solo and group shows, displaying the works of Israeli and international artists who demonstrate a dedication to excellence in their fields.

The gallery is slated to open its doors with the large group exhibition BIG SECRETS concealing and revealing by 10 artists, exhibiting works by Irit Abba, Eran Ehrlich, Hanna Farrah Kufur Biram, Gali Grinspan, Guy Jana, Hila Lulu Lin, Mika Orstav, Rivi Perlov, Hadara Rabinowitz and Osnat Raichman. BIG SECRETS is curated by Hadara Rabinowitz.

Beautiful Eyes Gallery Opening Event and BIG SECRETS exhibition opening will take place on Friday, December 21, from 12:00-15:00.
BIG SECRETS will run 21/12/ 2012 to 15/1/2013.
Mesilat Yesharim 12, Jerusalem
Gallery opening hours: Monday-Thursday, 10:00-19:00, Friday 10:0-14:00
For more information: 050-673-6643

‘Palestine in the Eye: Militant Moving Images’

/ December 15 – 19 / @ Khalil Sakakini Cultural Centre / curated by Subversive Film

[ ... A national-historical tendency afflicting film scholarship and exhibition in recent decades has militated against the treatment of these transnational cinemas of the revolution. Palestine in the Eye: Militant Moving Images counters this neglect, asking what visions of Palestine took form in the eyes of international artists finding inspiration in the revolution. As they sought their own aesthetic criteria and militant methods, how did these figures navigate the line between a film’s revolutionary form and its revolutionary function? Responding to his own questions, Abu Ali tasked film with ‘assuming the role of a weapon at the service of the revolution’; but could not the revolution, with its call to insurrection, equally assume the role of a tool at the service of artistic innovation?... ]