Mohammed Musallam was born in Gaza in 1974 after his family had been dislocated from the historic Palestine as a consequent of the 1948 war.
He holds a PhD in philosophy of Fine Arts, Painting Department, Fine Arts College, Minia University, Egypt. He currently resides in Gaza and works there as a lecturer of “Painting and the History of Palestinian Arts” at the College of Arts, Al Aqsa University.
From his first steps as a university student he became greatly influenced by the abstract art processes and approaches.
In his Art, he focuses on portraying a range of humanistic issues, which go beyond the limitations imposed by any prevailing time-related matters, which may be oppressive and persistent simultaneously. At the same time, he concentrates on conveying the notion of the preservation of our humaneness amid the harshness of our environment as one of the most important reasons for our existence.
Designer Nadira Alaraj and the Kattan family silversmiths do incredible work in Bethlehem. The silver zaytouna jewelry features handcrafted olive leaves from sterling silver. Designers pick the olive leaves and cast them to create unique molds. Every single silver leaf is individually formed from a mold that is only used once, rendering unique, one-of-a-kind leaves.
When a European design student wants to experience authentic night out in Ramallah or in Bethlehem, there are two basic options: one can ask a local to recommend a Palestinian restaurant, order hummus, falafels, shawarma, turkish salad and other local dishes and drink freshly squeezed juice or local Taybeh beer. Or, one can go to one of the restaurants serving non-Palestinian food, drink a Carlsberg or a Coke while a mix of local and western pop-music is playing in the background.
While the former option might offer an opportunity to taste the traditional cuisine, it doesn’t mean that the latter would be anyhow less genuine or ‘real’. Nor that one or the other would authentic for all for the same reasons. Or that authenticity would be anyhow objective. So, to be able to conscious about what’s behind this decision, I believe it’s important —at least for me— to examine and open up the notion of authenticity a little bit. On Saturday morning, while one part of the group went to Northern parts of Palestine to see the Qalandiya zoo, I decided to spend the morning walking in the old part of Bethlehem. I came across this arabic market not far from the main square; just a narrow alley and stairs left from the main/oldest street of the city. Narrow alleys with tarps hanging above to provide a bit of shade were crowded already in the morning. Fruit and vegetable stalls, spices, first- and second hand clothing, household stuff, electronics and plastic, basically everything is sold here. Already from far away you could see that most of the things were made in China. The fruits and vegetables however, without labels, rather ripe and unperfect, were certainly cultivated not too far away from here.
If one thinks authenticity as something geographical, something related to soil and the place, the fruits and vegetables in this market had a stronger aura of authenticity than the almost universal made-in-China stuff (it’s more authentic to eat hummus in the middle east than it is in Europe). But at the same time it’s at least as authentic to see Chinese products in the Middle East as it is in Europe.
Later in Ramallah, when the European design student decides to go for a drink to a clean and trendy Mexican restaurant or to hyped Octoberfest in newly opened five star Mövenpick Hotel (or both!), the authenticity is rather cultural. And cultures change. It’s an experience about a moment, people and the global cultural environment. And floating in the Dead sea in lotus position the day after, the experience is again all about the exceptional environment: full-body mud masks and the sea and western pop-music and Nestle ice cream.
Mirte van Duppen is a Dutch designer, researcher and visual artist. She studied Graphic Design at ArtEZ Institute of the Arts in Arnhem (BA Design) and graduated from the Design Department, alias Think Tank for Visual Strategies, of the Sandberg Instituut in Amsterdam (MA Design).
In her work she analyses the function, interrelations and transformative powers of urban landscapes and the human interaction with these landscapes. With her intuitive and at the same time really precise way of documenting she shows, reveals and evokes something from the viewer. Through direct interaction with these landscapes, and their underlying (un)-written rules, functions, history, and their users, she explores the terrain between fieldwork and storytelling.
Shaimaa Hassanein is an artist and designer from Gaza, graduate of the Faculty of Fine Arts in 2016, interested in drawing portraiture and Model, work with children and youth in art and murals painting workshops.
Aya Abu Ghazaleh received her bachelor's degree in visual arts from The University of Jordan in 2013 with honor.
She has participated in a number of group exhibitions in: Amman design Week, I:OArt Residence Bahçecik Izmit, Turkey, Palestinian art court/ Jerusalem , Naila gallery/ Ryiadah, Cairo-Amman, Bank Gallery, The Spring Sessions, Fondazione Cini/ Venice, The Lab/ DaratAlfunon, University of Jordan Library, Nabad Gallery, The Studio.
Majal is an artist based in Gaza. She gained her BA degree in Fine Arts from Al-Aqsa University. Since 2009, she has participated in several group exhibitions, such as the “Qurban” exhibition at the Women Media Information Center and “Canaanite” exhibitions at the French Cultural Center in Gaza. She has also participated in a number of auctions; the annual Jerusalem auction in 2009 and ‘Colors of Hope’ in 2010 and 2011. Her work has been exhibited in a number of collective international exhibitions: she presented “40 Days of My Life” in Germany, and has contributed to exhibitions in Jordan, Belgium and Italy. She has had two solo exhibitions, “Salt of Memory” in 2012 and “The Effect of Light and Glass” in 2014 in Gaza.