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Contemporary Palestinian Art Tal Ben Zvi Hagar – Contemporary Palestinian Art

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Contemporary Palestinian Art Tal Ben Zvi Hagar – Contemporary Palestinian Art Hagar — Contemporary Palestinian Art Tal Ben Zvi Hagar – Contemporary Palestinian Art Curator, editor, text: Tal Ben Zvi Graphic Editing: Dina Shoham Graphic Design: Tal Stern Catalogue Production: Dina Shoham Studio English translation: Daria Kassovsky Arabic translation: Roaa Translations Structure and language consultant: Gal N. Kusturica Special thanks to Asaf Zippor The curator wishes to thank Sami Abu Shehade and Ihsan Sirri who took part in the Gallery’s activity; the artists participating in this catalogue: Reida Adon, Jumana Emil Abboud, Anisa Ashkar, Sami Bukhari, Ahlam Jomah, Ashraf Fawakhry, Ahlam Shibli. Heartfelt thanks to Ela Bar-David, Ruthie Ginsburg, Lilach Hod, Hana Taragan, Tal Yahas, Shelly Cohen, Hadas Maor, Naama Meishar, Faten Nastas Mitwasi, Hanna Farah, and Tali Rosin. Prepress: Kal Press Printing: Kal Press Bindidng: Sabag Bindery Published by Hagar Association, www.hagar-gallery.com No part of this publication may be reproduced, stored in a retrieval system, photocopied or transmitted in any form or by any means, electronic, mechanical, or otherwise, without prior permission from the publishers. ISBN: 965-90953-0-9 Production of the catalogue was made possible through the support of: Israel National Lottery Council for the Arts The European Union Heinrich Böll Foundation © 2006, Tal Ben Zvi E5 The Voyage In Tal Ben Zvi 59 Ahlam Shibli Positioning 71 Sami Bukhari Panorama 81 Reida Adon Pasateen 93 Ashraf Fawakhry Ikhtilal 103 Ahlam Jomah Tommema 111 Jumana Emil Abboud Déjà Vu 121 Anisa Ashkar Barbur Aswad E39 CVs E42 List of Works The Voyage In | Tal Ben Zvi Hagar Art Gallery in Jaffa was founded in 2001, and during its three years of operation has featured sixteen one-person exhibitions, ten of them by Palestinian graduates of art schools in Israel.1 The gallery’s activity takes place, in effect, within two parallel cultural fields: the Israeli and the Palestinian. As part ofthe Israeli art field, the gallery sets out to challenge the Hebrew/Jewish/Israeli/western character of the field, attempting to undermine the absolute hegemony of the Hebrew language in the discussion of art works, the virtually exclusive presence of Jewish artists, and the works’ anchoring in the history of Israeli art and with regard to the construction of an Israeli national identity — all this within the western-Europocentric logic of the field. As part of the Palestinian art field the gallery endeavors to structure an intra-Palestinian artistic discourse in Arabic as part of the culture of a national minority within the 1948 borders and as part of a broader culture shared by Palestinian artists from various disciplines who are active in the Palestinian field of art, vis-à-vis the scant representation of Palestinian artists in galleries and museums in the center and the periphery alike. Palestinian society defines its identity through various remote and detached communities. Its description as a society whose unity stems precisely from its divergence is due to its unique structure: a society that extends over four different geographical loci.2 This principle of a unified cultural field based on divergence and a multi-dimensional intricacy — geographical, social and historical — has had a crucial impact on the Palestinian art field. Indeed, similar to the structure of Palestinian society, the Palestinian art field also extends over four major geographic centers: in the West Bank and Gaza, inside Israel, in the Palestinian diaspora in the Arab world, and in the Palestinian diaspora in Europe and the US. The largest group of Palestinian artists operates within the boundaries of the West Bank and Gaza Strip. These artists exhibit mainly in a distinctive national framework, in art schools and prominent galleries in the Palestinian Authority.3 In addition, these artists participate in international exhibitions and, on relatively rare occasions, in exhibitions in Israel.4 The second largest group includes the Palestinian artists, graduates of art schools in Israel. In recent years this group gradually increased its presence in the Palestinian art field, confronting that field with the status E 4 | 5 of the Palestinian citizens of Israel, in political as well as social and cultural contexts. These artists exhibit in art centers in the Palestinian Authority, in galleries in Israel,5 and in international exhibitions. The third group operates in the Palestinian diaspora in the Arab world. These artists belong to the oldest group originating in the Palestinian culture that crystallized in the refugee camps mainly in Lebanon and Jordan. As the Palestinian Authority became more central to Palestinian nationalism, their