The Palestinian Museum permanent collection

Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.

Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.

Archaeology of Occupation is a 2015 body of work by artist Hazem Harb. In this collage series, Harb juxtaposes pre-Nakba (1948) photographs of Palestinian landscapes with concrete heavy masses on the horizon of some of the images. Among many things, Harb has been experimenting with the relationship between sculpture and painting; collage as a technique seems to be very fitting, not only in terms of formal experimentation but as a reference to modernist works of art.

Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.

Athar Jaber’s figure sculptures, primarily produced in stone, focus on degradation, humiliation, violence, fragility, and questions of beauty. Born to Iraqi parents, his sculptures reflect on violence and war and their effects on real bodies. Raised in Florence, the artist questions, by creating deformed figures, the tradition of depicting perfection and beauty in marble statues. Jaber subjects his marble sculptures to carving, sandblasting, acid, and even shooting the faceless stone busts, limbs, and figures.

Archaeology of Occupation is a 2015 body of work by artist Hazem Harb. In this collage series, Harb juxtaposes pre-Nakba (1948) photographs of Palestinian landscapes with concrete heavy masses on the horizon of some of the images. Among many things, Harb has been experimenting with the relationship between sculpture and painting; collage as a technique seems to be very fitting, not only in terms of formal experimentation but as a reference to modernist works of art.

Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.

Bob Gramsma’s installations and sculptural interventions are concerned with finding spatiality in nature and the outdoors, often taking the form of monumental sculptures that are forms of holes excavated from the earth. His interventions are both coincidental and concise as he rearranges existing elements in nature or introduces foreign materials to a natural environment, searching for form. Facts on the ground, OI#17241 is a site-specific earthwork made from negative space. The artist has created a mound and then dug into it, only to fill it with concrete, making a cast of the cavity.

Discombobulation (Occupation)

Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.