DISARMING DESIGN Disarming Design Create Shop 2016 was organized with FROM and made possible with the generous support of Dutch Creative Industries Fund and Lutfia Rabbani Foundation

The ORGANISATION CREATE-SHOP INPUT, FEEDBACK AND CRITS BY Disarming Design from Palestine Disarming Design team is: Create-shop 2016 was organized on — Ghadeer Dajani (Product is registered as a Palestinian non- — Annelys de Vet (Co-foudner & the invitation of and incollaboration manager) profit company in Ramallah, and Artistic Director) with the Ramallah Municipality. — Mohammad Saleh (Executive as a foundation in the Netherlands. — Mohammad Saleh (Executive It was held in Hosh Qandah from Director) They have worked in collaboration Director) 28th of August to 8th of September. — Annelys de Vet (Co-foudner with the International Academy of — Ghadeer Dajani (Product & Artistic Director) Art Palestine, Sandberg Instituut manager) PARTICIPANTS and Amsterdam, Al Ma’Mal foundation — Sami Khaldi (Financial manager) — Hadeel Qutna — Khaled Hourani (artist, PS) Jerusalem, Alhoush, Ramallah — Mohamed Abusal (Coordinator — Tuqa AlSaraj — Reem Shilleh (filmmaker/ Municipality, Bethlehem Fair Gaza) — Ibrahim Al Hindi curator, PS) Trade Artisans, Eltiqa group Gaza — Wisam Horani (Sales & — Ala’a Wahdan — Mohammad Anati and WIELS in Brussels. The items warehouse coordinator, — Amani Jacob (handyman, PS) are sold on the local market, Belgium) — Bushra Hasonah — Foaad Maadi (Ramallah and the Dutch based Disarming — Francis Tams (Accountant) — Maram Sublaban tourguide, PS) Design Foundation with a — May Marei — Juliette Lizotte (designer, FR) warehouse in Belgium takes care — Raed Hamouri of the international distribution. and Producers are paid according — Floris van Driel (NL) to fair trade standards and — Andrea Karch (DE) Palestinian artists and designers — Joao Roxo (MZ) receive royalties for the sales of — Biyi Zhu (CN) their products. YEAR REPORT 2016

2 EVENTS july 2016 – feburary 2017 DISARMING DESIGN FROM PALESTINE Lectures, workshops, exhibitions, pop-up shops

introduction 28/aug—8/sep 31/aug 7/sep—31/okt 8/sep Create Shop Disarming Practices›, poetic forms Garbage Environment Design Presentation final outcome Hosh Qandah, Ramallah, Palestine of resistance French-German Cultural Center, Hosh Qandah, Ramallah, Palestine Create-shop with 14 participants Hosh Qandah, Ramallah, Palestine Palestine Presentation of final outcome create In the last five years we have developed the roots and conditions for the inclusive design label Pulbic lectures during createshop Particiaption in exhbition about shop recycling and design in Palestine ‘Disarming Design from Palestine’. We have structured and re-structured ourselves, registered a non-profit company in Palestine and a foundation in the Netherlands, we have conducted four create-shops and have build up a thought provoking collection of products (and prototypes, that still need to be developed to products). In 2016 we were invited for a series of exhibitions in Palestine and . The exhibitions that took place in Palestine were combined with create-shops and presentations*. Autumn 2016 we were finally able to launch our new webshop, and we started with sending regular newsletters. It gained a much larger audience and new invitations for events and press.

* On the invitation of Ramallah Municipality we had organized a design- 5/okt 8/okt—30/okt 8/okt—7/nov 16/nov In short 2016 has been an important folding De Gaza à Bruxelles Welcome Home Gaza in Rotterdam Strategies of poetic resistance create-shop in their new community center ‘Hosh Qandah’ from 28th of Versaille, Brussels (B), Belgium Disarming Design Studio, Ramallah, Nachtsmid gallery, Rotterdam Free University Bolzano year, from a thorough period of research August to the 8th of September. During this course Project presentation and pop-up Palestine Netherlands Italy & development, to a serious professional 9 Palestinian artists and designers collaborated with 5 international shop during evening about Gaza Exhbition and shop in our own Show and pop-up shop in Rotterdam Lecture by Annelys de Vet, about designers and over 16 artisans. Together they researched contemporary studio gallery comtted design and Disarming organisation, with a promising collection of Palestinian identity and how to express that through useful locally Design products, a studio in Ramallah and in Belgium made products. Over the course of 2 weeks all participants discussed and improved their ideas with each other and in conversation with and a higly qualified and motivated team. This visiting critics. At the end of the create-shop 18 proposals for new report gives an overview of the event, sales and designs were presented. press that took place in this important year. On the occasion of Qalandiya International III — the biggest art biennial in Palestine, which carried the theme ‘The Right of Return’ — we organized an exhibition called ‘Welcome Home’ in our studio in Ramallah. In a former apartment the products developed in the past We are grateful to the Creative Industries Fund, five years, along with the recent prototypes, were displayed in their the Ramallah Municipality and the Lutfia Rabbani intended settings. Together they presented sets of stories about current Palestinian distorted identity, while examining the potential of creative Foundation for their generous support in making practices as forms of resistance. The show imagined welcoming the 2/dec—4/dec 9/dec 10/dec—11/dec 9/dec—11/dec these meaninful events possible. And we want Palestinian people in Palestine and the diaspora, to a long awaited Ramallah Municipality Christmas Gift Art Fair All you want for Christmas Christmas Market home. They could find our beautifully made local Palestinian products Market Al Ma’mal, Jerusalem Mudam (Museum of Contemporary Beit Sahour , Palestine to thank all the participants for their poetic and telling their stories and make them feel truly welcomed back. Movenpick Hotel, Ramallah Palestine Art), Luxembourg Participation Christmas Market Palestine Pop-up shop in christmas market Luxembourg dedicated engergy and ideas, and the external crticis Pop-up shop in christmas market Pop-up shop in christmas market and guides for their inspirational and constructive input. We are looking forward in bringing these narratives further and further.

