{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-572d6a42.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-f4d0de30.css\" media=\"all\" /\u003e\n\u003cdiv data-title='First biennale of contemporary art' data-url='/boclips/videos/5c54bd76d8eafeecae13457c' data-video-url='/boclips/videos/5c54bd76d8eafeecae13457c' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nFirst biennale of contemporary art\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eAP Television Ramallah, West Bank - 3 November 20121. Wide visitors looking at artist Majd Abdel Hamid's installation2. Close-up embroidered portrait of Mohamed Bouaziz3. Medium visitors looking at artist Majd Abdel Hamid's...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eAP Television \u003cbr/\u003eRamallah, West Bank - 3 November 2012\u003cbr/\u003e1. Wide visitors looking at artist Majd Abdel Hamid's installation\u003cbr/\u003e2. Close-up embroidered portrait of Mohamed Bouaziz\u003cbr/\u003e3. Medium visitors looking at artist Majd Abdel Hamid's installation\u003cbr/\u003e4. Medium visitor looking at Mirna Bamieh's video installation\u003cbr/\u003e5. Close-up Mirna Bamieh's video installation\u003cbr/\u003e6. Wide Mirna Bamieh's video installation\u003cbr/\u003e7. Medium visitors looking at Inas Halabi's wax installation\u003cbr/\u003e8. Tilt-up white sculpture\u003cbr/\u003e9. Close-up Shada Safadi's installation\u003cbr/\u003e10. Medium visitors walking by Shada Safadi's installation\u003cbr/\u003e11. Medium visitors at Al-Mahatta gallery\u003cbr/\u003e12. Wide Shada Safadi's installation\u003cbr/\u003e13. SOUNDBITE (English): Shada Safadi, Qalandiya International Artist:\u003cbr/\u003e\"It's the spirits that have come to us from the darkness. These are the souls that have sacrificed themselves for freedom. Maybe they're there, like phantoms, that I can bring out.\"\u003cbr/\u003eAP Television FILE \u003cbr/\u003eQalandiya checkpoint, between Ramallah, West Bank and Jerusalem, 18 August 2012, \u003cbr/\u003e14. Wide Qalandiya checkpoint \u003cbr/\u003eAP Television \u003cbr/\u003eGaza City, Gaza Strip - 8 November 2012\u003cbr/\u003e15. Wide Abdullah Al Ruzzi's installation\u003cbr/\u003e16. Close-up Abdullah Al Ruzzi's installation \u003cbr/\u003eAP Television \u003cbr/\u003eJerusalem - 2 November 2012\u003cbr/\u003e17. Wide Martin Soto Climent's installation\u003cbr/\u003e18. Medium framed Braille porn magazine as part of Martin Soto Climent's installation\u003cbr/\u003e19. Close-up Martin Soto Climent's installation\u003cbr/\u003eAP Television  \u003cbr/\u003eRamallah, West Bank - 3 November 2012\u003cbr/\u003e20. Wide Stephanie Saade's installation and Qalandiya International Curatorial Committee member talking to visitor\u003cbr/\u003e21. Various visitor moving tassels from Stephanie Saade's installation\u003cbr/\u003eAP Television \u003cbr/\u003eAbwein village, West Bank -3 November 2012\u003cbr/\u003e22. SOUNDBITE (English): Lara Khaldi, Qalandiya International Curatorial Committee:\u003cbr/\u003e\"Cultural centres and organisations felt that it's time to collaborate and that through collaborating with seven institutions your sound is higher, people will hear more. It's not only for the international scene, it's also for looking, implicating and working with and getting involved more audiences, different audiences in villages, in cities...\"\u003cbr/\u003e23. Pan right to left - wide of Abwein village\u003cbr/\u003e24. Medium view outside of Ottoman castle window\u003cbr/\u003e25. Wide visitors entering Ottoman castle\u003cbr/\u003e26. Wide visitors gathered at Ottoman castle's courtyard\u003cbr/\u003e27. Medium artist Jumana Emil Abboud talking to girl \u003cbr/\u003e28. Girl chanting Jumana Emil Abboud's voice performance. UPSOUND (Arabic): \"I am wheat. I am the spring festival.