A poster entitled 'One Thousand Days Into the Palestinian Intifada' issued by the Unified Information Office of the Palestine Liberation Organisation (PLO) in 1990 marking 1000 days of the Palestinian people's First Intifada. The Museum collection has one duplicate available of this poster.
A Song to the Green from the series Homage to Mahmoud Darwish #6.
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.
Rain Wu is an architect whose practice extends across art and design to include installation, drawing, curating, set and building design. Wu’s architectural training informs her artistic practice, and her collaborations with Eric Chen, a scholar and principal architect of ArchiBlur Lab, include projects that consider the connections between bodies and controlled landscapes, and how the organic functions within order. For the 2017 Sharjah Biennial 13, they produced Collectivism, an installation constructed out of 700 bulletproof shields.
The Earth Poem from the series Homage to Mahmoud Darwish #5.
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.
Al-Mintar stands prominently as one of the most important commissioned works in the gardens of the Palestinian Museum. Recently completed by the Palestinian artist Sliman Mansour, it was commissioned in line with the Museum’s goal of nurturing our connection with the architectural heritage of Palestine. This work simulates the idea of reviving the construction of mintars, or what used to be described as ‘farm palaces’, scattered across the Palestinian countryside.
That is her Image and This is the Suicide of the Lover from the series Homage to Mahmoud Darwish #4.
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.
That is her Image and This is the Suicide of the Lover from the series Homage to Mahmoud Darwish #3.