One layer depicts or represents the marching populace, angry, frustrated, tired yet resilient. The second layer depicts Jerusalem’s iconic monument, the Dome of the Rock, printed on a stretched banner carried by the marching crowd, and right across it a screaming slogan in the colour of the Hizbullah flag imploring Arabs for help - quite painful don't you agree? The third layer is a number of smaller images adorning the bottom of the banner carried by the crowd and resembling medals of honour for "typical" calamities that have plagued and burdened our sorry history (Mohammad al Durra and other martyrs). All of this is portrayed against a very normal background of a cloudy day, an evergreen and a Marlboro sign, which is telling us in a way: c'est la vie and too bad you happen to be who you are, on the wrong side of the fence so to speak. And the picture with all its elements represents life, a mirror of our culture and people, and a tool of expression that rises above all prejudices, pedantry and parochialism. (Text from Jerusalem Show Catalogue)
.. the awaited redeemer coming or returning to us, old, weary, burdened with our sins and our moans. Suddenly, he and we discover that he has been put in a dilemma that he cannot face. He is no more than a redeemer by accident, a redeemer by chance. He does not know who should be redeemed and who should be damned. He has been entirely confused by the constant change in the nature of people. More than anyone of us, the redeemer needs someone to redeem him.
They are visible to the naked eye and yet elude or resist a deeper meaning. I believe that my images, arranged next to each other, have an accumulative effect and thus reveal their own grammar necessary to be legible. The image of the coffee shop in Ramallah is one such word in a long sentence that conveys my experience of this city. (Text from Jerusalem Show Catalogue)
Mindful of the exhibition’s goal to serve as a metaphor for approaching the many facets of a contested city divided by occupation and segregation, “The Breakup” considers the intricacies of The Beatles’ 1969 breakup as an example of a collaborative cultural phenomena that over time stops functioning and reaches a point where negotiation fails as a tactic and communication is halted. How does this happen? What can be learned?
The central part of the multi-event public project is a ten-part radio program that will air on Ramallah-based Radio Amwaj (92.3 FM). Here The Beatles’ breakup will be dissected from the more than 100 hours of tapes generated during the filming of "Let It Be" to gain insight into the moment when enlightenment gave way to collapse, and to understand the feelings of isolation and alienation sustained at the time by both Paul McCartney and John Lennon. The project will culminate with a recreation of The Beatles’ final rooftop concert—but on a roof in Jerusalem in 2010 instead of London in 1969, with some of the new and former members of local Arabic music ensemble, Sabreen. An LP and a CD of the concert will be released in Palestine; the list of songs, on the album cover, will function as poetry, a demand for something that does not function to be fixed, for a dream denied to finally be realized:
Two of Us
The Long and Winding Road
Don’t Let Me Down
Let It Be
Jack asked me and explained the Jerusalem Show and I said OK because making a performance like this sounded like something I would really like to do. I changed the proposition a little because six hours is a lot and I didn’t want to just make something that focused only on the physical aspects of exhaustion. I chose the form of a triptych. I took this form because it is something that is used in religious art so I wanted to hijack the form because of the association with religious aspects of Jerusalem.
I use a language that exists in normal music but it’s more extreme or more radical. However there is always a continuum. Technically I use basic Max/MSP software which allows me to programme my own applications so I can develop special effects for the drums. The sequence works as if you are flicking a remote control. However, the first part of the triptych was more like a concert because it was not completely random. I had pre-programmed Part I. In the second performance I wanted to gradually discard the tools so that I had less and less tools to express myself with. The third and final part of the triptych will really be complete improvisation. I will have no other forms to help. It will be free drumming for as long as I can play.
We were invited by ArteEast to the March Meeting in Sharjah in 2010 and we presented our project there. We had already done the project in Jordan so we had a very clear idea in mind. We wanted to find the next location and to find people who were interested in this project and would like to work with us. We met Jack and Jumana and they invited us to come to Jerusalem so we came here for a month from mid July – mid August 2010.
Home Sweet Home looks at the rituals associated with location: first imagining the location, then moving to / staying in that location, then leaving and finally re-imagining the location after you have left it. The project has several components that differ slightly from location to location but include video, installation and publication.
In Jordan the project consisted of a collaborative video, installation and magazine which we called The Beloved. We did interviews with old people in the village and asked them what their most beloved object was. Through these objects we were often able to quickly get to intimate memories and the life stories associated with these. In Jerusalem this format is slightly different. There are two videos, photographs and a publication.
During our visit here we stayed in an apartment in Jerusalem for a month so the whole project was created in and about this space. We compiled a complete inventory of objects in the apartment and photographed them juxtaposing certain objects with others in the publication. Some of the photographs are exhibited at Anadiel.
The fact that each video piece happened without the other person present, meant that it wasn’t until the moment of the show opening that we saw actually each other’s work. This was great because we each had very different interpretations of the space so we then could have a conversation about each of our different pieces which in turn starts a whole other conversation.
Vanishing Point makes reference to a point where all lines meet and vanish into one point; the lines represent queues of people waiting to pass from Area A to Area B. This is the daily routine of Palestinians’ life, extraordinary though incomplete. Vanishing Point is a point where human and moral values disappear; it is a point where individual and collective privacy is violated by means of temporary domination over the place. (Text (abridged) from Jerusalem Show IV Catalogue)