From Ramallah to Dubai: new exhibition looks at contrasting faces of Palestinian art


Alexandra Chaves
  • English
  • Arabic

It’s hard to talk about Palestine without talking about the occupation. The same goes for Palestinian art, in which resistance and identity continue to be central themes across decades of artistic production.

These narratives inevitably emerge in the Dubai exhibition Palestinian Art: Resilience and Inspiration at Zawyeh Gallery. The space was founded in Ramallah in 2013, and having participated at Art Dubai and Abu Dhabi Art on numerous occasions, the gallery opened in Alserkal Avenue, Dubai, this year. Its roster of artists, including those in the show, mostly live and work in Ramallah.

The exhibition opens with Sliman Mansour's Woman Picking Olives, a symbolic vision of the Palestinian connection to the land, as hinted by the tree and the traditional dress worn by the woman in the painting. It exemplifies the romanticism and nostalgia that Mansour's paintings are known for, though this mood begins to shift with the other works in the exhibition.

In comparison, Tayseer Barakat's Light in the Dark paintings are more abstract and haunting, reflecting not a dream-like version of Palestine, but its reality. His canvases contain many squares depicting scenes from the region's turbulent history, from the Nakba in 1948 and the Intifadas to the West Bank wall and Israeli invasions. Barakat produced the works by layering and gluing canvases on top of each other, ripping them off and repainting them to result in a moulting, textured surface that underscores the grimness of the subject.

Tayseer Barakat tells the story of confinement and occupation through multiple scenes in 'Light in the Dark'. Courtesy the artist and Zawyeh Gallery
Tayseer Barakat tells the story of confinement and occupation through multiple scenes in 'Light in the Dark'. Courtesy the artist and Zawyeh Gallery

The contrast between Palestine rendered as an abstract ideal versus an existing complex territory repeats throughout the show. It is in these shifting perspectives that the show is able to find some footing. Revolution Was the Beginning, another work by Mansour, is brimming with defiance and nationalist sentiment as it traces the history of Palestinian resistance, replete with symbols of peace and the right to return. Nabil Anani's Demonstration series, showing the cohesiveness of an occupied community, also leans towards a broader, more hopeful view of Palestinian resilience.

Meanwhile, in another part of the exhibition, Khaled Hourani's paintings from his project Picasso in Palestine bring us back down from these reveries. Hourani's project involved a collaboration between the International Academy of Art Palestine, where the artist serves as artistic director, and the Van Abbemuseum, Eindhoven, to bring Picasso's Buste de Femme (1943) to Ramallah. The intention was not merely to show the work, but to explore the tangled process of, as Hourani described it, bringing art to a war zone.

Khaled Hourani's 'Picasso in Palestine #2', on view at the exhibition Palestinian Art: Resilience & Inspiration at Zawyeh Gallery. Courtesy the artist and Zawyeh Gallery
Khaled Hourani's 'Picasso in Palestine #2', on view at the exhibition Palestinian Art: Resilience & Inspiration at Zawyeh Gallery. Courtesy the artist and Zawyeh Gallery

The endeavour took two years to materialise, though the masterpiece finally did in arrive in 2011. When it was displayed, it was flanked by Kalashnikov-wearing guards from the Palestinian authority. The surreal sight was captured in photos, which Hourani recreated in his paintings. On one level, they seem almost staged and comical, and on another, they are a reminder of the tension that rests beneath the surface of Palestinian daily life.

These differences also highlight the stylistic shift in Palestinian art over generations. Mansour and Anani were at the forefront of the Palestinian art movement in the 1970s. Their resistance to the occupation was not only expressed in the work, but in their process, too. In the 1980s and 1990s, the artists, including Barakat, boycotted Israeli art supplies and turned to local materials, instead. Mansour worked with clay, while Barakat used wood and fire. Anani turned to leather and dyes such as henna.

Nabil Anani's 'Palestinian House' (1993), made from leather and mixed media on wood. Courtesy the artist and Zawyeh Gallery
Nabil Anani's 'Palestinian House' (1993), made from leather and mixed media on wood. Courtesy the artist and Zawyeh Gallery

Mansour and Anani have incorporated these materials into their recent works, which are more contemplative and emotive. Mansour's Temporary Escape, made with mud and acrylic on wood, reads like a psychological portrait, while Anani Olive Groves landscapes, made from mixed media are dream-like. Next to them are Hourani's portraits of Palestinian children leaping over the West Bank wall, telling us that resilience can be joyful, too.