Ghadeer Dajani, Wisam Horani, Sami Khaldi, Mohammad Saleh and Annelys de Vet january 2017

17/dec 20/dec 19/jan 19/jan – 31/maart Gift Art Fair Disarming Design henry van de velde award henry van de velde awardS EXPO Disarming Design Office, Sint Pieters The Court, Jerusalem Bozar, Brussels Bozar, Brussels Leeuw (B) Palestine Winning communication award Exhbition Belgium Opening event for the permanent Design Price Gift art fair in our Belgium office shop-installation we have

3 create-shop ACTIVITIES @hosh qandaH, ramallah 28 AUGUST—8 SEPTEMBER 2016

The Project PEOPLE Activities that took place as part of the create-shop varied — October: Disarming Design from Palestine is an inclusive design label The create-shop course was guided and organized by: between guest lectures, screenings, visits to a variety (selection of) prototypes will be exhibited during that presents useful products from Palestine. The goods — Disarming Design (Annelys de Vet (Designer, director of Palestinian artisans and workshops in and around Qalandia International at the Disarming Design studio are designed by Palestinian and international designers and DDFP, NL/B), Mohammad Saleh (Executive Director DDFP, Ramallah, a guided tour through the old and new City, made in Palestine by local producers and artisans. During PS) and Ghadeer Dajani (Production Manager DDFP, PS) a collective hike, collective lunches and other relevant Workshop task for participants yearly ‘create-shops’, new useful products are developed out activities. These activities and visits were inspirational, Develop a prototype for a new useful product, of existing production processes. The collection is presented and included presentations and critics by: empowering and significant on a number of levels. It made in Palestine that reflects upon contemporary and items are sold locally and internationally through — Khaled Hourani (artist, PS) helped to bring the group closer to each other, releasing Palestinian life. exhibitions, presentations, mobile shops and a webshop. — Reem Shilleh (filmmaker/curator, PS) and giving a lot of energy as well as bringing a deeper — Mohammad Anati (handyman, PS) understanding of Palestinian political reality, Palestinian The product should be useful; unveil something about VISION & mission — Foaad Maadi (Ramallah tourguide, PS) artisanship, culture, design and society. It also puts the Palestinian contemporary life i.e. food, love, culture, Our vision is to spread alternative narratives about — Juliette Lizotte (designer, FR) participants in direct contact with artisans, directly habits, occupation, transport, daily life, household etc.; contemporary Palestine and reflect upon the function of interact with them, design, develop, and implement made in Palestine or by Palestinian producers; should creative practices in situations of conflict. Our mission is to preferably consist of mostly Palestinian resources i.e. develop, present and sell useful contemporary design pieces altogether. from Palestine, designed by contemporary designers, artists textile, stones, olive wood, ceramics, recycled material, Overview of Process and students in collaboration with local producers and soap, etc.; made from natural or recycled materials artisans. — Week 1: (as much as possible; made with respect to the BDS research and developing ideas, discussions and principles; able to be taken into production (the cheaper Purpose workshop visits and produce 1st prototype and simpler products can be in relation to production, Disarming Design from Palestine focuses on the — Week 2: the better). development of local design and production capacity improve prototype and make the final prototype design through creative processes. By stimulating interdisciplinary working relationships, new models of artistic practices and handcrafts are empowered. At large, the products spread alternative narratives about contemporary Palestine and FEEDBACK PARTICIPANTS reflect upon the function of creative practices in situations of conflict. In this project, art and design are deployed as May Marei: “I have communicated with my origin in Ala’a Wahdan: “I learned how I can develop an idea and Participants powerful tools that allow serious discussions within a Palestine in a different way; listening to the experiences make a prototype of it in a short time.” community about the political, social and cultural realities. We had selected 9 contemporary Palestinian designers, of the internationals has made me reappreciate the land How can creative practices contribute to a more sustainable artists and students with an interest in crafts and of Palestine even more and it increased my belief in my Floris van Driel: “... I found a certain humbleness in society and human-centered economy? production, who were able to rethink products from identity as a Palestinian.” Ramallah, which I think is sometimes easy to forget when a conceptual approach. In addition four international Background master students of the Sandberg Instituut Amsterdam were you’re studying in a very western, privileged city like The project started in 2012 as a project of DEVET (NL/B) selected: Joao Roxo: “I learned about the richness of the culture Amsterdam.” in collaboration with the International Academy of Art — Hadeel Qutna and the – at times – seemingly infinite amount of symbols, Palestine (PS), ICCO (NL) and the Sandberg Instituut — Tuqa AlSaraj stories and crafts this place and its people have to give.” Joao Roxo: “I was really touched by the as Amsterdam (NL). In 2015 it became independent and was — Ibrahim Al Hindi a people, as they are really hospitable and knowledgeable registered as a non-profit company in Palestine, and as — Ala’a Wahdan Andrea Karch: “It was super interesting to see references about Palestinian culture. Adding to this, it was impressive a foundation in the Netherlands. — Amani Jacob from Palestinian/Middle Eastern artists.” how everyone has been so creative and collaborative in — Bushra Hasonah finding the right product to develop for the project. I feel The Create-Shop — Maram Sublaban Maram Sublaban: “I was very impressed by the that every product is a result of the collective effort of the The aim of the create-shop is to develop useful products that — May Marei Palestinian industries that I’ve never witnessed so closely participants.” reflect upon Palestinian reality and can be produced — Raed Hamouri and realized the high quality of it.” locally. The create-shop is a collaborative process with and May Marei: “This workshop was a very good example high emphasis on creativity, collaboration, production — Floris van Driel (Dutch) Maram Sublaban: “I learned that it’s not hard to think of to me on good team work, there was a kind of harmony and quality. Participants experiment and develop ideas — Andrea Karch (German) collectively, engage in discussions and are introduced to — Joao Roxo (Mozambique/Portuguese) something not necessary there, and then bring it to life.” created among the participants.” different Palestinian craft workshops. — Biyi Zhu (Chinese) The create-shop was hosted in the workshop space at Hosh Bushra Hasonah: “I am very happy to be part of this Andrea Karch: “It was super nice to see how Disarming Qandah, and included guest lectures, screenings, visits to a createshop, it taught me a lot of skills like using leather Design has a big impact on the audience and local variety of Palestinian artisans and workshops in and around and look at design as an art work. It was a professional Palestinians.” Ramallah, a field trip to the , some collective workshop in all levels.” lunches and other relevant activities. Each participant was requested to collaborate with the local producers to develop prototypes for his/her designs.

