Hani Zurob CV
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The United Nations and Palestinian Refugees the United Nations and Palestinian Refugees
UNRWA CONTACTS: Public Information Office Gaza HQ P.O. Box 140157 Amman, Jordan 11814 Tel.: +972 8 677 7527 Fax: +972 8 677 7697 E-mail: [email protected] Website: www.unrwa.org UNHCR CONTACTS: United Nations High Commissioner for Refugees 94, Rue de Montbrillant Case Postale 2500 CH-1211 Genève 2 Dépôt Switzerland Tel.: +41 22 739 8111 Fax: +41 22 739 7334 E-mail: [email protected] Website: www.unhcr.org Front cover: Palestinians fleeing to Jordan,June 1967 / UNRWA Back cover: Tents had just been replaced by cement block houses at Khan Younis refugee camp, Gaza Strip, 1955 / UNRWA Inside cover: Baqa’a refugee camp, Jordan, 1969 / UNRWA Opposite: A Palestine refugee with her grandson in Beach refugee camp, Gaza Strip / UNRWA All UNRWA photographs courtesy of UNRWA Photo Archive & Steve Sabella January 2007 2 The United Nations and Palestinian Refugees The United Nations and Palestinian Refugees n December 1949, the United Nations General IAssembly established the United Nations Relief and Works Agency for Palestine Refugees in the Near East (UNRWA) to provide humanitarian relief to the more than 700,000 refugees and displaced persons who had been forced to flee their homes in Palestine as a result of the 1948 Arab-Israeli war. Also in December 1949, the United Nations General Assembly decided to set up the Office of the United Nations High Commissioner / 1950s UNRWA for Refugees (UNHCR), as Suffering and fortitude of young and old in of 1 January 1951, with the Jalazone refugee camp, West Bank principal aim of dealing with refugees in Europe of Palestine refugees, that is, refugees left homeless by World War from the territory that had been under II. -
An Abstract Painter Rooted in Palestine's Reality | the Electronic Intifada 7/3/13 8:08 PM
Hani Zurob: an abstract painter rooted in Palestine's reality | The Electronic Intifada 7/3/13 8:08 PM The Electronic Intifada ﺍﻻﻧﺘﻔﺎﺿﺔ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ Art, Music & Culture Hani Zurob: an abstract painter rooted in Palestine’s reality Sarah Irving The Electronic Intifada 17 June 2013 A Palestinian painter from Gaza, Hani Zurob may have only been practicing as a fine artist since the late 1990s, but he already has an enviable list of solo shows — twelve, spread between Qatar, France, Palestine and Morocco — and joint exhibitions. The latter have included shows in venues as prestigious as L’Institut du Monde Arabe in Paris, the national museums of Bahrain and Syria, and the Henry Moore Institute in the UK. And in January, he was listed as one of The Huffington Post’s “10 international artists to watch in 2013.” Zurob’s reputation and profile will be further enhanced by the publication of Between Exits, a monograph on his life and work. Despite his comparative youth (he is just 37), this collection of images, alongside a wide-ranging text by Kamal Boullata (probably best known for his monumental book Palestinian Art: From 1850 to the Present), shows just how versatile and energetic an artist Zurob is. Boullata’s text does not pull any punches in asserting Zurob’s place as an artist whose work deserves attention not because of his national origin or life story, but because of its artistic quality. http://electronicintifada.net/content/hani-zurob-abstract-painter-rooted-palestines-reality/12546 Page 1 of 6 Hani Zurob: an abstract painter rooted in Palestine's reality | The Electronic Intifada 7/3/13 8:08 PM The preface opens with this challenge: “In a homeland enduring over 40 years of military occupation, where art is saturated with nationalist clichés and tired iconographic images, how does a young and ambitious talent like Hani Zurob break away from the binds of the local mainstream to explore his own originality in painting?” “No boundaries” This doesn’t mean that Zurob seeks somehow to place himself “above” his Palestinian origins. -
University of Bath PHD the Grief of Nations
University of Bath PHD The Grief of Nations: An analysis of how nations behave in the wake of loss: does it constitute grief? Malamah-Thomas, Ann Award date: 2011 Awarding institution: University of Bath Link to publication Alternative formats If you require this document in an alternative format, please contact: [email protected] General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 07. Oct. 2021 The Grief of Nations An Analysis of How Nations Behave in the Wake of Loss: Does it Constitute Grief? Ann Malamah-Thomas A thesis submitted for the degree of Doctor of Philosophy University of Bath Department of Social and Policy Sciences July 2011 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with the author. A copy of this thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that they must not copy it or use material from it except as permitted by law or with the consent of the author. -
