|
|
Page:13
on the floor which physically copulate , generating more more figures , all of them the spit and image of the first . figures thus gradually multiply , until the screen appears to been struck by population explosion , and then , in the corner the surface , the entire process begins again ; the same figure presented in varying dimensions once more , on various screens and together with its replicates they march along like soldiers and disappear . The elements of migration and multiplication govern and guide the performance / film . Created in the language of contemporary art , the in the Palestinian Pavilion were mostly fresh , novel , and modest The artists clearly exerted themselves to translate the pain the Palestinian people into a current artistic language . ? of his studio in Gaza which he left in 2006 on his way to exhibition in Amman , and to which he has been unable return . Entitled Hannoun — an Arabic word denoting yearning for freedom —it may well be read as a work about memory uprooting , created by a man who was uprooted from his in Gaza , and all he has left to do in Venice is observe an enlarged photograph of his studio . Shadi HabibAllah ( born in Jerusalem ; lives and works in Ramallah ) screened his animation work on the wall and in three additional foci on the floor the same darkened white space . The work consists of elements drawn in thin black ink line , somewhat reminiscent of Pac-The figure is seen from above , appearing as the photograph head , which begins to move on the square marked with
|
|
|