Between painting, sculpture and collage.. Launching the first electronic Palestinian platform for specialized art archives from the heart of Jerusalem
The exhibition’s works varied between painting, sculpture, collage, video, audio, installation and garden art
Occupied Jerusalem- On Al-Zahra Street in the center of Jerusalem, the Palestinian Art Court announced its new look, on its 15th birthday, by launching the online platform “See” for the specialized art archive, and the interactive art exhibition “We are still stepping towards it”, which deals with relationships and personal and collective narratives about the city of Jerusalem.
The online platform “Yara” will represent a bridge between Palestinians in all their locations, as it will provide an archive of artistic resources and knowledge productions on Palestinian visual arts.
In her speech to Al Jazeera Net, Rawan Sharaf, who is responsible for the “Yawra” platform and the exhibition “We Are Still Moving towards it”, stressed the importance of the platform in drawing a clearer picture of Palestinian social history in all its dimensions, by providing an important visual art archive for the public with more than 500 items that include Brochures, catalogs, brochures, invitations, pictures and books.
“The platform will provide a space for researchers, critics, artists, academics, art students and writers to discover a huge archive for study and research in an effort to create a state of learning, criticism, production and reproduction,” Rawan added.
The official in charge of the two projects touched on the importance of establishing and making the Palestinian archive available, saying, “It is part of our broader mission to collect and preserve our antiquities and history, to establish our Palestinian narrative and our right to this land on the one hand, and on the other hand, the archive is the gateway to understanding our history and cultural production and to strengthening our Palestinian identity.”
Rawan described the “Yura” platform as the archive of the Wasiti Center, which was built during the period of activity of this center between 1996 and 2002, relying on the artist as a main hub for collecting and building archival material, and the archive we received from this center contained the files of more than 300 Palestinian artists and artists.
Artists who have been forcibly disappeared
In the rooms of the “Palestine Art Court”, the works of 13 artists and artists from all over Palestine who participated in the exhibition “We Still Step Towards” were distributed, which presents a group of artistic productions that question and examine the contrast in individual relations and collective perceptions about Jerusalem through the different points of view of its residents, visitors and those who have been denied access to it.
About the exhibition, Rawan Sharaf said, “Through our two-month exhibition, we sought to discover the components of identity, its plurality and diversity, by producing novels that challenge the drawn colonial boundaries of the city’s spaces and spaces, through expressing perceptions stemming from nostalgia for the past and the nostalgia of childhood.”
The exhibition’s works varied between painting, sculpture, collage (the art of cutting and pasting several different materials together in one panel), video, audio, installation and garden art, in addition to interactive works that require the audience to participate in the work and contribute to building the novels of the new city and tracing its paths.
One of the remarkable works was by the Jerusalemite artist, Assem Attoun, entitled “Birds of the Night.. Symphony of a Jackal”, and next to his work he stood to inform Al Jazeera Net about its details, saying that he grew up since his childhood in the town of Sur Baher, south of Jerusalem, and he always heard the sound of the “Wawi” animal, whose voice gradually disappeared with time passing.
“I decided to tour the abandoned villages and the mountains of Jerusalem because I longed to hear his voice, and there I actually noticed the spread of this animal that left us as a result of urban expansion and the narrowness of the spaces in which it can move,” Atoun added.
The work of this young man falls within the framework of sound installation art, through which the visitor enters a small cabin with a chair inside, on which he can sit to listen to a complex mixture between the voice of a human and an animal.
The artist al-Maqdisi added, “In the Arabic language, the use of the letter waw varies. It is for swearing and sympathy, and the waw is also his way of using the waw as a multiple sound. It extends his throat, lengthens or shortens, amplifies or thins and brings out the sound full of feelings loaded with meanings.”
Another work, whose owner was forcibly disappeared in Jerusalem, is the Gazan artist, Muhammad Hawajri, whose triptych bore the name “A Journey with the Winged” and whose arrival in Jerusalem required diplomatic efforts.
Hawajri says, “I grew up in Gaza, the most suffocated place in this world due to the siege and restrictions on movement, which makes the smallest and simplest dreams impossible fates. Who will carry me over Gaza, over the sea, and over the siege… to Jerusalem.”