One of my favorite pieces from the Here and Elsewhere, group exhibit currently up at the New Museum of Contemporary Art is a mixed media installation called Qalandia 2087 by Palestinian artist Wafa Hourani.
Qalandia 2087 fills nearly an entire gallery at the museum and is lots of fun to explore while contemplating the political and sociological ramifications of the piece, especially considering what is going on in that part of the world at this very moment in time.
Here is some information I found on the piece at Nadour Dot Org:
Built from cardboard boxes and archive photographs, Qalandia 2087(2009) is the third and last part of a series of installations by Wafa Hourani.
The artist reproduced, as an architectural model, one of main check-points and Palestinian refugee camps. Located in the north of Jerusalem, Qalandia constitutes, since 1949, Ramallah’s entrance and the exit point, dividing the country on its western bank.
Hourani was interested in this particular place in the Palestinian history, because of its proximity with its own airport, transformed into military base during the Israeli occupation. This paradox of a territory, initially connected to the rest of the world and now a place for Palestinian isolation, illustrates the politico-social reality of the country.
In Qalandia 2087, the artist proposes a futuristic vision of this place, a hundred years after the first Intifada. Contrary to the first two pieces in the series, which presented an apocalyptic vision of Qalandia – a hundred years after the exodus Palestinian for Qalandia 2047 (2006) and a hundred years after the six day old war for Qalandia 2067 (2008), the last version evokes the future of Palestine on the basis of political Utopia.
The question of the occupation of a given territory is no longer relevant, the main concern is now integration. The wall, which originally divided space between the check-point and the refugee camp, has been replaced by a mirror facade.
Qalandia Airport has also retrieved its initial function as a civil airport, while the check-point has become a place reserved for public speech. Life seems to win again.
Racing cars, airline planes, whimsically shaped TV aerials, a coffee terrace and a swimming pool transform the refugee camp into a space where communication and social links become possible again. The new party, “The Mirror,” has just won the elections and is sending each Palestinian back to their history by inviting them to take part in the construction of a better future.
– Vérane Pina
Translated by Valérie Vivancos
Here and Elsewhere is on Exhibit Through September 28th, 2014, at the New Museum of Contemporary Art, located at 235 Bowery (at Prince street) in Soho, NYC.
If there is one artist whose work consistently brings a smile to my face, it is pop art sculptor Claes Oldenburg, who is best known for his larger than life soft sculptures of food and huge, lifelike replicas of ordinary objects. Possibly because I am obsessed with art, food, and art that looks like food, I really find myself drawn to this work, a glass disly case filled with an array of Tartines (a tartine is an open-faced sandwich with a spread on top). I love it.
Tartines is part of the collection of Martin Z. Margulies, and was photographed by me in March of 2014 while on loan to the Museum of Modern Art in NYC.
This week we break from tradition a bit by, rather than featuring a new video clip, reaching back into the archives for a clip from Christmas 2007, from the late, great UK band, Kula Shaker. We discovered the fantastic clip, “Drink Tea (For the Love of God)” while effing around with friends on You Tube at 3 O’clock in the morning a few Saturdays ago. This anthemic song brings a pro-brewed tea drinking message to Monty Python-esque animation, and Kula Shaker’s signature psychedelic rock feel. Enjoy! And have some tea!
Snagged this one from the Huffington Post
The Beatles are credited with being the first to do many things such as printing lyrics on a pop album, creating music videos and holding a stadium concert, but most bizarre is their role in the “devil horns” hand gesture taking off. John Lennon’s cartoon figure on the Yellow Submarine cover is apparently the first time the symbol was on the cover of an album and is one of the earliest instances associated with a rock band, ever.
The above pictured sculpture, Suspended Objects (2011) was created by artist Hassan Sharif from countless long strands made up of multi-colored yarns, twine, string and wire, tied together and also wrapped around bits of plastic, foam and other found objects. It’s super colorful and reminds me of a big Jellyfish.
Suspended Objects is part of the Here and Elsewhere group show now on exhibit at the New Museum of Contemporary Art, previously discussed in this post, so click that link for more information!