Degrees of Reading," by Khalil Baydas, a Palestinian writer, storyteller and translator. The book was published in 1924 by the Orthodox Monastery Printing House in Jerusalem and is 132 pages long.
You can view the book through this link
Part I of the book "Building Construction" by Mohamed Morsi Ismail, a professor of structural engineering at the School of Arts and Crafts in Cairo. The book was published by El-Nasr Prints in Egypt and is estimated to have been published in 1928, the year in which the book's foreword was written. The book is 301 pages long.
You can view the book through this link
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.
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.
Inass Yassin’s multifaceted practice focuses on themes rooted in her personal experience. She examines modernity in the Arab mind through the disappearance of social and cultural networks, exploring this through photography, film and installation, and interrogating the material and immaterial causes of the dissipation of the Arab cultural renaissance. The transformation of spaces and urban gentrification in Ramallah and neighbouring cities such as Beirut and Amman have also been a focus. Yassin’s large-scale paintings, in acrylics and oils, are visceral and immediately felt.
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.
Maria Thereza Alves’s research-based work unearths silenced histories from different localities. Her relational site-specific projects respond to the immediate physical and social environment and aim to create spaces of agency and visibility for the oppressed. She mostly focuses on interventions in land and empowers a language for organic growth in opposition to the regimented and controlled.
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.