Becoming PALESTINE
Becoming PALESTINE TOWARD AN ARCHIVAL IMAGINATION OF THE FUTURE GIL Z. HOCHBERG Becoming P ALESTINE GIL Z. HOCHBERG Becoming PALESTINE TOWARD AN ARCHIVAL IMAGINATION OF THE FUTURE © All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Cover designed by Aimee C. Harrison Text designed by Matthew Tauch Typeset in Portrait Text Regular by Compositor Library of Congress Cataloging- in- Publication Data Names: Hochberg, Gil Z., [date] author. Title: Becoming Palestine: toward an archival imagination of the future / Gil Z. Hochberg. Description: Durham: Duke University Press, 2021. | Includes bibliographical references and index. Identi«ers: ¬¬ 2021005977 (print) ¬¬ 2021005978 (ebook) ´ 9781478013884 (hardcover) ´ 9781478014829 (paperback) ´ 9781478022138 (ebook) Subjects: ¬ : Visual communication— Political aspects— Palestine. | Archival materials— Palestine. | Ethnomusicology— Palestine. | Arab- Israeli con»ict— Mass media and the con»ict. | Palestine— In motion pictures. | ´¬: / Middle Eastern | / History / Con temporary (1945-) Classi«cation: ¬¬ 95.82. 19 634 2021 (print) | ¬¬ 95.82. 19 (ebook) | ¬ 302.2095694— dc23 ¬ rec ord available at https: // lccn . loc . gov / 2021005977 ¬ ebook rec ord available at https: // lccn . loc . gov / 2021005978 Cover art: Steve Sabella, 38 Days of Re-Collection, 2014. b&w «lm negatives (generated from digital images), printed with b&w photo emulsion spread on paint fragments peeled o¾ Jerusalem’s Old City house walls. The photograph was taken in a Palestinian -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnadon Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 A CONTEXTUAL ANALYSIS OF CONTEMPOEU^.RY IRAQI ART USING SIX CASE STUDIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Mohammed Al-Sadoun ***** The Ohio Sate University 1999 Dissertation Committee Approved by Dr. -
1 Jerusalem and the Work of Discontinuity Elizabeth Key Fowden He Was Not Changing a Technique, but an Ontology. John Berger
Jerusalem and the Work of Discontinuity Elizabeth Key Fowden He was not changing a technique, but an ontology. John Berger, “Seker Ahmet and the Forest”1 In a review of Kamal Boullata’s 2009 book Palestinian Art: From 1850 to the Present, the critic Jean Fisher noted that “among Boullata’s most stunning insights . is that the crucible of Palestinian modernism is to be found in the Arabisation and progressive naturalisation of Byzantine iconography.”2 But Boullata himself did not follow this course. Instead, the Orthodox icon stimulated him to travel down a path away from the increasing naturalization of figural art toward varieties of abstraction, distilling the nonlinear perspective that lies at the existential heart of Orthodox iconography to create a modern artistic expression of a radically different sort from the Palestinian artists whose work he analyses in his book. Why did he take such a different path? Boullata has frequently observed that his own artistic impulse was first formed by three modes of artistic creation that coexisted in Jerusalem, where he was born and grew up: Byzantine icons, Arabic calligraphy, and Islamic ornament. He has not elaborated on the role of the Orthodox icon except to mention that his first lessons in painting were from the icon painter Khalil Halabi, who taught him to organize the multiple planes of an icon by the use of a grid. In his chapter “Peregrination Between Religious and Secular Painting,” Boullata also mentions “reverse perspective,” which he gleaned from the Byzantine art historian André Grabar, whose teacher in early twentieth-century St. -
Steve Sabella. Archaeology of the Future
