Un progetto visivo e testuale costituito da uno spazio di testimonianza, analisi e approfondimento sul tema delle pratiche artistiche impegnate nei luoghi di conflitto in Medioriente.
Ziad Antar – Cote d’Azur Hotel, Jnah, built in 1973
Tal Adler (Israele), Emad Ahmad – IdiomsFilm (Palestina), Ziad Antar (Libano), Yael Bar On & Ahmad Malki (Israele / Palestina e Sakiko Sugawa (Giappone), Michael Blum (Israele / Austria), Yael Davids (Israele / Olanda), Ayreen Anastas & Rene Gabri, (Palestina / Iran / Armenia / Usa), Majd Abdel Hamid (Palestina), Eytan Heller (Israele), Mazen Kerbaj (Libano), Walid Maw’ed (Palestina), Sandi Hilal & Alessandro Petti (Palestina / Italia), Rasha Salti (Libano), Layan Shawabkeh (Palestina), Mohamad Soueid (Libano), Oraib Toukan (Giordania), Wafaa Yasin (Palestina)
Attraverso una selezione e presentazione di lavori svolti da artisti / attivatori, di carattere sia documentativo che di ricontestualizzazione, “place beyond borders” pone una serie di domande aperte, con la possibilità quindi di stimolare nuove questioni e prospettive.
Un luogo eterotopico (come descritto da M. Foucault) immaginato e creato oltre i confini reali di un conflitto territoriale e politico complesso e, allo stesso tempo, luogo di partecipazione e confronto dialogico, per dirlo con Chantal Mouffe un’agonistic public sphere.
Artisti / attivatori selezionati per la capacità reale di analisi critica e propositiva del e nel contesto mediorientale, presentano opere video e/o poster con interviste, statements e immagini, che indagano il tema del confine, inteso non soltanto come confine geografiico e politico, ma soprattutto come barriera mentale al dialogo e al riconoscimento dell’altro.
Nel “place beyond borders” è inoltre possibile approfondire le tematiche affrontate attraverso una selezione di libri suggeriti dagli artisti / attivatori coinvolti nel progetto.
Durante i mesi estivi “place beyond borders” si trasforma in un laboratorio attivo nell’ambito della programmazione didattica di UNIDEE-University of Ideas, residenza artistica internazionale. Attraverso l’analisi dei progetti artistici sviluppati, si indagano con gli artisti residenti prospettive di azioni per sollevare un dibattito sul ruolo dell’artista come attivatore di processi di trasformazione del reale.
Il 6 e 7 luglio Cittadellarte ha organizzato un workshop in relazione al progetto con Rene Gabri, Ayreen Anastas e Alessandro Petti.
Group Exhibitions: 2008 “monoculture and other realities”, third Guangzhou Triennial, China. 2007 SHUROUQ declares: DAWLET EL-SIT ANEESEH, BirZiet,Palestine. 2007 Spring Encounter, International Academy of Art Palestine.
Awards: Young Artist Award, the Palestinian Ministry of Culture.
Work in the exhibition:
‘Untitled’ (poster, 2008)
‘Human languages are defined by the sounds, word, and grammatical constructions that slowly accumulate in a given community over centuries. These cultural materials do not accumulate randomly but rather enter into systematic relationships with one another, as well as with the human beings who serve as their organic support’
from "A thousand years of nonlinear history", Manuel De Landa.
In June 2004, eight young Palestinian filmmakers have come together with the objective of developing and enriching the Palestinian film industry by creating alternative and artistic films, Idioms film Ltd. Was founded and since then has been acting as a platform to consolidate diverse dexterities of enthusiastic artist working in a number of different field.
Today idioms film has a spectrum of more the 15 freelance artists. This is how idioms film has become a single source for a generous variety of proposals and an extensive range of service in audio-visual production. These service include professional production teams along with the necessary equipment (art director, executive producer, director of photography, sound engineer editor, music editor, color corrector). The teams cover all stages of production starting from research to production up to postproduction. Idioms film also offers copyrighted music, composed and performed by in-house composers and musicians. Film translation and subtitling is provided for English, French, Spanish Portuguese, German, Hebrew and Arabic. Energized with experiences of creative masterminds from different Arabic and European countries, the team of idioms film develops non-fictional films (documentaries, reportages, and features) commercial and educational films as well as feature film for TV and cinema. For this purpose idioms film opened its own casting office that’s give access to 250 listed Palestinian actors.
Work in the exhibition:
Once Upon Time in Qalqeliah (documentary film)
The Camera observes 4 sides, it follows a Palestinian Security officer Abu Abdallah, Sheran, the Guard at the main gate of the wall, Abu Azzam, the Palestinian farmer and Qalqeliah at night. The scenes show plenty of contradictions in this area.
I was born in the Galilean village of Tamra in 1980, Palestine. I graduated in 2005 with distinction from Bezalel Academy of Arts and Design in Jerusalem. I participated in a student exchange program in Stuttgart, Germany, at the Staatliche Akademie der Bildenden Künste, where I produced an outdoor installation “Christmas in Palestine”, with a tree and stones.