5 6 PROGRAM 28 AUGust — 8 SEPTember CREATE SHOP

Sunday 28 August Monday 29 august Tuesday 30 august Saturday 3 september, all day Sunday 4 september, all day Monday 5 September, 9.30 — 17.30 hrs @ Hosh Qandah 9.30 – 17.30 hrs @ Ramallah 9.30 hrs – ± 17.00 hrs @ Ramallah @ Hosh Qandah or artisans workshop or @ Hosh Qandah or artisans workshop or 9.30 — 17.00 hrs @ Hosh Qandah – Morning: Introduction Hosh Qandah by Sally – Morning: Artisans visits in Ramallah (see & Hosh Qandah other relevant location other relevant location – Morning: Collective presentation and Abu Bakr Briefing project by Annelys de Vet map) – Morning: Tour through Ramallah by Foaad – Morning & afternoon: Prototyping, Working, – Morning & afternoon: Prototyping, Working, discussion of first prototypes, with Annelys (managing/artistic director) & Mohammad – Afternoon: studio visit Disarming Design & Maadi (Ramallah tourguide, PS) Making Making de Vet, Mohammad Saleh, Khaled Hourani, Saleh (executive director), speed date presentation by Ghadeer Dajani (production – Afternoon: Brainstorm & Working & – Visit to Ghadeer Dajani sessions participants manager) Feedback sessions (with Annelys de Vet) – Afternoon: Working & individual feedback – Afternoon: presentations by participants sessions

Wednesday 31 August, Thursday 1 September, 9.30 – ± 17.00 hrs @ Friday 2 September, afternoon & evening @ Tuesday 6 September, Wednesday 7 September, Thursday 8 September, 9.30 – ± 21.00 hrs @ Hosh Qandah Hosh Qandah & Goethe Institute countryside 9.30 — 17.00 hrs @ Hosh Qandah or artisans 9.30 — 17.00 hrs @ Hosh Qandah or artisans 9.30 – evening @ Hosh Qandah – Morning: Presentation and individual – Morning: Individual feedback sessions with Country side hike organized by The Right to workshop or other relevant location workshop or other relevant location – Morning: Finalizing products feedback sessions by Khaled Hourani (artist) Reem Shilleh (artist / curator) Movement – Morning: Individual feedback sessions with – Morning: Individual feedback sessions with – Afternoon: collective presentation – Afternoon: Sketching & Working – Afternoon: Joined lunch and brainstorm/ – 4pm hike from Mar Saba Monastery to Tal Al Reem Shilleh Mohamad Anati prototypes and feedback with invited guests, – Evening: Lectures by visiting artists/ feedback talks with international designers Qamar in Bethlehem, and BBQ – Introduction of Mohamad Anati, handyman – Afternoon: Prototyping & finalizing designs, – Evening: collective [rooftop] BBQ designers, including: Juliette Lizotte (FR), French German Cultural Center – Afternoon: Working & Prototyping & titles, technical sheets, product texts Reem Shilleh (PS), Annelys de Vet (NL) — Additional worksessions Producing

7 8 PROTOTYPES 2016 18 design proposals THAT WERE DEVELOPED DURING THE CREATESHOP

A souvenir from Jenin Bomb Heaven and Hell Not Just A Bread Now you seed me, Now you don’t Palestinian mountains (Mahroon) bags Silver spoon from a family house in Jenin leather and keychain Bag in fabric printed with details of embroidery baby sleeping bag with the feature of Plantable recycled paper Khaish bags for herbs to dry in the kitchen by: May Marei (PS) and Juliette Lizotte (FR) by: Maram Sublaban (PS) of a famous Palestinian dress bread by: João Roxo (MZ) By: May Marei Production: Al Masri, Tannous , by: Hadeel Qutna (PS) By: Biyi Zhu (CN) A souvenir from Jenin imitates the Hebron glass and ceramics factory Production: Gasman Advertising Made by: Kamel Salous, Stars Fashion 6PXJJOHVHHGVHPEHGGHGRQUHF\FOHG As any Palestinian family we are used spoons sold as a holy souvenir, it SDSHU,Q3DOHVWLQHLWLVLOOHJDO to the hills and forests around my represents the typical windows of the to export seeds (one of many imposed WRZQXVXDOO\ZHJRWRDPRXQWDLQ 7KLVEDOORIJODVVLVVREHDXWLIXOO\ 7KLV0RGHOLVDKDQGEDJLQVSLUHGE\WKH 7KLVEDE\VOHHSLQJEDJLVLQVSLUHGE\ family house of May, one of the oldest restrictions found). This paper is made QDPHG0DKURRQQHDU4DEDW\DYLOODJH$Q WUDQVSDUHQWKDUGHUDQGVWURQJHUWKDQ shape of the dress Heaven & Hell in a the Palestinian daily cuisine. Bread is KRXVHWKDWºQDOO\JRWUHVWRUHGWREHFRPH IURPUHF\FOLQJSDSHUZDVWH important part of this picnic, was to it may seem, and just like any other FRQWHPSRUDU\DQGDEVWUDFWGHVLJQVR QRWRQO\WKHHVVHQWLDOIRRGEXWDOVRWKH the music center of Jenin. This spoon walk around and pick up some fresh wild REMHFWVZKHQ\RXWDNHFDUHRILWLW WKDWHDFKJLUOFDQFDUU\KHUGUHVVWR YDOXDEOHIRRGLQHYHU\$UDELFFRXQWU\ WXUQVWKHIDPLO\KRXVHLQWRDQHPEOHPRI KHUEVVXFKDV=D±WDU,]H±DLWPDQHK stays. And that’s how I see the matter anywhere. :KHQSHRSOHVKDUHWKHEUHDGZLWKIDPLO\ -HQLQWREHWUDQVPLWWHGIURPJHQHUDWLRQ and Mayrameyyeh. Then we leave it for of the Palestinian production and happiness will appear unconsciously. WRJHQHUDWLRQWRUHPLQGERWKWKHEHDXW\ a couple of days to dry at home, it is LQGXVWULHVLQLWVºQHVWTXDOLWLHVZKLFK The same as when the family has a new of Palestinian architecture and the OLNHD3DOHVWLQLDQSHUPDQHQWKDELW