STEVE SABELLA ARCHAEOLOGY OF THE FUTURE STEVE SABELLA ARCHAEOLOGY OF THE FUTURE Verona, Centro Internazionale di Fotografia Scavi Scaligeri 8 OTTOBRE - 16 NOVEMBRE 2014 Il Sindaco | Mayor Visite guidate | Guided Tours Davide D’Agostino Mostra a cura di | Curated by Assessore alla Cultura | The Culture Councillor Karin Adrian von Roques Valentina Ferrazzi Flavio Tosi Giulia Magnabosco Consigliera incaricata alla Cultura Valeria Marchi Counsellor for Cultural Affairs Valeria Nicolis Antonia Pavesi Lorenza Roverato | Catalogo a cura di | Catalog edited by Si ringrazia | Many thanks to Direzione Area Cultura | Culture Department Director Servizio guardiania Gallery Attendants Service Beatrice Benedetti Un ringraziamento particolare a Mauro Fiorese. Gabriele Ren Auser Con lui abbiamo preso parte alla Biennale Coordinamento e organizzazione Servizio Sicurezza/Security Testi di | Texts by di Fotografia FotoFest di Houston in veste Società Servizi Socio Culturali Flavio Tosi di portfolio reviewer. Coordination and Organisation Giusi Pasqualini Antonia Pavesi Grazie a quell’esperienza abbiamo Servizio Civile/Civilian Service Karin Adrian von Roques incontrato Karin e Steve Silvano Campedelli Davide Papetti Steve Sabella Progetto e coordinamento manageriale Nadia Johanne Kabalan Special thanks go to Mauro Fiorese, Tirocinio/Internship Project and Managerial Coordination Alice Malesani Leda Manosur who was with us when we took part Giorgio Gaburro Beatrice Benedetti in the FotoFest Biennial of Photography Logistica mostra | Exhibition Logistics in -
SOWC-2005.Pdf
THE STATE OF THE WORLD’S CHILDREN 2005 CHILDHOOD UNDER THREAT CHILDHOOD I Number of children in the world: 2.2 billion. I Number of children living in developing countries: 1.9 billion. I Number of children living in poverty: 1 billion – every second child. I The under-18 population in Sub-Saharan Africa: 340 million; in Middle East and North Africa: 153 million; in South Asia: 585 million; in East Asia and Pacific: 594 million; in Latin America and Caribbean: 197 million; and in Central and Eastern Europe and the Commonwealth of Independent States (CEE/CIS): 108 million. I SHELTER, WATER AND HEALTH CARE I 640 million children in developing countries live without adequate shelter: one in three. I 400 million children have no access to safe water: one in five. I 270 million children have no access to health services: one in seven. I EDUCATION, COMMUNICATION AND INFORMATION I More than 121 million primary- school-age children are out of school; the majority of them are girls. I Number of tele- phones per 100 people in Sweden, 162; in Norway, 158; in South Asia, 4. I Number of Internet users per 100 people in Iceland, 65; in Liechtenstein, 58; in Sweden, 57; in the Republic of Korea and the United States, * 55; in Canada, Denmark, Finland and the Netherlands, 51; and in South Asia, 2. I SURVIVAL I Total number of children younger than five living in France, Germany, Greece and Italy: 10.6 million I Total num- ber of children worldwide who died in 2003 before they were five: 10.6 million. -
Building a Successful Palestinian State
CHILD POLICY This PDF document was made available from www.rand.org as CIVIL JUSTICE a public service of the RAND Corporation. EDUCATION ENERGY AND ENVIRONMENT Jump down to document HEALTH AND HEALTH CARE 6 INTERNATIONAL AFFAIRS NATIONAL SECURITY The RAND Corporation is a nonprofit research POPULATION AND AGING organization providing objective analysis and PUBLIC SAFETY SCIENCE AND TECHNOLOGY effective solutions that address the challenges facing SUBSTANCE ABUSE the public and private sectors around the world. TERRORISM AND HOMELAND SECURITY TRANSPORTATION AND INFRASTRUCTURE Support RAND Purchase this document Browse Books & Publications Make a charitable contribution For More Information Visit RAND at www.rand.org Explore the RAND Corporation View document details Limited Electronic Distribution Rights This document and trademark(s) contained herein are protected by law as indicated in a notice appearing later in this work. This electronic representation of RAND intellectual property is provided for non-commercial use only. Permission is required from RAND to reproduce, or reuse in another form, any of our research documents. This product is part of the RAND Corporation monograph series. RAND monographs present major research findings that address the challenges facing the public and private sectors. All RAND monographs undergo rigorous peer review to ensure high standards for research quality and objectivity. Building a Successful Palestinian State The RAND Palestinian State Study Team Supported by a gift from David and Carol Richards Research for this study was carried out from September 2002 through May 2004 by a multidisciplinary team of RAND researchers, working under the direction of the RAND Health Center for Domestic and International Health Security in conjunction with the Center for Middle East Public Policy (CMEPP), one of RAND’s international programs. -
The Palestine Israel Journal