I lived and worked in Jerusalem, constantly seeking to develop my talent and to build my career as an artist. I participated twice in A.M. Qattan’s Annual Young Artist of the Year Award. In 2006 I received an honourable mention for my works, and in 2008, I won second prize. Between the years 2006 and 2008, I awarded international art residencies in Italy, France, Turkey, and Germany. Currently I'm pursuing a scholarship for master’s degree in fine arts, specialising in social practice, at the California College of Arts in San Francisco, USA. I've been nominated in Palestinian magazine as "Artist Of The Month" for May 2009. I worked as an instructor of workshop for children and women in crises in art galleries in Palestine. (W.Y.)
Work in the exhibition:
Stomach Pain V (video 46 min. and poster)
The inside, the outside
The hidden, the shown
The protection from publicity…
Settled deeply in my memories, my behavior and my self portrait…
I see it in any father and daughter walking down the street…
I have stomach pain… mom
I worked in a shelter for girls who suffered from domestic violence. The girls age range between 12-18 years old. Most of the girls comes from poor crouded neighborhoods of jerusalem. They lived under difficult impossible conditions. they needed to sleep all together with parents and sisters and brothers in the same room, in a large family. In result it's hard to notice what a little girl is going through, specially if she lives in a concervative society like the arabic society, where people don't talk about what is real going at home between the family members.
The title "Stomach pain": it has been defined by the girls that they use to give hints to some of their family members, in this case will be the mother, like the little girl that i worked with. She tried to make her mom notice what she is going through by saying "mom, I have stomach pain", instead of saying “mom please save me from dad, he is doing bad things to me.” (W.Y.)
Oraib Toukan works across media in photography, video, and installation, often pushing public interventions in to her practice.
Oraib has received various fellowships, awards and international residencies for her practices.
Reviews of her work include Art Forum, ArtAsia, Pacific and Bidoun. Guest speaker at The Tate, NYU/ArtEast, MassArt, University of Luzern, among others. She is currently based in New York City.
Works in the exhibition:
Can u see me: Monologues in Air (A4 prints, 2007)
An intervention on rooftops at the peripheral overlap of three hills in downtown Amman. The work is a series of seven very large orange arrows running in conflicting directions, and made of the same material that is both used for insulating/building rooftops and for marking truce targets in time of war.
The Middle East Auction (screensaver, 2008)
A project leading out from working with an economist to calculate a real market value for a 99- year leasehold for the purchase of whole territories in the Middle East. The nations under auction use Ralf Peters’ definition of the Middle East in his book ‘The New Middle East’. Auction catalogues were produced as well as well as advertising inserts and public billboards.
1986, born in Jerusalem/Palestine.
Layan Shawabkeh lives, studies and works in Ramallah. Currently doing BA degree in contemproray visual art at the International Academy of Art-Palestine. Winner of the ”Young Artist of the year 2008” award organized by A. M. Qattan Foundation.
The Ladder (poster, 2008)
"An attempt to re-define the local space by writing myself in its public visual language." (L.S.)
Born in 1959, Beirut, Lebanon, Mohamed Soueid began his academic life very distant from the world of film and video. In 1977, he enrolled to study Chemistry at the Lebanese University. Yet, his passion for films took the best out of him. Where immediately after he completed his studies he began a career in film criticism where he wrote weekly columns for Al-Safir daily newspaper, as well as for the weekly cultural supplement (Al-Mulhak) of An-Nahar daily newspaper.While continuing with his career in film criticism, he worked as an assistant director for a number of Lebanese filmmakers. After he directed his first film “Absence” in 1990, Mohamed Soueid went on to execute his own documentaries and TV works, where he was notably known by his autobiographical trilogy full-length documentaries “Tango of Yearning” (1998), “Nightfall” (2000) and “Civil War” (2002). His “Tango of Yearning” won the Best Documentary Director Prize at Beirut International Film Festival in Beirut 2000.Apart from his documentary independent works, Mohamed Soueid directed the TV mini series drama “Women in Love”, a free remake of a classical work produced by Télé Liban in the 70s and then directed by Samir Nasri. Carmen Lobbos, Julia Kassar and Carole Abboud were among the leading cast of Soueid’s remake.Since 2002, Mohamed Soueid has been assigned as senior producer for “O3 Productions”, the documentary sister company of the MBC satellite TV Group.In addition to his film and TV work, Mohamed Soueid published two books on Lebanese cinema and old movie theatres: “Postponed Cinema – The Lebanese Civil War Films” (published by “Arab Research Foundation”, Beirut, 1986) and “ Ya Fouadi – A Chronicle of Beirut’s Late Movie Theatres” (published by “Dar An-Nahar”, Beirut, 1996).In 2004, his first novel “Cabaret Souad” was released by the Lebanese publishing house Dar Al-Adab; and he is currently shooting his new feature length documentary “Written on the Dust”.