Wafa Hourani's installations are a break from the more traditional mediums in the show. The Mirror Party shows a segment of the West Bank wall, also referred to by Palestinians as the Apartheid Wall, covered in a mirror sheet as a cutting critique of the idea that the issue can simply disappear or be beautified. His carefully constructed sculptural work A Letter for Her, A Letter of Fate resembles film sets and displays imaginary street scenes of life under occupation.

In 'A Letter For Her, A Letter For Fate', Wafa Hourani creates installations that resemble film sets showing imagined street life in Palestine. Courtesy the artist and Zawyeh Gallery
In 'A Letter For Her, A Letter For Fate', Wafa Hourani creates installations that resemble film sets showing imagined street life in Palestine. Courtesy the artist and Zawyeh Gallery

For Zawyeh’s first exhibition in Dubai, the gallery has tried to demonstrate that there is no singular narrative to Palestinian resistance or resilience. Instead, the stories bear threads of idealism and political struggle, continually moving from memory to reality, from the abstract to the concrete.

Zawyeh’s opening in the UAE earlier this year was overshadowed by the pandemic, and while the space is now up and running, the question of whether it can remain so is still unanswered. Nonetheless, its arrival in the UAE opens up possibilities for Palestinian art to reach more international audiences.

Palestinian Art: Resilience and Inspiration is at Zawyeh Gallery in Alserkal Avenue, Dubai, until Wednesday, September 30

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Favourite vegetable: “I really like the taste of the beetroot, the potatoes and the eggplant we are producing.”

Holiday destination: “I like Paris very much, it’s a city very close to my heart.”

Book: “Das Kapital, by Karl Marx. I am not a communist, but there are a lot of lessons for the capitalist system, if you let it get out of control, and humanity.”

Musician: “I like very much Fairuz, the Lebanese singer, and the other is Umm Kulthum. Fairuz is for listening to in the morning, Umm Kulthum for the night.”

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Favourite read: Rich Dad Poor Dad by Robert Kiyosaki and Sharon Lechter

Favourite film: The Founder, about the establishment of McDonald's

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Company profile

Date started: January, 2014

Founders: Mike Dawson, Varuna Singh, and Benita Rowe

Based: Dubai

Sector: Education technology

Size: Five employees

Investment: $100,000 from the ExpoLive Innovation Grant programme in 2018 and an initial $30,000 pre-seed investment from the Turn8 Accelerator in 2014. Most of the projects are government funded.

Partners/incubators: Turn8 Accelerator; In5 Innovation Centre; Expo Live Innovation Impact Grant Programme; Dubai Future Accelerators; FHI 360; VSO and Consult and Coach for a Cause (C3)

Real estate tokenisation project

Dubai launched the pilot phase of its real estate tokenisation project last month.

The initiative focuses on converting real estate assets into digital tokens recorded on blockchain technology and helps in streamlining the process of buying, selling and investing, the Dubai Land Department said.

Dubai’s real estate tokenisation market is projected to reach Dh60 billion ($16.33 billion) by 2033, representing 7 per cent of the emirate’s total property transactions, according to the DLD.

Dust and sand storms compared

Sand storm

  • Particle size: Larger, heavier sand grains
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Dust storm

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PULITZER PRIZE 2020 WINNERS

JOURNALISM 

Public Service
Anchorage Daily News in collaboration with ProPublica

Breaking News Reporting
Staff of The Courier-Journal, Louisville, Ky.

Investigative Reporting
Brian M. Rosenthal of The New York Times

Explanatory Reporting
Staff of The Washington Post

Local Reporting  
Staff of The Baltimore Sun

National Reporting
T. Christian Miller, Megan Rose and Robert Faturechi of ProPublica

and    

Dominic Gates, Steve Miletich, Mike Baker and Lewis Kamb of The Seattle Times

International Reporting
Staff of The New York Times

Feature Writing
Ben Taub of The New Yorker

Commentary
Nikole Hannah-Jones of The New York Times

Criticism
Christopher Knight of the Los Angeles Times

Editorial Writing
Jeffery Gerritt of the Palestine (Tx.) Herald-Press

Editorial Cartooning
Barry Blitt, contributor, The New Yorker

Breaking News Photography
Photography Staff of Reuters

Feature Photography
Channi Anand, Mukhtar Khan and Dar Yasin of the Associated Press