Culture The Parachute Paradox (Chapter from a Jerusalem memoir) Steve Sabella Steve Sabella, born 1975 in Jerusalem, Palestine, is a Berlin-based artist whose work is exhibited and held in collections around the world. He holds a MA in photographic studies from the University of Westminster and a MA in art business from Sotheby’s Institute of Art. He received the 2008 Ellen Auerbach Award from the Akademie der Künste Berlin, which included the subsequent publication of his monograph Steve Sabella— Photography 1997–2014, spanning his two decade career. This is an excerpt from chapter fourteen of The Parachute Paradox. In September 2016 Kerber Verlag published the Berlin-based artist’s memoir, which explores three decades of his life under Israeli occupation and the arduous search for liberation from within. …A year earlier I had rented the occupied house in Ein Karim, Jerusalem, that once belonged to a Palestinian family who in all likelihood had been forced into a refugee camp and then condemned to a lifetime of exile following Israel’s creation in 1948. For those thirty-eight days I struggled with my identity, the Palestinian Right of Return, and morality. I would often think about what Najwan [Darwish] said in the 2007 documentary Jerusalem in Exile, I can’t understand how a nation can take the land of another. Who could live in someone else’s home, without a problem, not even on a psychological level? Isn’t it surprising that the people who live in these houses don’t think about who used to live there? When I took my first step onto the arabesque tiled floor, I felt it shatter under my feet. -
Hani Zurob: the Painting As Real
32 Profiles The Painting as Real: Hani Zurob By Adania Shibli References to photographs as a reflection or a Zurob continues to describe how he eventually found representation of the real, or even as hyperreal, are quite a refuge during these prolonged days of curfew in the common. Visual theorists, such as Martin Jay, explain furthest corner of their house which was full of his such references not only to photographs but also to father’s books and magazines, with several of them paintings that are a produce of perspectival gaze, by the containing drawings in them. These drawings, in their fact that the camera obscura model, assigns a place for turn, prompted the young Zurob to copy them using a viewer who is disconnected from the viewed scene; transparent paper; and as he got better and better, he for example, an objective viewer of the world. Other started adding his personal touch to them. It is this theorists, namely Norman Bryson, explain that such type personal touch then, one can hold accountable for the of images, generate this sense of resemblance to the real deformed bodies and faces, composed of thick dark world, based on the ratio of the depicted objects in the lines of bitumen piled in the centre of the frame. And frame. this personal touch is again nothing but a personal experience of a deformation, or to be more precise, a Still it never occurred to me that paintings, which are deliberate destruction of bodies in the real world of the not even generated based on perspectivalism, could also artist. -
35 Years of Occupation a New Acquisition by the British Museum
Features 207 35 Prints – 35 Years of Occupation A new acquisition by the British Museum By Venetia Porter As part of its continuing policy of acquiring modern and contemporary art from the Middle East, this short article highlights an exciting recent acquisition of a set of prints by Palestinian and Israeli artists. It was made thanks to the generosity of a newly formed group of supporters who are helping the British Museum source and fund appropriate acquisitions. The works that interest us for the growing collection include those that tell powerful stories about contemporary life or historical events in the Middle East. The Israel-Palestine conflict is the single most important narrative that continues to dominate the politics and the daily lives of the peoples of this region and this set of screen prints was the product of a desire by Palestinian and Israeli artists to promote their ideals of a shared peaceful future. The idea came about in June 2002, and this is the artists’ accompanying statement: “In defiance of the painful situation in which we presently find ourselves - violent, oppressive and seemingly without a solution - and in a direct challenge to the renewed threat of population transfer, re-occupation and terror, we, as artists are determined to persist in our efforts to promote peaceful dialogue, towards a shared peaceful future for both peoples.” Rula Halawani 208 Features Khaled Hourani Asad Azi David Reeb Nabil Anani The entire portfolio of 35 prints - referring to 35 years of occupation (between 1967 and 2002) - was printed at the Har-El Print Workshop in Jaffa.