Work in the exhibition:
Cabaret Souad is Mohamad Soueid’s first literary fiction, where the elements and motifs that articulate his cinema find a transliteration in literature. His fascination with the silver screen, his interweaving of autobiographical invention and official history (the important and mundane) are cast in a story set to have been written by a character, Wahid Sadeq, and narrated by a second character, Iyyad Ayyoub, in the first person. While the identity of two men is often blurred, Wahid is described as a writer of certain standing who publishes under the pen name Maytham Hosni, who has handed over a script by his trusting friend, Iyyad, titled Malek Es-Sex, Arabic for The King of Sex, that details acts of war-crimes and high-treason during the Lebanese civil war (1975-1990). ‘Malek Es-Sex’, The King of Sex is a sarcastic twist on the image of virility, male power and heroism, commonplace to Lebanese slang; it is usually followed with ‘wel cornflex’ (and cornflakes) to close the rhyme with ‘Es-Sex’. It refers, endearingly, to a man’s failed or dismal amorous exploits. In four long chapters, with jump cuts, movements forward and flights into the past, the reader is presented with a chronicle of a man who was a combatant during the civil war, his childhood in a working class neighborhood of west Beirut, a portrait of his father and to a lesser extent his family, vignettes into the social history of Beirut before and during the war. Whether Iyyad, Maytham, Wahid or Soueid himself, the narrative of the civil war is that of men broken from violence, living in a city that comes undone before their eyes as the cruelty of war grabs hold. Broken too was Souad Hosni, the darling ‘Cinderella’ of Egyptian cinema who died mysteriously and miserably in London, her body thrust from a high-storey balcony. She is at once, incarnate and an incarnation, the mainstream media narratives - projections and speculations - recounting her tragic passing are interlaced with local Beiruti stories and lore. In ‘Cabaret Souad’ seemingly unrelated realities and stories, from the recent past and fragmented present of Beirut and its non-descript neighborhoods, as well as the recent past of Egyptian cinema and its evocative impact on the popular imaginary, are staged into a cogent being in the world, effortlessly. At the end of the novel, the epilogue reveals that Maytham Hosni is a sleazy opportunist, plagiarizer, war criminal, money-launderer and pimp, who has left Beirut under shady circumstances and opened a nightclub in post-Saddam Baghdad he calls Cabaret Souad, in homage to the Egyptian silver screen darling. His parting act with Beirut was to placard the city with an image of the Cinderella with the enigmatic promise: ‘See you on the banks of the Tigris.
scarica un estratto da Cabaret Souad (lingua italiana)
Rasha Salti is a free-lance writer and independent curator, working between Beirut and New York. She is also the creative director of the New York-based arts non-profit ArteEast.
Beirut Bereft, Architecture of the Forsaken and Map of the Derelict is a collaboration between photographer Ziad Antar and writer Rasha Salti at SB09, that includes the production and publication of a book, as well as an exhibition of photographs.
To the image of its political, social and cultural scapes, Beirut’s urban landscape still bears markers, scars and vestiges of its seventeen-year long civil war, more than fifteen years after the cessation of violence. Peppered through the city’s fabric are buildings, unfinished, often in their bare concrete shell. Tucked between “functional” buildings they are cast out from attention and have slipped from visibility. Built in the 1970s,1980s, and 1990s, throughout the interrupted chapters of the war, they were used during the war by militia fighters as temporary ‘encampments’, rooms were furnished with basic materiel to accommodate for sleep and meals, higher floors and rooftops were used for sniping, facades and windows of lower floors were buttressed with sandbags. These unfinished buildings morphed into encampments and became strategic landmarks in the battles between militia groups seeking to expand their control. When the violence was halted and negotiations for the post-war accord negotiated, the fighters packed up and emptied the buildings. Their status as ‘landmarks’ was suddenly arrested, and they once again became the failed, unresolved projects imbricated within a bustling urban fabric. Today, these bare-faced concrete edifices, sometimes guarded by rusted fences, stand bereft, at once encasing sorrow, destitution and abandonment, surly evidence of failures, nagging reminders of what is systematically cast away from sight, representation and narrative.
Palestinian designer/artist born in Nazareth, Walid Maw'ed gratuated at the Institute of Fashion and Textile, Beit Sahour. Costume designer for movies such as “Paradise now”, he was awarded an A.M.Qattan Foundation grant to participate in UNIDEE-University of Ideas in 2004. During the residence, Walid conceived his project on the water issue, “Waiting for Water”. The project, between 2004 and 2007, has been developed together with the group "watercollection-net" and presented in Biella, Ivrea, Venice Biennale, Sicily, Gemona del Fiuli, Turin, also in occasion of the 2006 Winter Olympics. He's currently working as costume designer for a movie.
Work in the exhibition:
Waiting for water (poster, 2006)
The street is mostly invisible to us, a space of passage that both allows for and determines the movement of people, as the shape of a riverbed guides the flow of water. Placing a temporary barrier through a passage into urban space, a black sheet that blocks vision and in doing so makes the street itself newly visible as a hard enclosure. It directs attention. It creates a question mark for the public. But it also allows for choices; the flexible cloth receives, softens and spreads signals from wind, from the touch of people, from their action against its backdrop and the redirection of their movements.
It thus calls attention to our relationship to nature and to one another, and the potential conflict and responsibility such a relation necessarily involves. It also proposes an alternative kind of public space.