\"\u003cbr/\u003e29. Wide visitors\u003cbr/\u003e30. Medium children's shadows on Ottoman castle's walls\u003cbr/\u003e31. Wide children playing at Ottoman castle\u003cbr/\u003e32. Wide Abwein Old City\u003cbr/\u003e33. Wide tilt-down Nardeen Srouji's installation\u003cbr/\u003e34. Close-up detail of Nardeen Srouji's installation\u003cbr/\u003e35. SOUNDBITE (English): Nardeen Srouji, Qalandiya International Artist:\u003cbr/\u003e\"To be part of this Biennale is an amazing feeling, especially because there is unity for Palestinians. And it's one of the chances for artists to be together, work together, present together. That's what it means, unity.\"\u003cbr/\u003e36. Various Jumana Emil Abboud installation\u003cbr/\u003e37. Wide muezzin tower from installation  \u003cbr/\u003e38. Wide women hanging laundry on balcony\u003cbr/\u003e39. Medium visitor Shireen Dabbah looking at Nardeen Srouji's installation\u003cbr/\u003e40. SOUNDBITE (English): Shireen Dabbah, Qalandiya, Visitor:\u003cbr/\u003e\"I think inviting people to villages and to see old neighbourhoods, old cities, is also making the public and the local people become involved in this kind of art.\"\u003cbr/\u003eAP Television \u003cbr/\u003eRamallah, West Bank - 3 November 2012\u003cbr/\u003e41. Visitors looking at pictures on wall \u003cbr/\u003e42. Pan right to left of pictures\u003cbr/\u003e43. Wide visitors looking at Jumana Manna's movie installation\u003cbr/\u003eCourtesy Jumana Manna \u003cbr/\u003e44. Various Jumana Manna's movie installation \u003cbr/\u003eEchoes and portraits of the Arab Spring, shadows of ghosts and a retro movie dominate the first Palestinian Biennale of Contemporary Art. \u003cbr/\u003eUsing villages as art galleries, and borrowing its name from a crowded refugee camp and Israeli military checkpoint, Qalandiya International is a chance for Palestinian artists of the West Bank, Jerusalem, Israel and Gaza to get together and overcome their politically fragmented world.\u003cbr/\u003ePop art-inspired needlework portraits of Mohamed Bouazizi, the Arab Spring's most famous face, look intently towards a distant horizon.  \u003cbr/\u003eChe Guevara-like, the Tunisian man whose act of self-immolation in January 2011 sparked uprisings across North Africa becomes an icon in Ramallah artist Majd Abdel Hamid's offering for Qalandiya International, the first Palestinian Biennale of contemporary art.    \u003cbr/\u003eIn artist, Mirna Bamieh's video installation the loud cries of Palestinian demonstrators at the Syrian border with Israel in May 2011 fill the room.  Men descend in slow motion across a white screen; any other detail has been obliterated, a manipulation that renders them the unchallenged characters of Jerusalem.   \u003cbr/\u003eGhost-like shadows wander on an empty wall projecting their weightless body across the room and mingling with human beings in Shada Safadi's installation, a reference to victims of violence and their uneasy departure from this earth.   \u003cbr/\u003e\"It's the spirits that have come to us from the darkness. These are the souls that have sacrificed themselves for freedom. Maybe they're there, like phantoms, that I can bring out,\" the artist says.   \u003cbr/\u003eThe Arab Spring left no tangible political marks, but provided an inspiration for the first biennial of Palestinian contemporary art running across the West Bank, Israel, Jerusalem, Gaza and four Palestinian villages.   \u003cbr/\u003eOrganisers say that Qalandiya International is an attempt to overcome the fragmentation of the Palestinians of Israel from those of the Territories. \u003cbr/\u003eThe biennial borrows its name from one of the most famous symbols of this very separation, an Israeli checkpoint at Qalandiya which is one of the main crossing points between the West Bank and Israel.\u003cbr/\u003eQalandiya International is a collaboration between diverse galleries and academies running during the first two weeks of November and sponsored - among others - by funding from Palestinian private institutions, the Ford Foundation, the European Union, the British Council, the French Consulate and the Swiss foundation Pro Helvetia.  \u003cbr/\u003eAlongside art installations, it includes public lectures, book launches, tours and dance parties in cities like Ramallah, Nazareth, Jerusalem and Hebron. \u003cbr/\u003eAlthough set in some upscale locations, such as Ramallah's trendy bars and cafes that have mushroomed in recent years only a few miles from Qalandiya, this is an attempt to reach  beyond a small cultural elite by bringing out art to local communities.   \u003cbr/\u003e\"Cultural centres and organisations felt that it's time to collaborate and that through collaborating with seven institutions your sound is higher, people will hear more. It's not only for the international scene, it's also for looking, implicating and working with and getting involved more audiences, different audiences in villages, in cities,\" says organiser and curator Lara Khaldi.   \u003cbr/\u003eSetting art installations in hard-to-access Palestinian villages scattered across the West Bank was a gamble, but it's working. \u003cbr/\u003ePeople are flocking to the Abwein village for a day packed with art and fun.  \u003cbr/\u003eA vocal performance, audio walks, tours and installations take place between an impressive, restored Ottoman castle and the old village centre. Contemporary art descended from its pedestal.  \u003cbr/\u003eThe chatter of city guests mixed with that of village children chasing after each other, interrupting the silence of veiled women hanging laundry on terraced tops. \u003cbr/\u003e\"I think inviting people to villages and to see old neighbourhoods, old cities, is also making the public and the local people become involved in this kind of art,\" says Shireen Dabbah, a visitor from Ramallah.  \u003cbr/\u003eNazareth-born artist, Nardeen Srouji's oversize funnel is displayed in one of the village's main streets. \u003cbr/\u003e\"To be part of this Biennale it's an amazing feeling, especially because there is unity for Palestinians. And it's one of the chances for artists to be together, work together, present together. That's what it means, unity,\" says the artist. \u003cbr/\u003eQalandiya International also reaches the Gaza Strip, where artist Abdullah Al Ruzzi's installation of a giant foetus inside a womb is showcased at the Gaza City YMCA. \u003cbr/\u003eForeign guest artists seized on the chance to exploit the uniqueness of locations in the Holy Land: Martin Soto Climent from Mexico chose a Jerusalem Old City hammam (Turkish bath) for his installations suspended in the air and what the artist says is a Braille version of a pornographic magazine. \u003cbr/\u003eStefanie Saade, who lives in Lebanon, a country with no relations with Israel, couldn't make the trip to Jerusalem and instead sent her work in a suitcase. After a stop in Jordan, her movable border was reassembled by the curators and left as a game to the imagination of the public. \u003cbr/\u003eThough no longer centre stage, the Israeli-Palestinian conflict lingers in the background of the Biennale with its unresolved questions.  \u003cbr/\u003eTake Jerusalem artist, Jumana Manna's installation. Her short movie was inspired by a 1942 picture of a masquerade of high society hosted by Palestinian politician Alfred Roch, a reenactment that has won Manna the first prize of the \"Youngest Artist of the Year\" award, part of the Qalandiya International Biennale. \u003cbr/\u003eIn recent years art has become more popular in the West Bank, as evidenced by the crowds at the Qalandiya International events - people are becoming more curious. \u003cbr/\u003e\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='action-container flex justify-between'\u003e\n\u003cbutton aria-expanded='false' aria-label='Read more description' class='rp-full-description' type='button'\u003e\n\u003ci class='fai fa-solid fa-align-left'\u003e\u003c/i\u003e\n\u003cspan id='read_more'\u003eRead More\u003c/span\u003e\n\u003c/button\u003e\n\u003cdiv class='rp-report'\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv aria-labelledby='resource-details-heading' class='rp-info-section'\u003e\n\u003ch2 class='title' 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