Disarming Paper - Catalogue

٢٠١٤-٢٠١٣ ‫ بلجيكا شــتاء‬، ‫ جينك‬،"‫ طبعت بمناســبة تقديم مشــروع تصاميم من فلســطين خالل ترينالي التصميم بعنوان "التصميم والصراع‬،‫ورقة مســتقلة‬ INDEPENDENT PAPER, PRINTED ON THE OCCASION OF THE PRESENTATION OF 'DISARMING DESIGN FROM PALESTINE' DURING THE DESIGN TRIENNIAL 'CONFLICT&DESIGN', GENK (B), WINTER 2013–2014

DISARMING DESIGN FROM PALESTINE

Disarming Design from Palestine is an inclusive design label that presents functional products from Palestine, that provide an alternative narrative from what you might usually find in the high street. The collection includes objects such as hourglasses that use cement from the separation wall, a dress made out of one keffiyeh, embroidered car decorations, scarfs depicting landscapes, olive leaves as earrings and an impossible chess game with water tanks and watch towers. The growing collection of products is presented on-line and through a traveling exhibition.* As a collection it aims to represent Palestinian culture in its current reality and reflect upon the function of art in situations of conflict.

The goods are developed, designed and produced by contemporary designers, artists and students in collaboration with local artisans and producers. During several ‘create-shops’ they engage in an enriching design dialogue with small emerging businesses and international colleagues. The project aims to catalyze the development of design as a discourse in Palestine.

“We need to have a discussion as a community on what kind of visual symbols we are adopting, what we are using and how we portray ourselves,” says Majd Abdel Hamid, production manager for Disarming Design, “we need to think about our visual discourse, independent of occupation, as people and as a community.”

‫نحن في حاجة الى مناقشة‬ ‫“كمجتمع‬ ‫ ما‬،‫الرموز البصرية التي نتبناها‬ ‫نوع‬ ‫ يقول‬،”‫نستخدم وكيف نمثل أنفسنا‬ ‫ مدير اإلنتاج لنزع سالح‬،‫مجد عبد الحميد‬ ‫ “نحن بحاجة للتفكير حول محدثتنا‬،‫التصميم‬ ‫من‬ ‫مستقلين‬ ،‫البصرية‬ “ .‫ كأناس وكمجتمع‬،‫االحتالل‬ ‫الهدف العام للمشروع هو المساهمة في‬

The overall objective of the project is to con‫الثقافية واالقتصادية في‬ ‫المستدامة‬ ‫التنمية‬ tribute to sustainable cultural and economic ‫من خالل تحفيز عالقات العمل بين‬ ،‫فلسطين‬ development in Palestine, through stimulating ،‫التصميم‬ ‫عالمة‬ ‫بجانب إلى‬ .‫فنانين و مصممين‬ working relationships between artists, design‫يبحث المشروع وضع ومكانة المصممين المعاصرين‬ ers and manufacturers. The label also investi‫ وذلك ألن الفن‬،‫بيما يتعلق في حاالت التناقضة‬ gates in the position contemporary designers ‫والتصميم هي أدوات قوية جدا التي تسمح لنا‬ can take in relation to conflictual situations.

It makes use of art and design as powerful ‫بإجراء مناقشات جدية داخل المجتمع حول الحقائق‬ tools that allow us to have serious discussions .‫السياسية واالجتماعية والثقافية‬ within a community about our political, social and cultural realities. *

* The first presentation took place during the Palestinian art biennial Qalandiya International 2012. During the 7th International Design triennial ‘Conflict & Design’ in Belgium the project is firstly launched outside Palestine.

‫بينالي الفن الفلسطيني قلنديا‬ ‫تم العرض األول خالل‬ ‫ وتم تنفيذ هذا المشروع ألول مرة خارج‬.2012 ‫الدولي‬ )‫فلسطين خالل الترينالي الدولي السابع ( الصراع والتصميم‬ ‫في بلجيكا‬

for more information and to purchase products visit:

www.disarmingdesign.ps

‫تصميم‬ ‫تصاميم من فلسطيي هي عالمة‬ ‫تمثل منتجات فنيه من فلسطين تقدم‬ ‫شاملة‬ ‫من ساعات رملية‬ ‫تتراوح هذه لمنتجات‬ .‫رواية بديلة‬ ،‫تحتوي على اسمنت من جدار الفصل العنصري‬ ‫إلى لعبة شطرنج مستحيلة تحتوي على خزانات‬ ‫ من زينة مطرزة للسيارات إلى‬،‫مياه و أبراج مراقبة‬ ‫ ومن مناظر طبيعيه‬،‫فستان مصنوع من كوفية‬ .‫على شكل ورق الزيتون‬ ‫أقراط‬ ‫ إلى‬،‫اوشحة‬ ‫على‬ ‫تقدم هذه المجموعة الناميه من المنتجات على‬ ‫ كمجموعة‬،*‫االنترنت و من خالل معرض متنقل‬ ‫تهدف الى تمثيل الثقافة الفلسطينية والواقع‬ ‫الفلسطيني كمان أنها تعكس وظيفة الفن في‬ .‫حاالت النزاع‬ ‫ تصميم وإنتاج السلع من قبل مصممين‬،‫يتم تطوير‬ ‫ فنانين وطالب بالتعاون مع حرفيين و‬،‫معاصرين‬ ‫ ينخرط‬،‫ خالل عدة ورشات تقنية‬.‫شركات محليه‬ ‫الفنانين في تصميم مكثف مع شركات ناشئة‬ ‫ويهدف المشروع إلى‬ .‫صغيرة و زمالء دوليين‬ .‫تحفيز وتطوير التصميم كحوار في فلسطين‬