This project is an open and collective work, in the sense that its ultimate form is determined first by a loose-knit group, ‘watercollection- net’, second, by the response by the public, and further even by natural forces and the qualities of the material, here a metaphor for the fundamental and precious source of life, water. Our intervention is the product of a free and expanding network, and part of a series of artistic acts in public spaces that aim to draw attention to the qualities of water, its centrality in contemporary political conflict and its centrality in any solution to such issues.
Water should remain free, as our own potential freedom is reflected in its rippling surfaces.
Mazen Kerbaj was born in 1975 in Beirut.
He is still trying to cope with this reality since, by drawing comics and playing music.
Works in the exhibition:
Alessandro Petti is a Research Fellow at Centre for Research Architecture, Goldsmiths College, University of London and Architect based in Bethlehem. He co-curated different research projects on the contemporary urban condition such as Borderdevices, Uncertain States of Europe and Stateless Nation. showed in various museums and biennales. He has written on the emerging spatial order dictated by the paradigm of security and control (Archipelagos and enclaves, Bruno Mondadori 2007, Dubai Offshore Urbanism in Heterotopia and the City, Routledge 2008, Asymmetry in globalized space, forthcoming). He is working on a research project entitle “Atlas of Decolonization”, an architectural documentation on the re-use, re-inhabitation and subversion of colonial structures.
Sandi Hilal graduated in Architecture. She works as a consultant with the UNRWA on the Camp improvement program. She is a visiting professor at the International Academy of Art Palestine. She is co-curator of the project Decolonizing Architecture. In 2006 she obtained the title of research doctorate in Transborder policies for daily life in the University of Trieste. From 2001 to 2005 she has been teaching assistant in Visual Arts and Urban Studies at the IUAV University of Venice. She’s a co-curator of different research projects shown internationally: Stateless Nation and Arab City Project (with Alessandro Petti), Border devices (with multiplicity). Her publications include Senza Stato una Nazione, (Marsilio, Venezia 2003); Living Among the Dead (Domus 880, April 2005); Road Map (Equilibri, August 2004), la stanza dei sogni (Liguori Editore, 2004), Stateless Nation (Archis, Preview # 4 2003). Her projects have been published in national and international newspapers and magazines: the New York Times, Il Manifesto, Al Ayyam, Al- Quds, Art Forum, and Archis.
Work in the exhibition:
Decolonizing Architecture (slideshow and poster, 2008)
Our project uses architecture to articulate the spatial dimension of a process of decolonization.
Recognizing that Israeli colonies and military bases are amongst the most excruciating instruments of domination, the project assumes that a viable approach to the issue of their appropriation is to be found not only in the professional language of architecture and planning but rather in inaugurating an ‘arena of speculation’ that incorporates varied cultural and political perspectives through the participation of a multiplicity of individuals and organizations.
The project engages a less than ideal world. It does not articulate a utopia of ultimate satisfaction. Its starting point is not a resolution of the conflict and the just fulfilment of all Palestinian claims; also, the project is not, and should not be thought of, in terms of a solution. Rather it is mobilizing architecture as a tactical tool within the unfolding struggle for Palestine. It seeks to employ tactical physical interventions to open a possible horizon for further transformations.
We suggest revisiting the term of “decolonization” in order to maintain a distance from the current political terms of a “solution” to the Palestinian conflict and its respective borders. The one-, two-, and now three-state solutions seem equally entrapped in a “top-down” perspective, each with its own self-referential logic. Decolonization implies the dismantling of the existing dominant structure - financial, military, and legal - conceived for the benefit of a single national-ethnic group, and engaging a struggle for justice and equality. Decolonization does not necessarily imply the forced transfer of populations. Under the term decolonization, for example, Jewish communities could go and live in the Palestinian areas.
Whatever trajectory the conflict over Palestine takes, the possibility of further partial-or complete -evacuation of Israeli colonies and military bases must be considered. Zones of Palestine that have or will be liberated from direct Israeli presence provide a crucial laboratory to study the multiple ways in which we could imagine the reuse, re-inhabitation or recycling of the architecture of Israel’s occupation at the moment this architecture is unplugged from the military/political power that charged it.
Born 1968, Brussels; since 1988 Eyran Heller lives in Israel, today resides and works in Tel Aviv. Graduated from the Hebrew University of Jerusalem with a BA in Political Science and a M.Sc. in International Political Economy from the London School of Economics.
Following his work with various international NGOs, Eytan pursued film studies at NYU. Since then, he has filmed and directed television programs for Israeli television and his short videos have been exhibited in Israel and abroad, most recently at the Biennale for Contemporary Art in Poznan, Poland. Eytan is a co-founder of the Israeli-Palestinian forum ‘Artists Without Walls’ alongside with Galit Eilat, Oren Sagiv, Said Murad and Suleiman Mansoor.
