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Qalandiya International is pleased to announce This Sea is Mine, the third edition of its monthlong collaborative artistic program which will take place across cities and villages in Palestine and the Diaspora, to explore questions of return and refuge.
With the recent escalation of violence resulting in human tragedies and mass displacements in the Arab world, we cannot help but view the ongoing refugee crisis, as a reproduction of the Nakba, the Palestinian catastrophe in 1948, with all its ramifications and larger questions. Qalandiya International brings to the foreground the issue of “Return” and suggests new perspectives to reinstate Palestine’s presence in its own history and geography, to restore its relationship with its natural horizons and the rest of the world.
This Sea is Mine will take place between the 5th and the 31st of October 2016 with a comprehensive program of exhibitions, performances, film screenings, tours, and workshops, featuring over 100 Palestinian and International artists. This year’s edition includes 16 partners participating in Haifa, Gaza, Amman, Beirut, London, Jerusalem, Ramallah, and Bethlehem.
Qi was founded in 2012 as an independent coalition bringing together Palestinian art and cultural organizations long separated by occupation, who saw the necessity to join forces in promoting Palestinian arts, and open new channels for dialogue and exchange, both locally and internationally.
For further details, visit qalandiyainternational.org.
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.