Hazem Harb
Impossible Travel, 2012
Video installation
Running Time: 3' 39 sec
Edition of 5
HAH0010
Hazem Harb
This is Not A Museum, 2015
Glass, pillow, concrete, plexi, wood frame, plywood, video projection
HAH0113
Hazem Harb
TAG 01 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0087
Hazem Harb
TAG 02 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0088
Hazem Harb
TAG 03 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0089
Hazem Harb
TAG 04 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0090
Hazem Harb
TAG 05 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0091
Hazem Harb
TAG 06 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0092
Hazem Harb
TAG 07 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0093
Hazem Harb
TAG 08 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0094
Hazem Harb
TAG 09 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0095
Hazem Harb
TAG 10 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0096
Hazem Harb
TAG 11 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0097
Hazem Harb
TAG 12 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0098
Hazem Harb
TAG 13 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0099
Hazem Harb
TAG 14 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
76 x 59 cm (29 7/8 x 23 3/16 in.)
HAH0100
Hazem Harb
TAG 15 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0101
Hazem Harb
TAG 16 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
65 x 50 cm (25 9/16 x 19 5/8 in.)
HAH0102
Hazem Harb
TAG 17 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0103
Hazem Harb
TAG 18 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
46 x 61 cm (18 1/16 x 24 in.)
HAH0104
Hazem Harb
TAG 19 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
81 x 112 cm (31 7/8 x 44 1/16 in.)
HAH0105
Hazem Harb
TAG 20 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
29 x 42 cm (11 3/8 x 16 1/2 in.)
HAH0106
Hazem Harb
TAG 21 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
29 x 42 cm (11 3/8 x 16 1/2 in.)
HAH0107
Hazem Harb
TAG 22 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
112 x 81 cm (44 1/16 x 31 7/8 in.)
HAH0108
Hazem Harb
TAG 23 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
46 x 61 cm (18 1/16 x 24 in.)
HAH0109
Hazem Harb
Limited edition box - TAG, 2015
10 mohawk superfine eggshell ultra white 352 gsm
5 x 48 x 35.7 cm (1 15/16 x 18 7/8 x 14 in.)
HAH0190
Hazem Harb
Limited edition box - Archaeology of Occupation, 2015
10 mohawk superfine eggshell ultra white 352 gsm
5 x 48 x 35.7 cm (1 15/16 x 18 7/8 x 14 in.)
HAH0187
Hazem Harb
Untitled #1 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
185 x 120 cm (72 13/16 x 47 3/16 in.)
HAH0117
Hazem Harb
Untitled #3 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0124
Hazem Harb
Untitled #4 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0126
Hazem Harb
Untitled #5 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0129
Hazem Harb
Untitled #6 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0132
Hazem Harb
Untitled #7 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0135
Hazem Harb
Untitled #10 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0110
Hazem Harb
Untitled #11 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0141
Hazem Harb
Untitled #12 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0144
Hazem Harb
Untitled #13 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0148
Hazem Harb
Untitled #14 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0150
Hazem Harb
Untitled #15 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
204 x 120 cm (80 5/16 x 47 3/16 in.)
HAH0153
Hazem Harb
Untitled #16 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0157
Hazem Harb
Untitled #17 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0160
Hazem Harb
Untitled #18 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0163
Hazem Harb
Untitled #19 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0166
Hazem Harb
Untitled #20 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
185 x 120 cm (72 13/16 x 47 3/16 in.)
HAH0114
Hazem Harb
Untitled #21 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
235 x 150 cm (92 1/2 x 59 in.)
HAH0169
Hazem Harb
Untitled #22 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0172
Hazem Harb
Untitled #23 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0175
Hazem Harb
Untitled #24 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
185 x 120 cm (72 13/16 x 47 3/16 in.)
HAH0178
Hazem Harb
Untitled #26 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
185 x 120 cm (72 13/16 x 47 3/16 in.)
HAH0181
Hazem Harb
Untitled #27 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
197 x 150 cm (77 1/2 x 59 in.)
HAH0184
Hazem Harb
Impossible Travel, 2012
Video installation
Running Time: 3' 39 sec
Edition of 5
HAH0010
Hazem Harb
This is Not A Museum, 2015
Glass, pillow, concrete, plexi, wood frame, plywood, video projection
HAH0113
Hazem Harb
TAG 01 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0087
Hazem Harb
TAG 02 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0088
Hazem Harb
TAG 03 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0089
Hazem Harb
TAG 04 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0090
Hazem Harb
TAG 05 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0091
Hazem Harb
TAG 06 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0092
Hazem Harb
TAG 07 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0093
Hazem Harb
TAG 08 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0094
Hazem Harb
TAG 09 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0095
Hazem Harb
TAG 10 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0096
Hazem Harb
TAG 11 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0097
Hazem Harb
TAG 12 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0098
Hazem Harb
TAG 13 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0099
Hazem Harb
TAG 14 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
76 x 59 cm (29 7/8 x 23 3/16 in.)