number in the Palestinian art field decreased, and so did their influence, while the fourth group, comprising diasporic Palestinian artists in Europe and the US, has become increasingly prominent. While members of all four groups co-exhibit in various shows of Palestinian art in cultural centers, museums and galleries in the Arab world, Europe, and the US, as well as in international exhibitions, such as biennials and the Documenta, where they participate as Palestinian representatives, to date there is not a single museum in the Palestinian Authority, in Israel, or in the Palestinian diasporas exclusively dedicated to Palestinian art and its unique features. The Palestinian art field is characterized, as aforesaid, by three major elements: 1) Palestinian artists residing in four separate geographical territories who sustain a differentiated national cultural field despite the geographic differences; 2) the absence of “Palestinian” institutions of art studies and training throughout the world, including the Palestinian Authority;6 3) the absence of a historical museum infrastructure. Hence, it may be said that unlike sovereign nation-states where the art field is based on national borders, national museums and institutes of learning, the Palestinian art field is based chiefly on artists operating within the frameof a Palestinian identity.7 Ahlam Shibli (Arab al-Shibli, 1970), Sami Bukhari (Jaffa, 1964), Reida Adon (Acre, 1973), Ashraf Fawakhry (Mazra’a, 1974), Ahlam Jomah (Taibe, 1965), Jumana Emil Abboud (Shefa Amer, 1971), and Anisa Ashkar (Acre, 1979) are seven young Palestinian artists, most of them graduates of art schools in Israel; artists who are part of an entire generation of Palestinians, citizens of Israel, born after 1967. Discussing the characteristics of this identity, Azmi Bishara maintains8: From both the historical and theoretical perspectives, the Arabs in Israel are part of the Palestinian Arab people. Their definition as “Israeli Arabs” was formed concurrent with the emergence of the issue of the Palestinian refugees, and the establishment of the State of Israel on the ruins of the Palestinian people. Thus, the point of departure from which the history of the Palestinians in Israel is written is the very point in which the history of the Palestinians outside Israel was created. One cannot point at a nationality or national group called “Israeli Arabs” or “the Arabs of Israel”. Bishara’s definition pinpoints the identity of this group of artists in adialectic sphere: on the one hand, as part of a broad Palestinian cultural system, and on the other — in a differentiated manner — as the Palestinian minority in Israel. Dan Rabinowitz and Khawla Abu-Baker9 note that this generation was born into the reality of Israel’s occupation of the Palestinian territories since 1967, and the paradox created by that war: the decisive military outcome persuaded many Palestinians to accept the long-term presence of the Jewish-dominated state, and the fact that as citizens of Israel they were tied to the state and its fate; at the same time, it led to renewed contacts with Palestinians in the West Bank and the Gaza Strip, and through them — with diasporic Palestinians throughout the Middle East, and to association with geographical and cultural realms where Israel plays a minor role. Moreover, in that period the Green Line separating the two populations acquired a significant role in the definition of separate identities. The first Intifada in 1987 secured international recognition of thePLO, subsequently leading to the Oslo process and the establishment of the Palestinian Authority, and in 1994-1996 — to the IDF’s withdrawal from Palestinian urban centers. In the wake of the Al-Aqsa Intifada in October 2000 and the bloody events during demonstrations in the country’s north in which thirteen Palestinian citizens were killed,10 the struggle of Palestinian citizens for rights, status, and identity, both in the State of Israel where they live as citizens and in the Palestinian people to which they belong, was reinforced. This dual disposition, oscillating between civil affiliation and national identity, prompted the shift from the identity construct Israeli-Arabs which employs hyphenated cultural conditions to the identity construct Palestinian Citizens of Israel which draws away from the multi-cultural identity, placing the definition in the sphere of national identity. The universities in Israel play a major role in the definition of national Palestinian identity. The collective activity of students who are Palestinian E 6 | 7 citizens of Israel characterizes campuses in Haifa, Jerusalem and Tel Aviv, but stands in stark contrast to the activity of individuals seen in the art institutions in Israel, attended by a maximum of three Palestinian students per year. Despite the scarcity of Palestinian students who graduate
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