Mendeel Um Muqawama Matchbox More than love Pieces of my heart Another Quartet Re; light Tissue Box in rusted iron Matchbox ornemented with arabic calligraphy Calligraphed stencil for bread wood form for Maamoul with only a part of the Set of 16 cards with portraits of artists, poets, Cotton fabric wearable, off-white with red by: Andrea Karch (DE) by: Hadeel Qutna (PS) By: João Roxo (MZ) and Juliette Lizotte (FR) cookie musicians and actors from Palestine thread along seams Produced by: Mustafa Abu Jameel Prototype by: Abu Ibrahim Calligraphy: Mohammad Omar. Laser cut: by Amani Yaqob (PS) by: Ala’a Wahdan (PS) by: Floris van Driel (NL) (Blacksmith), Sabah Zhour (Embroidery) Fairouz Prototype: Abu Ibrahim made by: Sabah Al’ Asal The matches factory in the city of ,WLVDJDPHZLWKIRXUºHOGVRIGLҬHUHQW $3DOHVWLQLDQIULHQGGHVFULEHGOLIH 1DEOXVXVHGWRPDQXIDFWXUHPDWFKHVLQ More than love is a stencil made in It is a tradition that for Eid you kind of Palestinian arts (Artists, %XUQLQJZLWKWKHVDPHFRORUDVWKHVXQ LQ3DOHVWLQHDV®EHDXWLIXOEXW Palestine. Untill 1967. Due to the FROODERUDWLRQZLWKFDOOLJUDSKHU0RKDPPDG FRQWDFWDQGYLVLWHYHU\PHPEHURI\RXU Poets, Musicians and Actors) who are FOHDQLQJWKHDLUDWWKHVDPHWLPHZKLOH KDUG¯,VXJJHVWWKLVWLVVXHER[DV current situation, where political 2PDU,QWKHGUDZLQJ0RKDPPDGGHYHORSHG extended family. EDVHGDQGJUHZXSLQ3DOHVWLQH7KH KHOSLQJZLWKDOOHUJLHVDQGDVWKPDD a methaporical translation of the FRQGLWLRQVDUHSUHYHQWLQJWKHHQWU\RI a pattern around the word “Ahwak” Because of the occupation, we are JDPHLVKHUHWRUHPLQG3DOHVWLQLDQVRI FDQGOHPDGHRIRUJDQLFEHHVZD[WULHV VWUXJJOHDQGEHDXW\RIHYHU\GD\OLIH WKLVW\SHRIPDWHULDOVIRUPDQXIDFWXULQJ ZKLFKFRXOGEHWUDQVODWHGLQWR®PRUH separated. The whole family can never their rich contemporary culture and for WRV\PEROL]HWKHSHUPDQHQWVWDWHRI LQ3DOHVWLQHLQWRDQREMHFW7KHER[ eversince it is not allowed to produced WKDQORYH¯7KLVVWHQFLOFDQEHXVHG EHDOOWRJHWKHU6RLWEHFDPHDQKDELW the outside world to discover it. Those temporality in contemporary Palestine. LWVHOILVKHDY\URXJKDQGSURGXFHG them in the Palestinian territories. WRGHFRUDWHEUHDGZLWK]D±WDURURWKHU WKDWHYHU\KROLGD\PRUQLQJ\RXFRQWDFW artists, poets, musicians and actors /DVWLQJWZRWRºYHWLPHVORQJHUWKHQ RXWRIUXVWHGDQG»DZHGLURQSODWHV VSLFHVDQGKHUEVEHIRUHVKDULQJLWZLWK HYHU\RQHWKDWFDQ WEHZLWK\RXEHIRUH DUHWKHRQHVZKRDUHDEOHWRLPDJLQH UHJXODUFDQGOHVWKHZDLWLQJEHFRPHVD In stark contrast the collection of 7KLVHPSW\PDWFKER[UHPLQGVXVRI the loved ones. FHOHEUDWLQJZLWKWKHRQHVFORVHWR\RX DGLҬHUHQWIXWXUHEH\RQGWKHKDUVK ORQJSURFHVVWKDWQRQHWKHOHVVQHHGVWR KDQGNHUFKLHIVIHHOVIUDJLOHDOPRVWGRYH¬ this industry and the restrictions Pieces of my heart is a form of only a limitations of politicians. EHWHQGHGWRE\UHOLJKWLQJWKHYDULRXV Palestinian live under. The text on the ,QWKLVJDPHVKRXOGEHIRXUSOD\HUVDQG OLNH7KHKDQGNHUFKLHIPLJKWUHPLQG\RX SDUWRID0D PRXOWKHPLVVLQJSLHFH KLGGHQVWULQJVLQVLGHRIWKHFDQGOH D3DOHVWLQLDQJUDQGPRWKHUFU\LQJRUWKH ER[VD\VRQWKLVHDUWKWKHUHLVZKDW UHSUHVHQWVWKHPLVVLQJSHRSOH WKHFDUGVGLVWULEXWHWKHPUDQGRPO\  VRXQGRIVRPHRQHVQHH]LQJDQRVH7KLV PDNHVOLIHZRUWKOLYLQJ E\ WRKDYHIRXUFDUGVHDFK3OD\HUV modern version of the ‘mendeel’ is a VKRXOGH[FKDQJHWKHFDUGVZLWKRWKHU reinterpretation that is not in dispute players until one has four cards and ZLWKRXUHQYLURPHQWEXWDGDSWVWRHYHU\ wins. day life. 9 10 welcome home EXHIBITION INCLUDING THE PROTOTYPES DISARMING DESIGN STUDIO, RAMALLAH, SEPTEMBER/OKTOBER 2016