Work in the exhibition:
Love Sum Game (video, 2006)
‘Love Sum Game’ was recorded in Abu Dis (East Jerusalem) and stages a tennis match using the wall as the net dividing the Israeli and Palestinian occupied territories. As opposed to a transparent tennis net, the wall obstructs any possibility of visual contact between the players. Its monumental presence acts as a physical and psychological barrier preventing any possibility of dialogue. It makes it difficult to even guess what’s happening on the other side of the road. The game reflects the absurdity of this condition of inclusion and exclusion that the Palestinian people live in on a day-to-day basis. The video was made thanks to the constant and long-standing cooperation and dialogue between local Palestinian activists and the Artists Without Walls association. ‘Love Sum Game’ is the first of a trilogy the artist is currently making.
Rene Gabri and Ayreen Anastas are frequent collaborators, making films and videos, and connecting cultural practice and political thinking. They are both involved in 16 Beaver, a space in New York City initiated and run by artists to create and maintain an ongoing platform for the presentation, production, and discussion of a variety of artistic/cultural/economic/political projects. Recently they completed Camp Campaign (2007), entailing a 45-day journey across the United States in 2006 which attempted to address the internment camp in Guantanamo Bay, Cuba, by connecting it to various contemporary and historic sites of ‘juridical exception’ in the USA and elsewhere.
Work in the exhibition:
What Everybody Knows (video, 2006-2008)
7 days from 16 trips, DV, 1 hr 58 mins and photographs of wall encircling Bethlehem and Beit jala (posters)
In the spring of 2006, Ayreen Anastas and Rene Gabri, travelled together to Palestine and Israel, searching, researching and witnessing the situation. From their trips, they created a series of videos that document their encounters with people struggling, resisting, surviving, living, and thinking through their everyday lives. Some of those include a geographer, a professor, an activist, a former detainee, an architect, a bedouin... Each video corresponds to one trip, a particular journey from the 16 days, relying on the material captured only that day, from different situations and places including: Jerusalem, Naqab, Hebron, Lydd , Bethlehem, Ramallah, Nablus, Shuafat and more... What Everybody Knows, is a play on what everybody ignores possibly. It is an attempt to really think about the question of Palestine and reformulate it through an experience that these individuals offer in each case. It unfolds in a series of questions that call for more questions. Together all 16 of these situations create a diagram or a map and may provoke thought / discussion about the social, psychological, and political dimensions of contemporary life for Palestinians in occupied Palestine and in Israel.
A line, a sentence, a word (slideshow of a performance and poster, 2007)
‘A line, a wall, a frontier, a human shield, a demonstration, etc. The work attempts to construct a language arrived at by seemingly arbitrary motions, a paradox of visual speech within a locus of silence. The other factor is the actual physicality of the works situation - all of the individuals in the group will experience a very limited visual field, (the wall itself), this will also apply to their now restricted verbal field. There is a magnitude that surrounds my urge to protest. To react is equal to the volume of the question - What to do? How to protest? How to react? To express the question within the protest. I believe it is a notion, which is significant for our time.
I am collecting journalist’s photographs related to demonstrations that had an impact, small or large on history. I follow the wider events of history by chronologically linking the history of demonstrations, such as; the suffragettes picket lines - 1924, South Africa - Sharpsville, protest against the rule for non-whites to carry identity cards - 1960, Washington D.C., civil rights marches - 1963, and so on.
I am struck by how essential and effective these spectacles are. It is a very particular spectacle that harbours a curious borderline - between frustration and hope. I wonder what is the moment when one stimulates the other. Do I perceive choreography in the rules and the aesthetics of a protest?
What happens to the existential energy of expression, of protest in a situation when one cannot protest and cannot express one’s self?’
Excerpt from A line, a sentence, a word, by Yael Davids for the Memorial to the Iraq War, ICA London, 2007.
Yael Bar-On, visual artist and stage director, graduated from "artists for social change" program in Musrara Art School in Jerusalem, the School of Visual Theatre in Jerusalem, Israel and the School of Alternative Theatre in Sholomi, Israel. In her work she seeks to explore the social landscape of a society in a state of conflict. Social activism is an important part of her life, which she has consistently pursued alongside her artistic career. Yael participated in the residency program- University of Ideas in Cittadellarte-Fondazione Pistoletto 2008.
Ahmad Malki, cinematographer, graduated from European Film College in Denmark in 2005. He has worked in various artistic fields. Ahmad’s main focus is primarily cinematography, as well as practicing other activities that can develop his awareness in the field of visual arts, such as musical knowledge and film editing. Lately he has been working freelance in films, art projects & several photo exhibitions. Ahmad received a grant from Palm Foundation to study at the European Film College in 2004 and from ALMAKAN (Jordan) for the exhibition, “Invisible” as well as a residency for two weeks in 2007. He was awarded an A.M.Qattan Foundation grant to participate in University of Ideas in Italy in 2008.
in forty years (posters and video installation, 2008-2009)
In forty years consists of two art projects that focus on issues connected to the Israeli-Palestinian conflict.
‘MIX IT UP’, by Sakiko Sugawa, is dedicated to Israeli and Palestinian singles, offering an online meeting place and micro-scale conflict resolution. Using the concept of marriage as a tactic for creating a new dimension in the relationship between Israelis and Palestinians, the website provides an online space for individuals from the two societies to meet in a friendly and potentially romantic context. [...] While maintaining the conventional functionality of the dating service website, ‘MIX IT UP’ also offers ‘Frequently Asked Questions’ and ‘Helpful Tips’ to give advice to the website members. It provides a list of organizations working on the issues of marriage in Palestine and Israel, while highlighting the fact the current marriage related laws of Israel are designed to prevent people, based on their country of citizenship, from exercising a basic right, getting married, forming a family, raising children with spouses they choose.
