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.
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.
Tessel Brühl is a Dutch designer based in Amsterdam, where she attended the master in Think Tank for visual Strategies at the Sandberg Instituut (Master Rietveld Academie). She makes clothing, objects, performances and short films to change, disturb and highlight unconscious structures in society.
I love trees; I love my olive trees; my trees; have feelings; when I stand; on the ground; with their roots; under my feet
we feel each other
in the earth
will move us
I couldn’t live
I eat the olives
heats my house
spread this story
As a designer and researcher Rebekka Fries monitors and frames, disconnected world views produced by mass and social media. Recently graduated with a Master in Design: Visual Strategies at the Sandberg Institute in Amsterdam and currently based in Rotterdam.
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.
Born in Al Bureij refugee camp, Gaza, 1975. After studying Computer Science in the Islamic University in Gaza, Raed turned to the fine arts, taking courses in mural painting, drawing and oil painting. He has had two solo exhibitions in Ramallah and has contributed to several group exhibitions in Palestine, Jordan, Switzerland and Australia, including the traveling exhibition in France of 10 young Palestinian artists (2003-04). In 2002 he won a Distinction Award in the A M Qattan Foundation Young Artists Award. He was invited to the 2003 Braziers International Artists Workshop in the UK. Lives in Al Bureij and works in Gaza City.
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.