‘Welcome Home’ was the first exhibition to take place at the new studio of Disarming Design From Palestine. It takes the domestic reality as a context to address issues that define the Palestinian plight and the reality of living under occupation. In a Ramallah appartment the products developed in the past five years, are displayed in their intended settings. Together they present sets of stories about current Palestinian fragmented identity, while examining the potential of creative practices as forms of resistance, hence contributing to social innovation and alternative forms of circular economies. Right to Movement Rumallah (Rumanah+RAmallah) Shared Destiny Cotton fabric wearable, off-white with red Lampshade in the shape of a pomme granate Silver chicha cap with arabic letters engraved This exhibition and shop had been organized on the

thread along seams made out of pierced metal by: Juliette Lizotte (FR) ‘Welcome Home’byRaedHamouri rd by: João Roxo (MZ) By: Biyi Zhu (CN) made by: Mister Silver occasion of the 3 Qalandia International and the made by: Star Fashion Made in the blacksmith street launch of our new website. All products in the exhbition 6PRNLQJFKLFKDLVSDUWRIHYHU\GD\OLIH ,WLVWLPH,KDYHWRJRQRZ5HWKLQNLQJ ,DVNHGDJLUOLIVKHZDQWHGWRFKRRVH in Palestine, despite the conmplex are developed in the context of Disarming Design, all OLEHUDWLRQGLVWLQFWIURPWKHKDUGO\ DVKDSHWRGHºQH3DOHVWLQH6KH situation people take time to share furniture has been recycled or upcycled. The show DWWDLQDEOHFRQFHSWRIIUHHGRPWKLV DQVZHUHGWKDWLWZRXOGEHSRPHJUDQDWH DUHOD[LQJPRPHQWWRJHWKHUDURXQGD JDUPHQWDLPVWRUHSUHVHQWIHHOLQJV 3RPHJUDQDWHVSUHVHQVWKHPHDQLQJLQ QDUJXLOH also includes prototypes of the createshop that was of deprivation of movement. All over fruitfulness, luck and prosperity. Shared Destiny is a silver cap to 3DOHVWLQH,VDZPDSVWKDWUH»HFWWKH 7KDW±VDOVRPD\EHWKHKHDUWIHOW UHSODFHWKHGLVSRVDEOHRQHVWKDW\RXJHW organized summer 2016 in collaboration with the VHJUHJDWLRQDODVSHFWRIFRQVWDQWO\ wishes of the people who live in this at the cafe. PXWDWLQJURDGVDQGFLWLHVZLWK It works as a talisman to keep all the Ramallah Municipality. miraculous place. references to checkpoints and other time, as a tool to share a chicha with UHVWULFWLYHPHFKDQLVPVFKDUDFWHULVLQJ friends and is a poetic reminder of our the insfrastructure. In a very simple humanity. Exhibition team: Ghadeer Dajani, Juliette Lizotte, May Marie, way, the red thread follows the seams of Mohammad Saleh, Annelys de Vet, with great support of Mohammad WKHJDUPHQWV\PEROLVLQJERWKSDWKVDQG Anati and Raed Hamouri REVWDFOHV2QHWKUHDGGHYLDWHVIURPWKLV SUHVHWLQVWLWXWHGSDWWHUQOHDGLQJWRD IXWXUHRXWLQWKHRSHQVWLOOZDLWLQJWR Participating artists and designers inlcuded: Mohammed Al Hawajri, EHZULWWHQ Ali Aldeek, Mohamed Alzamer, Ayed Arafah, Areej Ashhab, Abdullah Awad, Tessel Bruhl, Dina Daher, Vida Daher, Ghadeer Dajani, Monika Grutze, Bushra Hasonah , Shayma Hassanein, Nadya Hazbunova, Ibrahim Hindi, Raed Issa, Mark Jan van Tellingen, Khaled Jarrar, David Juan Ortiz , Andrea Karch, Dina Khalil, Juliete Lizotte, May Marei, Florian Mecklenburg, Ibrahim Muhtadi, Mohammed Mussallam, Ahmad Nassar, Majdal Nateel, Hadeel Qutna, João Roxo, Omar Sahla, Vivien Sansour, Maher Shaheen, Helen Underhill, Floris van Driel, Mirte van Duppen, Tommi Vasko, Ala›a Wahdan, Amani Yacob

This exhibtion has been made possible with the generous support of: Creative Industries Fund, Lutfia Rabbani Foundation

The Story of Light and Shadow The Temporary Womb bag A candle holder made of black cardboard that is Brown leather bracelet with silver letters on the Rope bag laser cut to the shape of the olf city of Jerusalem inside by: Bushra Hasonah (PS) by: Ibrahim Hindi (PS) By: Amani Yaqob (PS) made by: Al masry for leather, the straw by an Produced by: Rahallah Shoes, Bank al Fadda old lady in Nazeh