HAH0100
Hazem Harb
TAG 15 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0101
Hazem Harb
TAG 16 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
65 x 50 cm (25 9/16 x 19 5/8 in.)
HAH0102
Hazem Harb
TAG 17 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
56 x 76 cm (22 x 29 7/8 in.)
HAH0103
Hazem Harb
TAG 18 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
46 x 61 cm (18 1/16 x 24 in.)
HAH0104
Hazem Harb
TAG 19 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
81 x 112 cm (31 7/8 x 44 1/16 in.)
HAH0105
Hazem Harb
TAG 20 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
29 x 42 cm (11 3/8 x 16 1/2 in.)
HAH0106
Hazem Harb
TAG 21 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
29 x 42 cm (11 3/8 x 16 1/2 in.)
HAH0107
Hazem Harb
TAG 22 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
112 x 81 cm (44 1/16 x 31 7/8 in.)
HAH0108
Hazem Harb
TAG 23 from TAG series, 2015
Inkjet photo copy print, and collage on fine art paper
46 x 61 cm (18 1/16 x 24 in.)
HAH0109
Hazem Harb
Limited edition box - TAG, 2015
10 mohawk superfine eggshell ultra white 352 gsm
5 x 48 x 35.7 cm (1 15/16 x 18 7/8 x 14 in.)
HAH0190
Hazem Harb
Limited edition box - Archaeology of Occupation, 2015
10 mohawk superfine eggshell ultra white 352 gsm
5 x 48 x 35.7 cm (1 15/16 x 18 7/8 x 14 in.)
HAH0187
Hazem Harb
Untitled #1 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
185 x 120 cm (72 13/16 x 47 3/16 in.)
HAH0117
Hazem Harb
Untitled #3 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0124
Hazem Harb
Untitled #4 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0126
Hazem Harb
Untitled #5 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0129
Hazem Harb
Untitled #6 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0132
Hazem Harb
Untitled #7 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0135
Hazem Harb
Untitled #10 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0110
Hazem Harb
Untitled #11 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0141
Hazem Harb
Untitled #12 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0144
Hazem Harb
Untitled #13 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0148
Hazem Harb
Untitled #14 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0150
Hazem Harb
Untitled #15 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
204 x 120 cm (80 5/16 x 47 3/16 in.)
HAH0153
Hazem Harb
Untitled #16 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0157
Hazem Harb
Untitled #17 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0160
Hazem Harb
Untitled #18 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0163
Hazem Harb
Untitled #19 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0166
Hazem Harb
Untitled #20 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
185 x 120 cm (72 13/16 x 47 3/16 in.)
HAH0114
Hazem Harb
Untitled #21 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
235 x 150 cm (92 1/2 x 59 in.)
HAH0169
Hazem Harb
Untitled #22 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0172
Hazem Harb
Untitled #23 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
172 x 120 cm (67 11/16 x 47 3/16 in.)
HAH0175
Hazem Harb
Untitled #24 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
185 x 120 cm (72 13/16 x 47 3/16 in.)
HAH0178
Hazem Harb
Untitled #26 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
185 x 120 cm (72 13/16 x 47 3/16 in.)
HAH0181
Hazem Harb
Untitled #27 from the Archaeology of Occupation series, 2015
Print on Hahnemuhle FineArt Baryta 325gms mounted on 3mm aluminium composite
197 x 150 cm (77 1/2 x 59 in.)
HAH0184
When Germany began to build the Berlin Wall on August 13th, 1961, spanning 106 km in length, and costing around 150 million USD, the wall cut across 10 residential districts, 97 streets and 7 underground metro tunnels. It included 300 secret police headquarters, 22 safe houses, killed over 250 individuals who tried to cross over and arrested thousands more.
After 28 years, on November 9th, 1989, the Berlin Wall fell, as the people tore it down. Now, Germany and the whole world celebrate the 23rd anniversary of that day, proud of this momentous achievement, for politics, and for civilization. And here we are today, playing out the same scene, but with different actors, facing a pitiless and racist dividing wall.