’Alii bella gerunt, tu felix Austria nube.’* Nam quae Mars aliis, dat tibi regna Venus.’ ‘Let other people wage war. You, happy Austria, marry instead. For the goddess of Love gives lands to you that others must win by battle.’ *Since the 15th century, this saying has been used to describe the political practice of Habsburg family.
‘Alii bella gerunt, tu felix Austria nube’, by Yael Bar-On and Ahmad Malki, is a work in process, that explores the idea of marriage between two people from Israel and Palestine. It references the reality where a love story between the two sides seems impossible. Eventually leading the artists to find the concept of marriage, a union that requires two parties to negotiate constantly and equally as an individual strategy to intervene into political issues, even simply as a symbolic act. The project consists of a performance, video installation, and publication. The first stage of the project took place during the ‘University of Ideas 2008,’ in Biella Italy.
Close Up (video installation, 2009)
Ahmad- in Ramallah Yael - in Jerusalem Looking at each other from distance during the Gaza war 2009.
Michael Blum is an artist and writer based in Vienna and New York. His work aims at critically re-reading the production of culture, myths, and history. Recent projects include A Tribute to Safiye Behar, 9th Istanbul Biennial (2005), Lippmann, Rosenthal & Co., De Appel, Amsterdam (2006), Cape Town - Stockholm (On Thembo Mjobo), Mobile Art Production, Stockholm (2007), and Exodus 2048, Van Abbemuseum, Eindhoven (2008), and New Museum, New York (2009).
Ciao Ghatoul (video, 2007)
produced in collaboration with the Israeli Center for Digital Art, Holon/IL - Tel Aviv, 2007.
A man is so annoyed by a cat’s on-going meows, that he decides to abduct the cat and deport it to the West Bank. He thus embarks on a long and complicated journey with the sole purpose of ridding himself of this unpleasant neighbour.
lives and works between Saida (Lebanon) and Paris (France). He graduated with a degree in agricultural engineering in 2001, and has been working in photography and video since 2002. He completed a one-year residency at the Palais de Tokyo in Paris in 2003 and a one year residency at the Ecole des Beaux-Arts de Paris.
Selected collective exhibitions (photography and video): 2009: SHrajah Biennal, 2008: Hiroshima Art Fair; Taipei Biennial; Homeworks, Beirut; Haus der Kulturen der Welt Berlin; Lieux de vie -Memoire et phantasme de ’enracinement, Abbaye St Andre - Centre d’art contemporain, Meymac; Tate modern; International Triennale of Contemporary Art - Re-Reading the Future (ITCA), Prague; New Ends, Old Beginnings Bluecoat Gallery, Liverpool, 2007: White space Black space, espace Blank, Paris, 2006: Centre Pompidou, Paris; La Cabane, Palais de Tokyo, Paris, 2005: Mémoires Vives, Plattform, Berlin, 2004: Code Inconnu, Palais de Tokyo, Paris, Le Bâtiment, Hiroshima, Japan.
Marche Turque (video, 2007)
The frame focuses on the hands of a pianist playing Mozart’s La Marche Turque, but the piano’s hammers are buffered so that only the dull, wooden sound of the keys being pressed and released in time to the music can be heard.
Mosque, Saida June 2005 c-print (poster)
Cote d’Azur Hotel, Jnah, built in 1973 c-print (poster) from Beirut Bereft, architecture of the forsaken and map of the derelict
Volcano, Mont Asso Japan 2004 c-print (poster)
Born in Jerusalem, Israel, Tal Adler currently lives and works in Vienna, Austria. Adler is an artist, activist, curator and lecturer. In his artistic work he employs methodologies of academic and journalistic research and of creative social-political activism. He studied in various art institutions, including the post-graduate program in Bezalel Academy for Art, and is holding a Magister in Fine Arts from the Art Academy in Vienna, Austria.
The two posters are from a series of 9 posters done during 2000 - 2001 in Israel. They were always designed in black and white and printed in A3 size, hacking copy machines in institution-offices like the city’s municipality or the art academy, without money and often without permission. The posters were created either as a reaction to a political event or to accompany a political, social and/or cultural action/demonstration.
‘stop unrooting trees’
accompanied an action initiated by the Israeli human rights organization B’tselem, planting young olive trees by Israeli activists in Palestinian land as a reaction to the uprooting olive trees by the state in preparation of the separation wall.
‘Our independence, their Nakba’
(Nakba is disaster in Arabic, used as the Palestinian term for the loss of Palestine in 1948). The poster was created for the 53rd Israeli Independence Day, to reflect about the other side of the celebrations: the Palestinian day of mourning.