7KHOLJKWLVDOZD\VFRPLQJIURPZLWKLQ :HXVHRXUERGLHVWRJLYHFHUWDLQ 3UHVHQWWKLVEDJWR3DOHVWLQLDQODZ DQGIURPWKHUHLWOLJKWVXSWKH VWDWHPHQWV:HWDWWRRRXUVNLQVZLWK for them to know how they play with the VXUURXQGLQJV7KHHҬHFWRIWKHOLJKW permanent marks for permanent ideas. UHODWLRQVKLSEHWZHHQPRWKHUDQGGDXJKWHU ERXQFLQJRҬDQREMHFWFUHDWHVWKH $V3DOHVWLQLDQVZHEHOLHYHWKDWWKH 7KH\GHFLGHWRVQDWFKWKHWHHQDJHJLUO VKDGRZVDUHDVRIOLJKWDQGGDUNQHVV occupation is temporary and will end from her mother lap to extent unknown. a life in a nutshell. These areas of VRRQRUODWHU+XVVHLQ$O%DUJKRXWKL 7KHEDJUHSUHVHQWVDZRPDQ±VZRPEDVWKH OLJKWVDQGVKDGRZVDUHUH»HFWHGLQRXU VDLG7KHERUGHUVWKDWVWRSSHGXVLQ PRWKHUKRRGUHODWLRQVKLSDEVROXWHWKDW HYHU\GD\OLIHDQGDҬHFWVLW IURQWRILWZHUHERUGHUVPDGHE\RWKHUV LVPDQLSXODWHGDVWKHJRJRWR\MXVW This candle holder is a strip of a ZHKDYHQRERUGHUV7KLVGHVFULEHVD OLNHWKHZDYHVSOD\LQJZLWKDSLHFHRI QXPEHURIVLOKRXHWWHVIURPVSDFHVWKDW FRPPRQIHHOLQJDPRQJWKH3DOHVWLQLDQ ZRRG7KH$O+DQRQ»RZHUZRUNVDVDSDLQ DҬHFWRXUOLYHVRQHRIWKHPEHLQJWKH diaspora all over the world. NLOOHUWRFXUHWKDWZRPEDQGUHPLQGV ROGFLW\RI-HUXVDOHP7KHVWULSLVEHQW 7KH7HPSRUDU\LVDEUDFHOHWWKDW KRZWKHJUHDW$UDELDQ.LQJGHIHQGHGDUDE LQDZD\WRIRUPDFXEH HQJUDYHVOHWWHUVRQWKHVNLQIRUDVKRUW ZRPHQ±VKRQRUDIWHUZKLFK$O+DQRQ»RZHU A candle is placed in the middle of it time, after a while it fades away, was named. WROLJKWXS-HUXVDOHPPRGHODQGWKXV UHSUHVHQWLQJWKLVLGHDWKDWWKHERUGHUV FDVWLW±VVKDGHDORQJWKHZD\ will soon disappear.

11 12 welcome home oPENING WEEKEND, 8 OCTOBER 2016 PRESS OVERVIEW Several press releases and newsletters were sent out to the network of DDFP and to the mailing list of Ramallah Muncipality to invite them to the public events and the create-shop exhibition that took place at Hosh Qandah on the 8th of September. The press release is included as an attachment.

1/feb 16/feb 24/feb Popupshop Disarming Design from Palestine Kunst maken onder bezetting Making & Sharing print article weblog Kwintessens Rekto Verso (by Brigitte Herremans) HOPE http://www.mo.be/analyse/kunst-maken-onder-de- http://www.hope-foundation.nl/weblog/ bezetting

 *)     &   ( ' %$  #"   !         

  #"  $ -,+       # & .  / 0    ' 21 3 $ $&  %T    UQ        

           !   % $#" & ' ) *( (+ ,.-    , /0     1 / 2   .3   54 $   :5 )  + +4 65 /  7& :;98 <   : = , ?9> A @ 9 B(46C  C5 #D /    E @ .$ F  B< ') (? +

1 3 ,3 ( A #  :  !(@46  @  (, +,+5 A# 9 ? V & !H 8/okt 9/okt 10/okt report opening Welcome Home interview Ghadeer Dajani interview Mohammad Saleh video radio video Al Quds Network Rayafm Wattan https://vimeo.com/191609463 http://www.wattan.tv/news/188666.html

10/okt 11/okt 15/okt interview May Marei report opening Welcome Home The Sea is Mine, Qalandiya International, Palestine radio video article PBC Dooz Social News Agency Metropolis M (Jelle Bouwhuis) http://dooz.ps/p/87106 http://www.metropolism.com/nl/reviews/29429_ qalandiya_international

13 VIDEO CREATE-SHOP 2016, A VIDEO-IMPRESSION BY JULIETTE LIZOTTE design as a fundamental tool to learn https://vimeo.com/186233759 BIYI ZHU (CN, Sandberg Instituut Master student in Design), participaNT create-shop, about her experiences Juliette Lizotte made a short documentary about the create-shop, witnessing the tours, artisans, interactions and I rethink the two weeks of the create-shop with great passion. I continued working on the prototypes that I made the development of new proposals for usefull objects with a story. in Palestine and started to organize almost -100gigabyte of pictures and videos that I took during the journey. Browsing them, they bring me back to Ramallah through the people vividly smiling and the shining streets during sunset. It was my first time to visit the Middle East, and I came to Palestine without any expectation. I relied on my curiosity to capture every single moment in this on many ways also magic place. But the thing I did first, was to disarm myself from the media-images and to re-learn from the Palestinians.

Curiosity is the key to understanding, I year-old daughter after she turns thirteen. Together with other participants, we eat comprehend the meaning of benevolence. According to , her daughter and play together, and even celebrate my It teaches me about the world and is then obliged to move to her former birthday. I have the best, unforgettable provokes me to think in different angles. husband, while their son has the right and incomparable experiences. Everyone With my curiosity and humbleness, it to choose between parents. This means is bright and energetic, and it makes me turned out to be relatively easy to work that Bushra can no longer take care of her forget about an occupation. Meeting an with the craftsmen in Ramallah, even daughter then, and possibly hardly even individual makes it impossible to see though their English was often very see her. And since it’s the law, she cannot reality black and white. However, isn’t that limited. One of the participants of our appeal this. If this is the reality, this must also the effect that art and design provide create-shop, a woman called Bushra, also influence many other mothers, and us? Art and design won’t present how we attracted my attention particularly. thus society. can live easily, rather they make us aware She is only one year younger than me of how complicated our worlds are. I but is already a mother of two kids. A During the createshop, we kept sharing assume this is also what Disarming Design bit to my surprise, we have pleasant our ideas about the rights of women and from Palestine wants to pass to the public conversations all the time. For both of also how we can adapt our own stories through their products. Via local designed us, these moments become the happiest towards useful designs. We questioned goods they focus on individual stories. ones. We seem to have a lot of similarities, how to transfer Bushra’s experiences to a This makes us understand the value and but the daily reality she is confronted new product, which became a challenge strength of our differences and avoids us with is shaping her conditions beyond and impetus. After some days, Bushra thinking in black and white. Definitely, it my imagination. Her biggest worry that came with a beautiful idea to make a bag is one of the most valuable lessons in my perplexes her for a long time relates to the using the concept of a children’s game, life; it has taught me to use design as a Palestinian law. Because she is divorced presenting the separation of a mother and fundamental tool to learn from the world. from the father of her children, Bushra, daughter. The bag is made by a Palestinian will loose her fostering rights of her six- traditional way of wicker.