This wall precipitated the most dangerous settlements on Palestinian lands since 1967, for according to the ‘Unified Coordination Committee to Confront Settlement’, in 2003, Israel took over more than 10% of the most fertile and water-rich Palestinian lands on the West Bank as a result of the wall. The Palestinian State Information Service also issued a warning of Israeli plans to use the wall to take over more than 45% of the West Bank. Furthermore, the amount of Palestinian land sequestered to make way for the wall amounts to 187 acres, mostly in the Municipalities of Jenin, Kalkeelia, and Jerusalem.
By the time it is completed, the Israeli Wall will span 703 km. 46% of the West Bank territory will be annexed and 97 of the surrounding villages will be eradicated.
The number of houses that have been demolished and that are threatened with demolition come up to 4,656 (not including the Nablus area). The Wall has 73 doors, only 38 of which are used by civilians, the rest of which are for military use only. 48.5% of families struggle to drop off their children at school. 3.5% of students have dropped out. The losses of business-owners, farmers, and workers as a result of suspended communications and transport comes up to hundreds of millions of USD.
This work consists of conceptual images of a hypothetical wall, taken in a studio. By appropriating the structure of the wall, and utilizing it for figurative purposes and treating it as a transparent
and reflective sheet of glass, you can tell the story of the other side. The act of climbing in order to see over the wall, entails a defiance, and the ladder, by its very nature, symbolizes a rising up and a reaching out for the horizon, a horizon that was deliberately obstructed. I wanted to defy the wall that stands on Palestinian land, albeit hypothetically, and to protest against the deterioration of the Palestinians quality of life, surrounded by concrete barriers that extend into every aspect of their lives. The concrete has ceased to be a tool for construction, but rather has become a tool for the de-construction of life.
Taking hypothetical images is integral to the concept of the work, as a result of the impossibility of my reaching the other side of Palestinian territory from within it. This work
is also an extension of a previous project entitled ‘Is This Your First Time in Gaza?’, that consists of 6 digital images, for it is not only my concept that progresses, but the state of division, displacement
Text by Lara Khaldi
Archaeology of Occupation and TAG are two new bodies of work by artist Hazem Harb. In the collage series Harb juxtaposes pre nakba (1948) photographs of Palestinian landscapes with concrete heavy masses in the horizon of some of the images. Among many things, Harb has been experimenting with the relationship between sculpture and painting; collage as a technique seems to be very fitting, not only in terms of formal experimentation, but as a reference from modernist works of art. Harb is referencing modernism in relation to architecture, the occupation of Palestine and the Bauhaus style that worked hand in hand with military occupation. The series emphasizes a history of colonialism, where the fraught concretions are levitating ominously above Palestinian coastal skies. Thus the collage is double fold: the photos show a landscape devoid of people representing a biblical landscape while the concrete cut outs preempt the arrival of colonial modernizing concrete onto the horizon of the cities. But how does one read it from the present, or from the future? Perhaps in reverse?
The TAG series is posing a question to the past in a very contemporary familiar language of tagging. The photos, also archival pre dating 1948, show faces and bodies that seem to be inhabiting their native landscapes, but that almost ornament them rather than pose a physical presence. The act of tagging that Harb introduces is both an effacing and an affirming act. It is worth noting that, during iconoclastic periods in Ottoman times, a line was added onto the neck of the figure in miniature paintings as to annul any animate affect. Thus Harb's work is not only a nuanced affirmation of the presence of people in that landscape, but is also a question about contemporary ways of self-legitimation and archival tendencies on social media and the internet.
Text by Lara Khaldi
Archaeology of Occupation and TAG are two new bodies of work by artist Hazem Harb. In the collage series Harb juxtaposes pre nakba (1948) photographs of Palestinian landscapes with concrete heavy masses in the horizon of some of the images. Among many things, Harb has been experimenting with the relationship between sculpture and painting; collage as a technique seems to be very fitting, not only in terms of formal experimentation, but as a reference from modernist works of art. Harb is referencing modernism in relation to architecture, the occupation of Palestine and the Bauhaus style that worked hand in hand with military occupation. The series emphasizes a history of colonialism, where the fraught concretions are levitating ominously above Palestinian coastal skies. Thus the collage is double fold: the photos show a landscape devoid of people representing a biblical landscape while the concrete cut outs preempt the arrival of colonial modernizing concrete onto the horizon of the cities. But how does one read it from the present, or from the future? Perhaps in reverse?
The TAG series is posing a question to the past in a very contemporary familiar language of tagging. The photos, also archival pre dating 1948, show faces and bodies that seem to be inhabiting their native landscapes, but that almost ornament them rather than pose a physical presence. The act of tagging that Harb introduces is both an effacing and an affirming act. It is worth noting that, during iconoclastic periods in Ottoman times, a line was added onto the neck of the figure in miniature paintings as to annul any animate affect. Thus Harb's work is not only a nuanced affirmation of the presence of people in that landscape, but is also a question about contemporary ways of self-legitimation and archival tendencies on social media and the internet.
