|
Museum of Contemporary Art – Palestine (CAMP):
The Museum of Contemporary Art (CAMP) was established to relate to one of the core Palestinian experiences – displacement; as well as to account for the growing collection of visual art that has been safeguarded by Al-Ma’mal over the past ten years. There was/is a need to create a lever for new opportunities, innovative thought, and dynamic multi-cultural activity within, and surrounding Palestinian art, culture, and environment. Our goal is to utilize CAMP to relate to Palestine and its rich and multifaceted textures (traditional/ historical backdrop embedded within contemporary ambitions), while encouraging and strengthening international communications as well. We believe that a contemporary art museum must be a flexible, living organism; an expanding space that will facilitate the realization of cultural projects, empower creative individuals of all nationalities, and avoid stagnation that might otherwise act negatively in like developments. For this reason, we envision CAMP’s essence not solely as a physical place (for that would undermine our working philosophy and limit creative potential), but as an authentic, accessible, and fluid entity, a nomadic site where dialogue, growth, and resourceful experimentation are encouraged.
Our project involves the biennial 'nomadic' movement of CAMP, its cumulative art collection and 'portable' structure. Every year, CAMP will find a temporary 'home' under the auspices of a 'host museum.' The 'host museums' – located across the globe – will be invited to interact with CAMP's presence and to initiate projects and exhibitions.
|
|
Rosalind Nashashibi
Dahiet Al- Bareed
2003
Born in London in 1973. Lives and works in Glasgow.
Exhibitions include: Palestine International Video Festival, Beirut (2002). Global Economy, Les Recontres de Video Arts Plastiques, Centre d’Art Contemporain de Basse Normandie. Getting Closer, La Centrale, Montreal. Oeuvres d’etre -works of being- opera d’essere, Temple Gallery, Rome (2001). True Matter, Constantine Bokhorov, Assembly Gallery, Glasgow (2000). New Work, Lime Gallery, CalArts, California (1999).
Nashashibi participated in Al-Ma’mal’s artist-in-residence program in 2003 with the idea of executing a video work concentrated on the Dahiet al-Bareed neighbourhood, a small Palestinian neighbourhood outside of Jerusalem. In Dahiet al-Bareed, Nashashibi was interested in capturing the rhythm of a usual afternoon in the Arab suburb by giving attention to a particular sense of place, reflecting on the area as both hectic and slow, with a nervous and unpredictable energy; the burning piles of rubbish for example, are the most visible signs of such neglect mirrored by the fact that the filmed neighbourhood is a kind of no-man’s-land, without any real jurisdiction.
Nashashibi’s technique is a kind of watching and waiting, with the films being a testament to the presence of the watcher, as well as a record of what took place before the artist’s eyes. Her film work is always directed to her environment and the people in her immediate surrounding. She is concerned with developing an interesting relationship between the moving and the static on film; a relationship through time as well as space. Her subjects are pedestrians, cars, buildings, trees, and litter disturbed by the wind.
|
