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Scar- The Exhibition (30.1.03)

























































From the movie "Scar"

Ariane Littman-Cohen, Hannan Abu Hussein, Khen Shish. Three women bound together in a friendship that has matured gradually over the years, in countless encounters, in conversations covering everything:
life, art, experiences. Including the painful experiences, the kind that leave a scar.

Three women, their gender saying it all. As creative artists, they take an interest in each other's work, arguing, exchanging ideas. In the process. a "different" reality comes into being, of hidden significance.

They harbour no ambitions about working "jointly", as a group. Each one has her own work, her own inspiration, her own spheres of interest. But nevertheless, this is a joint exhibition, each one bringing her own creation and setting it up alongside the works of her friends.

Alaa Francis is making a video documentary about them. It is an autonomous element, existing in its own right. You might say: they can't make it without a man. Can his masculine regard fathom the depths of this female friendship? But he is merely documenting them - their encounters, their togetherness - so as to record, in a social reflection, their shared experience.

That experience remains at a personal level. They aren't really interested in national or ethnic origins. They relate to one another as friends, not as representatives of a community or nationality or political position.

Overall, they have no political statement to make. They're friends, that's all.

And maybe that personal statement is the most political utterance imaginable.

Movie Clip: "Scar" exhibition erection
3:38 Min

Hedva Shemesh
The Gallery Curator

Hannan Abu Hussein

every morning
women sew beds for their spoiled bodies
bleeding the leftover lust from their eyelids
and like a spoiled lentil grain grind their desires

in the morning
women beautified by yellow smiles
by counting the cups/the dresses/and the agony
of the loss of their erect breasts
women perform their old habits
plucking their hair, waiting for the coming morning
spit out their old skin into coffee cups
rummaging from their eyes in the drifting smoke

Ayyida Nasralla

Ariane Littman-Cohen

Border Land Story

The road maps of Jerusalem drawn with red threads and concealed inside the work "Hidden Maps" initiated a mental and geographic journey into the Border Land, a journey triggered by the anxiety I feel as everything seems to shrink around me.

I gave a lecture on my work in Mishkenot Sha'ananim. Facing the walls of the Old City, on this cold and sunny winter day, the dialectic of the Holy Land struck me once more. During the lunch break I heard of the bomb attack in Haifa. As daily life becomes an effort, art becomes both a luxury and a vital bubble.

My bubble exploded last Saturday at 10 p.m. in the blast at caf? Moment. Every morning I pass in front of the ruins of what had been for a short time my temporary studio and I light a candle. Thursday morning I went to photograph the site. My legs and hands were shaking.

Today I photographed the deserted railway track that enters Bet Tsafafa whose minaret I see through the windows of my studio. I needed to actually explore the site of "Map no.1 Talpiot-Bet Tsafafa", breaking with my presence the abstract realm of the road lines I had drawn on the map. I did not cross over to Bet Tsafafa.

Yesterday I hung "Map no.1" in a joint exhibition of Israeli -Palestinian artists in Um el Fahem. For a while art had created a different reality. This morning, police roadblocks were set up not far from my studio. I heard on the radio that a terrorist boarded a bus in Bet Tsafafa, many children died. Later I met with Khen in Tel Aviv, I also took an appointment with Hannan, I hope we can work together on a joint project.

Two days ago, the army shot a missile at the house of a wanted Hamas terrorist, killing many women and children. How many more Palestinian and Israeli children are going to die?

The letters TV stuck on my car, I went to photograph the borderline around Jerusalem with Eddy. On our way to Kalandia, a soldier asked to see some official papers, we were not allowed through. Bomb attacks occur at a regular pace and I have many nightmares. In my daily life I repress my anxiety, but my unconscious and my art refuse such a solution.

In the cafeteria of the university, surrounded by students speaking hebrew and arabic, I dream of alternative ways. Earlier on, Hannan and I met with Alaa. He has agreed to shoot the movie which seems to us the most appropriate format for a collaborative work. Alaa graduated from Bezalel a couple of years ago, he did a short film on the Borderline when he was living in Bet Hanina.

I went back, this time with Alaa, to film the railway line, we walked along the tracks and under the bridge into Bet Tsafafa, he showed me the house he had shared with his brother before going to Art School. Once a week, we all meet, the movie is progressing and slowly this exhibition has become for me a way of creating an alternative reality.

Khen Shish

Alaa Francis

Working with Hannan, Khen and Ariane has confronted me with many questions about modern women in the Middle East. Since first meeting them, I have found myself in the status of observer and the other, watching three women artists and their approach to art. What is their role as artists, and what are the limits of that role? How are they able to draw the line between being women, artists, mothers, or alternately, draw all these together? And what is the space open to women in a land torn by masculine forces and borders?

Movie: "Drawers"

17:00 Min

The video synthesizes these questions through the interplay of documentary and art.

Alaa Francis


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