16 17 too fast, amateurish. He wore skate shoes walls and ceiling covered in natural, FRAGMENTS FROM RAMALLAH and a dark blue Eastpak backpack that light wood, an assorted array of clothes was hanging low until the back of his neatly positioned on hand-made wooden Andrea Karch (DE, Sandberg Instituut Master kneecaps. He wore the New Era Baseball shelves. The Aircon was blasting. “Do you cap backwards and made sure to keep the at least get percentages?” I asked the student in Design), participaNT create-shop, “59Fifty” logo on it. He looked exactly like cashier. “No,” she said and laughed “but about her personal experiences and me and my friends when I was a teenager, I should ask for it, shouldn’t I? I love the only that I was a girl. fashion.” Capitalism — the only structure observations that does not know geographical borders. He made me wonder about the image of me walking down a street in the West I continued and came to a halt at an I must say that writing about personal experiences, emotions, especially bank, that my parents would probably unbuilt-on property with a picturesque when connected to traveling, is nothing that I find easy. It is even more have had on their minds if only they view. Although I was already late — the difficult when writing about a first-time visit — to Palestine. A people, would have known I was there in the first value of taking your time. I stood there officially a non-state, a country in constant conflict. I do not want to make place. They might have had the image for a while. It appeared strange to me that empty assumptions about a culture, a way of living or about politics that are of people starring at me, gruesome this spot, in between two houses, was not part of the reality I live in. Neither do I want to sound cheesy describing Arab men with long beards wearing completely unused. There was tall grass, how great of a time we have had as tourists, artists and visitors (which we slippers, boys covering their faces in dried out bushes. Almost as if something did indeed). I also do not want to romanticize living in an, to me, intensely Kufiyas throwing molotov cocktails, poor had been burnt down. The mostly smaller beautiful Middle Eastern capital like Ramallah, which tends to immediately veiled women sitting on the sidewalks family houses and partially bigger put a spell on foreign senses. On vision, smell, audition and taste. The most begging with their poor babies wrapped residential buildings in front of me were honest thing I can offer at this point, probably, is a story of fragments, in checkerboard textiles, donkeys, ruins white and squared with flat rooftops, and trash, decay, the Israeli flag with that carrying the black water tanks with the observations, memories that I have taken back to Amsterdam with me. star, military boots and machine guns, white arabic writing on them. In between, Yasser Arafat and the PLO jumping down trees, dark green and beige, a grey-blue that building opening fire on me. I don’t sky. Some families had their pink and blue know. Anything that would have looked laundry outside on their roofs. It looked more like setting foot on a battlefield like there was still a lot of construction would probably have been closer to their going on. The buildings seemed rather imagination than that boy in front of me. new, some were yet unfinished, roof and window-less. A few red-tiled roofs in I walked into an embroidery shop. A tiny between. Arabic advertisement. Further space, cramped with the most beautiful in the background but not really far, a handcrafted textiles and ceramics. Red, slight hillside. The typical terracing of green, white thread on black fabric, a earth. Something that looks like a long, pattern made out of little pink crosses high fence of several meters. Behind it and flowers, bags, a collection of olive the tips of red-tiled rooftops. I guessed it oil soaps, Muslim and Christian home was a more recent extension of the Israeli accessoires. I was alone in there. It was settlement that was next to it and was very literally deserted. Someone just left his or clearly visible on the top of the hillside. her shop open and trusted the neighbors I counted five big apartment buildings or passerby’s not to steal, not to vandalize. of maybe five stories, topped in red and The shop owner might have gone out to unmistakably in Israeli uniformity. Next to grab a coffee with a hint of cardamom these five big buildings around 20 smaller, or to have a talk with the man from the multi-familiy apartment buildings. flower shop. I stood in a store — all by Two high towers that were striped in myself. I took nothing. Later that night the red and white, electricity, navigation, or guy from the hostel asked me surprised, satellites? Right in the middle of my view, slightly shocked, “What do you mean you a modern architectural building with a Back at night in Ramallah we went out Sometimes there is no point to a story, no Everything I thought I had learned, read walk from Al-Bireh back to city center of never got a key to your room?” A week monumental wall all around it. to get some Kebab sticks and vegetarian end to a journey, no need for convenience, or known about Palestine and the Israeli- Ramallah. later I left my bag at the luggage shelf a Mezze. Lamb kofta, shish tavuuk, chicken no solution to a conflict and no logic to Palestinian conflict got more complicated few seats away from where I was sitting on Especially if you squint your eyes a little, hearts, cripy liver, freshly grilled, smoked life. Sometimes you simply realize, you with each conversation we had in the I went along the main street, finally a German train — someone opened it and the beige and brown space in-between a from the small barbecue place at the don’t need a reason — to be, to travel, to group of international and Palestinian down-hill. It was hot. Everyone I passed realized that there was nothing valuable Palestinian neighborhood and the Israeli corner. Another foreign traveller joined question, to feel, most importantly to visual artists. Just like the cityscape by smiled at me. The police man seemed inside. settlement on top of this or that hill us and told us a story about how lonely share. May it be moments, impressions unfolded in its multifarious layers with proud and polite. He probably wanted to visually appears like a buffer zone. Empty traveling outside of the West Bank was. or worries, consent or discontent. I value each walk I took, the conflict grew more show off a little, posing next to his car in Half-way to Ramallah center though I land. A weird spot. A weak spot. The hills “I mean in general, who just walks up to these weeks because of the people that complex, personalities exposed strength his uniform, no gun. spotted a bright red neon sign. Two guys have eyes. Surveillance. Fragmentation. you on the street and says “hey should we were willing to share themselves and their and weakness, geo-politics, human waved at me, yelled something. They Division. Apartheid. Control. Power. “I become friends”? It’s hard to get to know time with me and hope to see ignorance destinies and diverse, cultural realities A teenager cut my way. He might have stood next to their pimped BMW in front wouldn’t say I’m pro-violence, I actually people, in Tel Aviv.” replaced by reason, starting with myself. intertwined to a complicated mesh of been in a hurry. Or he simply didn’t want of that store — an H&M. “Take a photo of don’t like violence, I personally would impressions. It is an emotional conflict in to be seen. He seemed insecure. A boy, of him, take a photo,” craving attention, never hurt anyone physically with my Just a minute later a Palestinian guy every way. 15 or 16 years, that was covered in a thick wanting to get in touch just because own hands — but if someone else does it … greeted us, shook our hands, did some cloud of mens deodorant, “Smells like this was the moment to do so. “Is that you know. Then they get hurt — fine. What smalltalk and invited us to a party where On the other hand though I realized once Teen Spirit”, well — “Axe Anarchy“. He an original H&M, guys?” I asked. “Sure, do you expect me to say now?” someone he was going to deejay at that seriously again how much we, as human beings, might have been about to meet a girl he what do you think? You think we don’t told me. Hatred and revenge. Deeply hip ‘Snow Bar’ later that night. have in common regardless of where we liked or his boy gang on their scooters. He have H&M in Ramallah?” They laughed rooted. I have never seen that notion so grew up or where we currently live. Let smoked a cigarette. Let’s say he pretended and held the door open for me. It was the alive, aware and burning in someones me tell you about a chain of associations to smoke, while he actually only puffed. most beautiful H&M store, indeed not a eyes that felt so close to my own. that came to my mind on a thirty minute Pulling one drag after the other, roughly, fake, I have ever been in. Two small rooms,