Paolo Naldini, Amm. Delegato Cittadellarte e Socio Fondatore ReMidaBiella
Giulia Chiaberge, Operatrice culturale e Socio Fondatore ReMidaBiella
Sylvie Calmon, Operatrice culturale e Socio Fondatore ReMidaBiella
Doriano Raise, Assessore alla Qualità Ambientale, Comune di Biella
Silvio Belletti, Presidente COSRAB Consorzio per lo smaltimento dei rifiuti dell’area Biellese
Davide Bazzini, Assessore alla Tutela Ambientale, Provincia di Biella
Nicoletta Favero, Assessore all’Educazione, Comune di Biella
Franco Volpe, Segreteria Generale Confartigianato, Biella
Luca Guzzo, Direttore CNA, Biella
Mario Novaretti, Presidente ASCOM, Biella
Alberto Gatti, Presidente Azienda Turistica Locale, Biella
Riportiamo gli estratti dell’incontro al termine del quale i soggetti sottoscrivono il protocollo d’intesa per siglare l’impegno di aprire un centro ReMidaBiella nel 2007.
La cellula madre di Cittadellarte genera una struttura autonoma, ReMidaBiella.
Il codice genetico da cui nasce ReMidaBiella è duplice: il primo è il centro ReMida di Reggio Emilia, che rappresenta uno straordinario modello educativo per la cultura italiana, il cui scopo è la riattivazione e rimessa in circolo di scarti industraili.
L’altro corredo cromosomico proviene da Cittadellarte, dal mito del Terzo paradiso che consiste in un nuovo equilibro tra l’intelligenza della natura e l’intelligenza umana che sta entrando in rotta di collisione con il primo.
(...) Il centro ReMidaBiella ha come scopo di sviluppare la creatività remidiana fertilizzata dall’ispirazione della creatività responsabile. Nella prima parte di quest’anno abbiamo iniziato ad interloquire con i soggetti coinvolti nella salvaguardia dell’ambiente a livello amministrativo, politico, imprenditoriale, associazioni di categoria del biellese e abbiamo trovato una straordinaria risposta. L’obiettivo è dare vita ad una struttura autonoma in forma di associazione culturale no profit fondata dalle operatrici, da Cittadellarte, in sinergia con i partner e le amministrazioni comunali e gli assessorati, i servizi educativi e con l’obiettivo di tendere e raggiungere la sostenibilità entro tre anni.
Giulia Chiaberge: Io e Sylvie siamo educatrici e curiamo progetti di didattica per le scuole del biellese. Durante la nostra esperienza, abbiamo riscontrato la carenza di materiali didattici legati alle tematiche ambientali. Noi supplivamo utilizzando foglie, legno e oggetti trovati in natura, finché abbiamo seguito un corso per diventare gestori di centri ReMida, la cui filosofia di riciclo creativo è affine al nostro modo di lavorare.
Il nostro lavoro consiste nel progettare un emporio con scarti di tutti i materiali rintracciabili e in particolare con scarti tipici del territorio biellese, grazie al quale sarà possibile organizzare attività didattiche.
Il progetto RemidaBiella ha trovato in Cittadellarte una casa creativa, accogliente e tecnologica grazie alla quale è possibile realizzare questo grande sogno.
Sylvie Calmon: Il centro ReMida si compone del magazzino emporio, un servizio di pubblica utilità, grazie al quale gli scarti escono dal ciclo economico, per entrare in una nuova vita: noi li definiamo oggetti risorti.
Il centro ReMidaBiella è costituito anche dallo spazio per i laboratori e i corsi di formazione proposti dal centro stesso per favorire il riuso creativo dei materiali.
Insisterei sul termine riuso creativo, un concetto importante che favorisce lo sviluppo dell’immaginario, permette una trasformazione delle idee e un nuovo modo di pensare all’ambiente e ai rapporti tra noi e il mondo che ci circonda.
Doriano Raise: Il progetto sposa le finalità degli enti pubblici ma si avvale anche della spinta del mondo economico produttivo. L’amministrazione crede fermamente in ReMidaBiella perché aumenta la sensibilità e l’attenzione della cittadinanza rispetto all’ecologia, ciò è fondamentale per la crescita culturale del nostro paese.
Silvio Belletti: ReMidaBiella è un progetto che porta benefici nella raccolta dei rifiuti nel biellese, spero che un partner forte, come la Regione Piemonte, sostenga il progetto.
Stiamo vivendo un momento di polemiche sulla problematica dei rifiuti, per questo mi sento di perorare con estrema forza ReMidaBiella, perché sottolinea l’apporto che il mondo dell’educazione e della creatività possono dare all’ecologia del biellese.
Davide Bazzini: ReMidaBiella testimonia il fatto che sta avvenendo un cambio di marcia: non stiamo parlando solo di rifiuti ma di modalità con cui concepiamo il nostro rapporto con il futuro. Nelle civiltà contadine i rifiuti non esistevano, sono nati con la città, all’interno della quale diventano il conflitto principale. I primi esempi di patti cittadini sono stati per lo smaltimento dei liquami urbani, prima osteggiati e poi dichiarati risorsa per l’economia della città. Si evince, per cui, che il cambiamento culturale nel rapporto tra merce e rifiuto ha origini lontane. È su questo che si gioca la progettualità e l’innovazione del centro ReMidaBiella, è su questo che dobbiamo giocare un ruolo reciprocamente importante.
