Qalandiya International events launched in East Jerusalem

‘RE/viewing Jerusalem 2: Return’ and the ‘Jerusalem Show VIII’ are among a wide program of events being implemented across historic Palestine within the third Qalandiya International contemporary art biennial which this year examines the concept of ‘Return’. During the Jerusalem launch events a full day of exhibitions, performances, talks and installations in and around the Old City attempted to reclaim occupied public spaces, even if only temporarily, and cement the Palestinian connection to the area.

Palestinian institutions in occupied East Jerusalem, including galleries and cultural centres must be officially registered with the Israeli authorities. A refusal to do would see such spaces immediately closed down by the State, yet Al Haosh Gallery who organised ‘RE/viewing Jerusalem’ refused to apply for the specific permits that the State demands for outdoor events and performances. For the exhibition’s curator, Alia Rayyan, this was a clear political decision:

“It is very complicated to work in public spaces in Jerusalem. There are some things that we cannot escape from (in East Jerusalem) in order to live and work, but there are other steps that can be taken as acts of civil disobedience and this was one such form.”

Within this complex social and political arena, participants in the launch events were led around the streets of East Jerusalem in an ‘Art Walk’ and taken to various predetermined stations where different activities were implemented. As part of an ongoing oral history program with local youth, several young Palestinians presented short stories – snapshots of their lives in and around the city – to audiences to offer glimpses in to their daily realities.

The full day program was originally intended to include events in Shuafat refugee camp, the only Palestinian refugee camp that is officially located within Jerusalem. However, due to unforeseen last minute administrative issues the events that were planned for the camp had to be rescheduled and relocated to areas closer to Jerusalem’s Old City.

Ma’mal Foundation for Contemporary Art brought a wide range of Palestinian and international artists together for the ‘Jerusalem Show VIII’. Alongside their own permanent gallery space, Ma’mal worked with local Palestinian shopkeepers who opened up their stores in the New Gate area of the Old City as pop-up galleries.

Among the Palestinian artists who are participating in this year’s ‘Jerusalem Show’ were Jawad al-Malhi, Jumana Manna and Mohammad Mughrabi. In Mughrabi’s striking performance piece which referenced iconic national poet Mahmoud Darwish, a stripped-to-the-waist Mughrabi offered his body as a “sacrifice for the Palestinian nation” as audience members were invited to daub on his body with blood red paint.

Contributions from international artists included a recreation of Richard Bell’s Tent Embassy installation. Bell’s work plays homage to the original ‘Aboriginal Tent Embassy’ – a protest tent that was erected by indigenous activists outside Australia’s Parliament House in 1972 amidst ongoing governmental refusals to recognise indigenous land rights. Exhibited in occupied Palestine, Bell’s work took on internationalist principles highlighting the links between indigenous rights struggles globally.

As Jerusalem’s Palestinian identity continues to be erased the work of Palestinian institutions and artists in the city is of deep significance as they work creatively to support the community as it faces a multitude of daily struggles. Al Hoash’s Alia Rayyan surmised the core issue that must be faced by all Palestinians in the city in six short words:

Jerusalem is disappearing day by day.