Art Palestine International is a New York-based cultural organization dedicated to Palestinian contemporary art. We collaborate with museums, galleries, and non-profits to produce art exhibitions, events, and publications.

This blog is a research tool that allows us to chart our research and invite others along on the journey.

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FT: “We love Wafa Hourani, we hate Saatchi’s show”

Wow, Wafa Hourani’s installation at Saatchi is taking London by storm. The Financial Times has gotten into the act:

Accompanied by a cacophony of Arab music, this reconstruction of a miniature makeshift cardboard city is grim but somehow delights with mimetic detail, empathy and the drama of human survival.

But the show as a whole did not fare so well:

Such surprises are far apart in the shoddy mess spilling across 12 galleries on the King’s Road.

Ouch. Full article: FT.Com | Jackie Wullschlager

Guardian Review – Wafa Hourani

Hebron native Wafa Hourani’s piece Qalandia 2067, now showing at Saatchi, gets a nice mention in today’s Guardian:

The whole thing draws you in, but becomes more and more unsettling the longer you look. Unlike, say, the Chapman brothers’ Hell, this model is all a bit clunky, and is all the more affecting because of it. The air of everyday menace and surveillance gets to you.

Full review: Shiny hollow people | Art and Design

Wafa Hourani at Saatchi Gallery

Ramallah-based artist Wafa Hourani is showing his work Qalandia 2067 in the Saatchi Gallery‘s upcoming survey of art from the Middle East:

Qalandia 2067 takes its name from the main check point crossing through the West Bank Security Fence which divides the cities of Ramallah and ar-Ram; it is a site of political unrest and human rights concerns. Dating his piece 2067 – one hundred years after the beginning of the Israeli occupation – Hourani’s constructed 5 scale models envisioning the future of a refugee camp where time seems to have regressed rather than evolved. Basing each segment on an actual site – the airport, border crossing, and 3 settlements – the buildings are rendered as war-ravaged and crumbling, crowned by implausibly archaic remnants of TV antennae. Each building is a miniature light-box illuminating glimpses into the private lives of the residents through film strips placed in the windows