DISARMING DESIGN FROM PALESTINE COLLECTION 2012—2013

PAGE 2

Photo: Mark Jan van Tellingen

‫زي المراقبيــن الدوليين‬

‫سجل أنا عربى‬

T-shirt with “I am an Arab” by Mamoud Darwish, calligraphed in

Suit made out of traditional Bedouin fabric with “Disengagement observer force” label.

Design & production: Tommi Vasko & Tessel Brühl

‫بدلة مصنوعة من النسيج البدوي التقليدي الفلسطيني للقوة الدولية التابعة‬ . " ‫لالمم المتحدة لمراقبة لفض االشتباك‬ ‫ تومي فاسكو و تيسل برول‬: ‫المصممين‬

Beit Sahour. Tariq Salsa, 2012

KEFFIYEH NIGHT DRESS

‫فستان سهرة من ا لكوفية‬

Photo: Mark Jan van Tellingen

A white shirt is an important part of universal default aesthetics of well-dressed, reliable, conscious and professional men in any situation; business, politics, universities, talk-shows, cultural biennales or cocktail-parties. This ‘Blanco’ colored shirt is tailor-made using a traditional keffiyeh, which doesn’t have a ‘blanco’ meaning.

Unfortunately, the quality is fragile due to the available machinery and materials, and because the tourist market is dominated by cheap Chinese copies. Nevertheless, Blanco gives you authority because of its social and political symbolism, but at the same time it demands cautious behavior.

Do Not Wring. Do Not Wear When Dirty. Do Not Make Sudden Movements. Do Not Bleach. Do Not Tumble Dry.

‫ نادية حزبنوفا‬:‫تصميم‬ ‫ ياروسالف توسان ودياال سعيد‬:‫التصميم الجرافيكي‬ ‫ فلسطين‬،‫ بيت جاال‬،‫ حنا التيت شركة النسيج‬:‫الصانع‬

‫قصيدة الشاعر الفلسطيني الراحل محمود درويش‬ Crossing an Israeli checkpoint, every Palestinian ‫سجل انا عربي مكتوبة على شكل بصمة‬ has to present a magnetic card containing person‫من اجل عبور الحواجز االسرائيلية للذهاب الى القدس‬ al information, finger prints and an eye scan. So ‫على كل فلسطيني تقديم بطاقة ممغنطة تحتوي على‬ when Nadya Hazbunova passes a barrier, she holds .‫معلوماته الشخصية وبصمات االصابع ومسح للعين‬ her finger on a scanner and this tells the soldiers ‫في كل مرة تمر نادية حزبنوفا الحاجز االسرائيلي فانها‬ her whole story. It’s like the renowned Palestinian ‫بمجرد تمرير إصبعها على الماسح الضوئي يتعرف‬ poet Mahmoud Darwish wrote in his poem Iden‫الجنود على معلوماتها كاملة مثل الشاعر الفلسطيني‬ tity card: “Record! I am an Arab, and my identity ‫ "سجل انا عربي‬:‫محمود درويش الذي كتب قصيدته‬ card is number 50,000, I have eight children, ‫ورقم بطاقتي خمسون الف واطفالي ثمانية وتاسعهم‬ and the ninth is coming after a summer…”. The ‫ لقد تم تصميم بصمة من كلمات‬." ‫سيأتي بعد صيف‬ fingerprint design for this t-shirt is made of this ،‫ على الرغم من صعوبة قراءة النص من بعيد‬.‫القصيدة‬ poem. Although it’s hard to read from afar, once ‫بمجرد النظر الى التصميم فانه يبدو وكأنه بصمة لكن‬ you look close you can see that what seemed to be .‫في واقع الحال النص يحتمل أكثر من ذلك بكثير‬ a fingerprint is actually much more. The design ‫التصميم هو دعوة للعالم أن للنظر عن كثب بدون حكم‬ is an invitation to the world to look closely at this .‫مسبق على أي شيء من بعيد‬ story and not judge anything from afar, as nothing is what it seems.