The TAG series is posing a question to the past in a very contemporary familiar language of tagging. The photos, also archival pre dating 1948, show faces and bodies that seem to be inhabiting their native landscapes, but that almost ornament them rather than pose a physical presence. The act of tagging that Harb introduces is both an effacing and an affirming act. It is worth noting that, during iconoclastic periods in Ottoman times, a line was added onto the neck of the figure in miniature paintings as to annul any animate affect. Thus Harb's work is not only a nuanced affirmation of the presence of people in that landscape, but is also a question about contemporary ways of self-legitimation and archival tendencies on social media and the internet.
The TAG series is posing a question to the past in a very contemporary familiar language of tagging. The photos, also archival pre dating 1948, show faces and bodies that seem to be inhabiting their native landscapes, but that almost ornament them rather than pose a physical presence. The act of tagging that Harb introduces is both an effacing and an affirming act. It is worth noting that, during iconoclastic periods in Ottoman times, a line was added onto the neck of the figure in miniature paintings as to annul any animate affect. Thus Harb's work is not only a nuanced affirmation of the presence of people in that landscape, but is also a question about contemporary ways of self-legitimation and archival tendencies on social media and the internet.
The TAG series is posing a question to the past in a very contemporary familiar language of tagging. The photos, also archival pre dating 1948, show faces and bodies that seem to be inhabiting their native landscapes, but that almost ornament them rather than pose a physical presence. The act of tagging that Harb introduces is both an effacing and an affirming act. It is worth noting that, during iconoclastic periods in Ottoman times, a line was added onto the neck of the figure in miniature paintings as to annul any animate affect. Thus Harb's work is not only a nuanced affirmation of the presence of people in that landscape, but is also a question about contemporary ways of self-legitimation and archival tendencies on social media and the internet.
Text by Lara Khaldi
Archaeology of Occupation and TAG are two new bodies of work by artist Hazem Harb. In the collage series Harb juxtaposes pre nakba (1948) photographs of Palestinian landscapes with concrete heavy masses in the horizon of some of the images. Among many things, Harb has been experimenting with the relationship between sculpture and painting; collage as a technique seems to be very fitting, not only in terms of formal experimentation, but as a reference from modernist works of art. Harb is referencing modernism in relation to architecture, the occupation of Palestine and the Bauhaus style that worked hand in hand with military occupation. The series emphasizes a history of colonialism, where the fraught concretions are levitating ominously above Palestinian coastal skies. Thus the collage is double fold: the photos show a landscape devoid of people representing a biblical landscape while the concrete cut outs preempt the arrival of colonial modernizing concrete onto the horizon of the cities. But how does one read it from the present, or from the future? Perhaps in reverse?
The TAG series is posing a question to the past in a very contemporary familiar language of tagging. The photos, also archival pre dating 1948, show faces and bodies that seem to be inhabiting their native landscapes, but that almost ornament them rather than pose a physical presence. The act of tagging that Harb introduces is both an effacing and an affirming act. It is worth noting that, during iconoclastic periods in Ottoman times, a line was added onto the neck of the figure in miniature paintings as to annul any animate affect. Thus Harb's work is not only a nuanced affirmation of the presence of people in that landscape, but is also a question about contemporary ways of self-legitimation and archival tendencies on social media and the internet.
Over the past few years Hazem Harb has developed a multifaceted practice, where he has worked with painting, video, drawing, sculpture and installation. His work
pivots around examining and laying bare structures and apparatuses of power and hierarchies. Hazem has been preoccupied lately with questions around architecture and destruction: how and when does architecture cease to be an oppressive apparatus? How do certain architectural styles museumize a people? While other styles shelter others? How can sculpture counter architecture? How can sculpture be non-monumental? questions that are posed throughout the exhibition to initiate a discussion.
Curated by Lara Khaldi, the exhibition will include a new large body of work which Hazem has been engaged with over the past year. It will feature a new series of collages, where archival photographs of Palestine pre 1948 are juxtaposed with the heaviness of concrete blocks, wave breakers, lines, and black squares and rectangles. Hazem combines a formal language with his research into Palestinian history and architecture, he attempts an aesthetic language based on the politics of form. The exhibition will also feature architectural models and sculptures, a series of projected sculptures and other major installations. In addition a series of short videos will be projected in the video room.
A publication comprising Harb’s sketches for the past year and contributions by writers and curators will accompany the exhibition.