Audio Reporting
Staff of This American Life with Molly O’Toole of the Los Angeles Times and Emily Green, freelancer, Vice News for “The Out Crowd”

LETTERS AND DRAMA

Fiction
"The Nickel Boys" by Colson Whitehead (Doubleday)

Drama
"A Strange Loop" by Michael R. Jackson

History
"Sweet Taste of Liberty: A True Story of Slavery and Restitution in America" by W. Caleb McDaniel (Oxford University Press)

Biography
"Sontag: Her Life and Work" by Benjamin Moser (Ecco/HarperCollins)

Poetry
"The Tradition" by Jericho Brown (Copper Canyon Press)

General Nonfiction
"The Undying: Pain, Vulnerability, Mortality, Medicine, Art, Time, Dreams, Data, Exhaustion, Cancer, and Care" by Anne Boyer (Farrar, Straus and Giroux)

and

"The End of the Myth: From the Frontier to the Border Wall in the Mind of America" by Greg Grandin (Metropolitan Books)

Music
"The Central Park Five" by Anthony Davis, premiered by Long Beach Opera on June 15, 2019

Special Citation
Ida B. Wells

 

What sanctions would be reimposed?

Under ‘snapback’, measures imposed on Iran by the UN Security Council in six resolutions would be restored, including:

  • An arms embargo
  • A ban on uranium enrichment and reprocessing
  • A ban on launches and other activities with ballistic missiles capable of delivering nuclear weapons, as well as ballistic missile technology transfer and technical assistance
  • A targeted global asset freeze and travel ban on Iranian individuals and entities
  • Authorisation for countries to inspect Iran Air Cargo and Islamic Republic of Iran Shipping Lines cargoes for banned goods

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  1. Join parent networks
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  3. Keep an open mind
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Countries recognising Palestine

France, UK, Canada, Australia, Portugal, Belgium, Malta, Luxembourg, San Marino and Andorra

 

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Send “thenational” to the following numbers or call the hotline on: 0502955999
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Volunteers offer workers a lifeline

Community volunteers have swung into action delivering food packages and toiletries to the men.

When provisions are distributed, the men line up in long queues for packets of rice, flour, sugar, salt, pulses, milk, biscuits, shaving kits, soap and telecom cards.

Volunteers from St Mary’s Catholic Church said some workers came to the church to pray for their families and ask for assistance.

Boxes packed with essential food items were distributed to workers in the Dubai Investments Park and Ras Al Khaimah camps last week. Workers at the Sonapur camp asked for Dh1,600 towards their gas bill.

“Especially in this year of tolerance we consider ourselves privileged to be able to lend a helping hand to our needy brothers in the Actco camp," Father Lennie Connully, parish priest of St Mary’s.

Workers spoke of their helplessness, seeing children’s marriages cancelled because of lack of money going home. Others told of their misery of being unable to return home when a parent died.

“More than daily food, they are worried about not sending money home for their family,” said Kusum Dutta, a volunteer who works with the Indian consulate.

Virtual banks explained

What is a virtual bank?

The Hong Kong Monetary Authority defines it as a bank that delivers services through the internet or other electronic channels instead of physical branches. That means not only facilitating payments but accepting deposits and making loans, just like traditional ones. Other terms used interchangeably include digital or digital-only banks or neobanks. By contrast, so-called digital wallets or e-wallets such as Apple Pay, PayPal or Google Pay usually serve as intermediaries between a consumer’s traditional account or credit card and a merchant, usually via a smartphone or computer.

What’s the draw in Asia?

Hundreds of millions of people under-served by traditional institutions, for one thing. In China, India and elsewhere, digital wallets such as Alipay, WeChat Pay and Paytm have already become ubiquitous, offering millions of people an easy way to store and spend their money via mobile phone. Indonesia, Vietnam and the Philippines are also among the world’s biggest under-banked countries; together they have almost half a billion people.

Is Hong Kong short of banks?

No, but the city is among the most cash-reliant major economies, leaving room for newcomers to disrupt the entrenched industry. Ant Financial, an Alibaba Group Holding affiliate that runs Alipay and MYBank, and Tencent Holdings, the company behind WeBank and WeChat Pay, are among the owners of the eight ventures licensed to create virtual banks in Hong Kong, with operations expected to start as early as the end of the year.