Search results

'While the intention behind Qalandiya International is subversive,' writes Shuruq Harb, 'it is still weighed down by the heaviness and sadness of its name.' In this reflection and response to Qalandiya International 2016: <em>This Sea is Mine</em>, Harb discusses the biennial, its challenges and effects, through a series of works...

Shuruq Harb examines Amal Kenawy's <em>Silence of the Sheep </em>(2009), framing the public performance within the context of WIlliam Pope.L's <em>The Great White Way, 22 Miles, 9 Years, 1 Street </em>(1990). The former, Harb writes is '... an image of political apathy that was met with aggressive resistance and total...

'The one that got away' is a collection of stories about moments that I have failed for various reasons to photographically document. Those moments where time, chance and the camera were not rightly aligned. They were the best photographs that I took, if only I took them. While these lost...

<em>The Lonely Crowd</em> is the third edition of the /si:n/ Festival of Video Art and Performance, which was initiated in 2009 by the French-German Cultural Centre, A.M. Qattan Foundation, and Les Instants Video Numeriques et Poetiques. /si:n/ is the first Palestinian festival dedicated to video art and performance, and adapts...

'The one that got away' is a collection of stories about moments that I have failed for various reasons to photographically document. Those moments where time, chance and the camera were not rightly aligned. They were the best photographs that I took, if only I took them! While these lost...

A friend recently asked me, what would be my dream cultural/art space in Ramallah? In the midst of rapid urban construction in Ramallah, my impulse is not to build another building but create what is lacking – an open public space. I feel this would be an artistic, political and...

When we began our research into the current art landscape of the Middle East, we noticed various reasons why the bonds between regional art communities are weakened. Prevailing art discourses are largely externally driven; the way in which art is circulated, marketed and publicised doesn't respond in any significant way...