Hein van Duppen is a Dutch designer currently enrolled in the Studio for Immediate space master program at the Sandberg Institute in Amsterdam. His work explores the intersections of design, architecture and urban planning.
Ibrahim Muhtadi is a Palestinian architect living in Gaza. Being an architect has given him the opportunity to both observe and practice the principles of art and design, and leading naturally to the pursuit of design work outside architecture. He has many interests in the home accessories design, Arabic calligraphy design, graphic design and jewelry design. Muhtadi inspired by the authenticity and the beauty of the Arabic Calligraphy. His talent and passion for creative expression has led him to shift his design skills from the sketches on the paper to the unique and original pieces of jewellery and arts.
Khaled Hourani is a Palestinian artist, curator, and art critic. He is the initiator of the project Picasso in Palestine. He attained a BA in History from Hebron University and was awarded the title of Cultural Management Trainer by Al Mawred Culture Resource and the European Cultural Foundation (Egypt). He has had several solo exhibitions locally and internationally and participates frequently in-group exhibitions. Hourani has curated and organized several exhibitions locally such as the young Artist of the Year Award for the years 2000 and 2002 for the A.M. Qattan Foundation. He was the curator of the Palestinian pavilion for Sao Paolo Biennale, Brazil and the 21st Alexandria Biennale, Egypt. He writes critically in the field of art and is an active member and founder of artistic and administrative boards in a number of cultural and art institutions. Hourani is was the Arts Director of the International Academy of Art Palestine and founded Disarming Design from Palestine with Annelys de Vet.
With photographs, videos, installations, films, and performative interventions focused on his native Palestine, multidisciplinary artist Khaled Jarrar explores the sociocultural impact of modern-day power struggles on ordinary citizens. The everyday subjects of Jarrar’s reflective work are contextualised in ways that draw attention to the severity of the issues he examines, giving the political content of his art greater significance while underscoring the autobiographical nature of his chosen themes.
Born in Jenin in 1976, Khaled Jarrar lives and works in Ramallah, Palestine. Jarrar completed his education in Interior Design at the Palestine Polytechnic University in 1996 and later graduated from the International Academy of Art Palestine with a Bachelor in Visual Arts degree in 2011. The following year, his documentary The Infiltrators (2012) won several accolades at the 9th Annual Dubai International Film Festival, and confirmed his importance in global cinema.
Martin Petrelli is an Italian designer and documentarian who has spent most of her life in flux, moving from one country to another. In her travels, she has developed a keen eye for collecting, recording and archiving. In collaboration with Donna Verheijden she filmed a documentary, The House of the Eyes, in the West Bank during the fist Palestinian Art biennale which also coincided with the latest attacks in Gaza.
Report of one day during the create-shop 2013: RUMBLING MACHINES
Rumbling machines, steady hands, and hospitality would summarize todays Wonderland. After half an hour drive we arrived in Hebron were we would spend most of our day. When entering the city a warning sign welcomed us ‘No entry for Israelis, entry illegal by israeli law’, as if it was Area 51. In Hebron, the biggest city in Palestine considering the 170.000 inhabitants of H1 and H2, our first stop would be the ceramic and glass workshop. After a quick tour we wandered around the place, admiring the craftsmen that were blowing glass and gracefully decorating pottery. The ease with which they made their glass products was fascinating to see. With the options in mind some of us started painting or collecting ideas for possible products. Several tourists and interested people entered the workshop on and off and were shown around, for a while making it look like an artisan showroom. Our next stop was The Hirbawi Keffiyeh Factory “Raise your keffiyeh, Raise it” as Arab Idol winner Mohammed Assaf sings in “Ali Keffiyeh”. The rumbling sounds of weaving machines slowly came towards us when entering the factory. In the entrance hall a big bedouin tent was implemented as a business meeting point. Two man were keeping a close eye on the keffiyeh during the manufacturing process, removing the threads that were superfluous. The factory, operational since 1961, annually produced 150.000 scarfs until the early 1990s. “Today, due to the signing of the 1993 Oslo Accords and the opening of trade with the outside world, only four machines remain in operation producing a mere 10,000 scarves a year. Not one of these scarves are exported, as overseas suppliers produce mass quantities at a fraction of the price, and the shrinking Palestinian economy and Israeli checkpoints and roadblocks create further hindrances to production and trade for small businesses like Mr. Hirbawi’s. In Mr. Hirbawi’s own words: My machines are in good shape. They can start working tomorrow. I just need a market.”
In the office factory several keffiyehs were bought either for personal use or for artistic purposes. After we filled our bags with the Palestinian symbol of all symbols, Maher Shaheen — one of the participants — invited us to his house for a tea and a sweet arabic coffee. It was a perfect closure of the day being invited into the intimacy of a palestinian family.
Majd Abdel Hamid is a Palestinian visual artist based in Ramallah. He hopes Disarming Design’s collaborations will give Palestinian visual heritage a tool to reflect its deeper current realities. ‘It’s something we don’t have within the Palestinian community, design as a discourse. People mainly develop things on their own here. We’re kind of in a static limbo, we’re stuck with symbols, we’re stuck with the Palestinian map, we’re stuck with Handala… This is an opportunity to actually recreate something and have our own form of deconstructionism, not for the sake of deconstruction itself, but rather to rethink our national symbols and our visual narrative." Majd was the coordinator of Disarming Design in 2012 and 2013.