18 19 Fast forward two weeks later when we’re USAGE AS RESISTANCE planning to go back to Amsterdam. We’re supposed to be picked up by a Palestinian FLORIS VAN DRIEL (NL, Sandberg Instituut cab driver from Jerusalem who will take us to the Tel-Aviv airport. However, this Master student in Design), participaNT turns out to be easier said then done. create-shop, GIVES A RECAP OF 2 WEEKS It is just a couple of days before a big holiday and everyone is out and visiting RAMALLAH or receiving family, or doing the holiday shopping. Bakery’s are packed with huge amounts of sweets filled with dates, Let me tell you about my trip to Ramallah. I traveled to Brussels airport from chocolate and figs. It’s taking us forever Amsterdam where I got checked by very cranky police men, who probably to get past the large amounts of people aren’t really afraid of a terror attack but just painstakingly doing whatever walking in the streets, not to mention the it is that they have been told to do. In this case I had to empty my very insane amount of cars that are trying to inventively packed backpack. This process repeated itself a couple of times, find their way through the narrow streets as might be normal at airports. of Ramallah. For the amount of traffic, Ramallah’s streets are really small, in stark contrast when we finally arrive to the Israeli roads. From a fluid system to a rigid one. There are no potholes in the road, no honking of horns, no dirty cars and no people walking onto the streets. It feels like any Western European city. Only the palm trees proof otherwise.

At the airport there was a shuttle that was supposed to take us from terminal 3 to terminal 1, where very thorough security checks were done. But because it was Sabbath the shuttle only ran once an hour. We asked a couple of cab drivers instead, but no one seemed to care. After a lot of nagging, convincing and a fair amount of luck we found one driver who was willing to take us to the other terminal. We ended up getting a lot of hassle by the security control because we arrived so late.

So you may wonder at this point. Ok, this After a four hour flight I arrive in Tel-Aviv Things just seemed to function well was a nice little story about differences in where a couple of things get my attention this way. You must understand that for infrastructure, and if you thought so let particularly. Most prominently is the me as a person living in Amsterdam, me be the first to say: “Thanks”. But for me sheer massive architecture of power where everybody literally freaks out if this illustrates a point. Something which that is the airport. The reception hall is pedestrians start walking on the street became abundantly clear over my past surrounded by glass like a panopticon that is meant for cars, this was quite a two weeks in the West-Bank, is that even that allows you to look over everyone in sight to behold. Especially in contrast to though there is a lack of possibilities to the departure hall – like a guard. There is what I encountered in and around the move around freely, the way Palestinians a massive wall that feels very imposing airports. use their roads can be seen as a counter when you walk past it, but then there are reaction to the lack of movement. With these quite silly looking little cubicles that So after a couple of days, well no, more pedestrians being able to walk straight then apparently represent ‘The Border’. after a few hours, I started doing the same; over the same roundabout where cars I lie about the fact that the workshop I at first a little hesitant, with my neurotic drive in the opposite directions simply participate takes place in Tel Aviv and Dutch fear of actually getting hit by a car because it is shorter to get there, all not Ramallah, and with relative ease the still very much in the back of my brain. the while the a-rythmic song car horns cranky police officer lets me go trough.The Soon I felt that everything – from the non- honking all over the city blows loud and Disarming Design Create Shop 2016 was organized with Palestinian taxi driver that holds a plate stop honking of a horn to whole families clear. Dealing with all the checkpoints with my name, drives me to Ramallah. crossing in between cars – is a form of every day, having to answer the same We pass by several checkpoints and I’m community. Sometimes it even seemed question time after time, or just plainly shocked by the controlled infrastructure. that drivers would honk their horn just being confronted with a wall right where not to be quiet, and let people know that someone has decided your movement The next day in Ramallah seemed the he was here at this moment, driving this ends. Choosing to oppose this rigidity with a seemingly ultra chaotic and complete opposite. People were walking car in Ramallah. This idea of expression and made possible with the generous support all over the roads, with cars not being of being here, notifying your existence, complex beehive-like behavior, I read it of Dutch Creative Industries Fund and Lutfia Rabbani Foundation able to get through. People were criss- seemed a crucial one throughout the as a way to resist all the limitations of crossing each other, zig-zagging between places we visited in the Westbank. movement. To ignore the sidewalks for cars trying to make their way to wherever walking and seeing the cars accepting it is they wanted to go. However no one this, can also show that there is an seemed to mind and this is ‘just the way acceptance between both. things are’ here — at least I suppose.

20 21