Ho presentato alla giunta provinciale il progetto e ho riscontrato interesse e voglia di partecipazione. Intendiamo estendere la rete ReMida come laboratorio provinciale per l’educazione ambientale: vogliamo inserirla in una rete già costruita di rapporti con le scuole che consenta a ReMidaBiella di strutturarsi all’interno delle reti esistenti.
Questo progetto indica che la possibilità di migliorare il nostro territorio e di salvaguardare l’ambiente non è un’utopia.
Nicoletta Favero: Sono felice che l’esperienza di educatrici di Sylvie e Giulia sia messa a frutto in un progetto che coniuga l’educazione ambientale e la creatività. La collaborazione con Cittadellarte è molto importante sia perché mette a disposizione uno spazio così bello e grande e fruibile e sia per il contributo creativo e di gestione.
È importante a mio avviso coinvolgere tutte le utenze: dai bambini, agli insegnanti, ai disabili, agli anziani, i quali trasmettono il sapere, l’operosità e la creatività dei loro luoghi.
Auguro al progetto uno sviluppo pieno e soddisfacente.
Franco Volpe: Confartigianato raggruppa quattrocento diversi mestieri che producono la materia prima utile a ReMidaBiella. Sosteniamo il progetto e lo reputiamo fondamentale per il biellese. Attraverso i nostri organi di comunicazione, notiziario, sito, abbiamo dato informazioni e abbiamo avuto contatti con molti imprenditori.
Il cromatismo, le forme che derivano dagli scarti di lavorazione sono materiale interessante, anche secondo l’imprenditoria.
Noi ci mettiamo a disposizione e aspettiamo indicazioni di come coordinarci per sviluppare un’informazione efficace che porti risultati per questa operazione.
Luca Guzzo: La nostra organizzazione si occupa di informare le piccole imprese su come gestire i rifiuti, indicando quali vanno stoccati, quali sono sottoposti a pagamento, a ordinanze penali eccetera.
Grazie al progetto ReMidaBiella informiamo i piccoli imprenditori sugli scarti che possono donare al centro di riuso.
Chi studia l’ecologia applica la formula delle tre R: Riduzione, Recupero e Riciclo.
Si crede che il riciclo sia il primo passo da fare per una corretta gestione dell’ambiente. Invece sono i gradini superiori, riduzione e recupero, che permettono una vera e propria salvaguardia ambientale: come ReMidaBiella offre la possibilità di recuperare gli scarti.
Complimenti per l’iniziativa che appoggiamo completamente.
Alberto Gatti: L’idea del centro di riuso creativo, sarà un richiamo al nostro saper fare, caratteristica del nostro territorio biellese. Le nuove generazioni apprenderanno a confrontarsi con l’ecologia.
ReMidaBiella valorizza il nostro territorio, non solo nell’ottica di uno sviluppo sostenibile, ma stimola la creazione di contatti tra gli operatori e le utenze che lavorano per l’educazione ambientale e la didattica. La presenza di tutte le istituzioni testimonia che c’è una condivisione sugli obiettivi del progetto e forte impegno da parte di tutti.
Il magazzino è organizzato sul modello di Reggio Emilia: gli scarti della produzione industriale ed artigianale raccolti nelle aziende che aderiscono all’iniziativa, sono selezionati, esposti e messi a disposizione dell’utenza a scopo didattico e creativo.
Sono esclusi gli scarti domestici e ogni rifiuto proveniente da privati.
Per dare maggiore risalto alla peculiarità dell’industria biellese, si prevede l’allestimento di un reparto specifico dedicato al settore tessile e al suo indotto.
I materiali raccolti apparterranno a diverse tipologie: carta, legno, cordame, cuoio, vetro, plexiglass, filati, tessuti, merceria, plastica, gomma, tappezzeria, spugna, moquette, metallo, imballaggi...
Il laboratorio è uno spazio strutturato per svolgere le attività del centro.
Un’attività particolare è il ReMidaDay: giorni speciali di festa durante i quali la città, le strade, le piazze, i luoghi si trasformano, coinvolgendo adulti e bambini, anziani e giovani, nella realizzazione di un evento che è sintesi di tutti i progetti condivisi dalle scuole, dalle istituzioni, dai singoli cittadini e dalle associazioni culturali e che dà risalto all’impegno e al ruolo delle aziende coinvolte.
Le altre attività di ReMidaBiella, svolte in collaborazione con il Dipartimento Didattica di Cittadellarte, comprendono progetti di educazione ambientale, corsi di formazione per insegnanti, operatori ed educatori, laboratori didattici per scolaresche e laboratori tematici di riciclo creativo aperto a tutti con la collaborazione di artigiani e artisti.
L’utenza è eterogenea: da insegnanti alle scolaresche di ogni ordine e grado, alle cooperative e associazioni sociali, alle associazioni turistiche, culturali, ambientaliste e della terza età.
TARIFFE ANNO 2009/2010
tessera base > fino a 25 utenti: € 30
> fino a 100 utenti: € 60
> fino a 200 utenti: € 100
> fino a 500 utenti: € 200