‫زي المراقبين الدوليين لفض االشتباك مصنوع من‬ ‫ الذي كثيرا ما يستخدم‬، ‫النسيج الفلسطيني التقليدي‬ ‫في الخيام القامة المهرجانات واللقاءات السياسية‬ ‫و يعمل الزي بمثابة انعكاس رمزي لهذه المناسبات‬ ‫ في الوقت نفسه يمكن مالحظته بوضوح‬.‫الخاصة‬ ‫في ظروف مختلفة و متعددة مثال على الطرق‬ ،‫ الساحات‬،‫ ومواقع البناء‬،‫السريعة والمعابر المزدحمة‬ ‫ على‬.‫ وحدائق الحيوان أو المناظر الطبيعية‬،‫والشواطئ‬ ‫عكس ما سبق فان الزي الرسمي لقوة األمم المتحدة‬ ‫ هذا الزي‬-‫لمراقبة فض االشتباك ابيض اللون و محايد‬ ‫البديل للمراقبين الدوليين يجسد الطبيعة المعقدة‬ ‫لكيفية للتأقلم في بيئة غريبة مما يطرح اسئلة مثل هل‬ ‫من الممكن عدم التدخل في السياسة أو اتخاذ موقف‬ ‫مع احد االطراف ؟ كيف يمكن للمرء أن يتصرف دون اتخاذ‬ ‫موقف ؟ هل من الممكن أن يكون محايدا و في ذات‬ .‫الوقت مهتما في الحياة اليومية للفلسطينيين‬ ‫يوفر هذا الزي فرصة شفافة و صادقة للمراقب الدولي‬ ‫ان يكون متعاطفا و محايدا‬

BLANCO ‫بالنكو‬

Formal shirt made from a white on white keffiyeh Design: Tommi Vasko & Mark-Jan van Tellingen, 2013 Tailor: Hirbawi Textile Factory, Hebron & Faraj Kasbary, Bethlehem

the shape of a fingerprint.

Design: Nadya Hazbunova. Typography: Jaroslav Toussaint & Diala Isid. Manufacturer: Hanna Alteet, Al-Arja Textile, Beit Jala

.‫قميص رسمي مصنوع من كوفية بيضاء‬ ‫ تومي فاسكو و مارك يان فان تيلينجن‬: ‫المصممين‬ ‫ بيت لحم‬-‫ و فرج كسبري‬-‫الخليل‬- ‫ مصنع نسيج الحرباوي‬: ‫الصانع‬

‫القميص األبيض يعتبر جزء مهم من المعايير العالمية‬ ‫لالناقة والذي يعكس لمرتديه الرجل صفات الرجل‬ ‫الواعي والمهني واالنيق في مختلف االماكن‬ ‫ البرامج‬،‫ وفي الجامعات‬،‫ التجارية والسياسة‬:‫والظروف‬ ‫ هذا‬.‫الحوارية وفي البيناليات الثقافية أوالحفالت‬ ‫القميص ' بالنكو ' هو قميص ملون مصنوع من الكوفية‬ ‫ والذي رغم صنعه منها ال يعكس‬،‫التقليدية البيضاء‬ ‫ جودة القميص هشة بسبب‬، ‫ لألسف‬. ' ‫معنى ' بالنكو‬ ‫ وهيمنة المنتج الصيني رخيص‬، ‫اآلالت والمواد المتاحة‬ ‫ فان بالنكو يمنحك سلطة بسبب‬، ‫ ومع ذلك‬.‫الثمن‬ ‫ ولكن في نفس الوقت‬، ‫رمزيته االجتماعية والسياسية‬ ‫ال ترتديه وهو‬. ‫ ال تفرك‬. ‫فإنه يتطلب السلوك الحذر‬ .‫ ال يستعمل معه مبيض‬. ‫ ال تقم بحركات مفاجئة‬. ‫متسخ‬ .‫ال يتم وضعه في النشافة‬

Simple dress made out of one keffiyeh, without cutting the fabric.

One size fits all, 2012 Design: Donna Verheijden & Martina Petrelli.

Tailor: Hirbawi Textile Factory, Hebron & Star Fashion, Ramallah

.‫ بدون قص القماش‬،‫فستان بسيط من كوفية واحدة‬ ‫ دونا فيرهايدن ومارتينا بتريلي‬: ‫المصممين‬ .‫لله‬-‫رام ا‬- ‫ وازياء النجوم‬-‫الخليل‬- ‫ مصنع نسيج الحرباوي‬: ‫الصانع‬

‫هذا ثوب السهرة األنيق من وشاح الكوفية الشهيرة‬ This elegant evening gown is made of the iconic .‫ التي ينتجها مصنع الحرباوي في مدينة الخليل‬، keffiyeh scarf, produced by the Hirbawi factory ‫وهو اخر مصنع فلسطيني ينتج الكوفية الفلسطينية‬ in Hebron. Palestine’s last factory that produces ‫ ويكافح من أجل بقاءه واستمراريته بعد ظهور‬،‫االصلية‬ the original scarfs is struggling for its exist‫يولي‬ ‫ هذا الفستان‬.‫نسخ الكوفية المصنعة في الصين‬ ence ever since the rise of the copied keffiyehs ‫ ان تصميم‬.‫اهتماما اللتصميم و القياسات التقليدية‬ manufactured in China. The Keffiyeh Night Dress ‫فستان السهرة يحافظ على الكوفية كوحدة واحدة دون‬ pays attention to the traditional design and ‫قصها حيث من يرتدي هذه القطعة الفريدة للخروج ليال‬ measurements. The model of the dress allows the ‫يعبر عن موقف سياسي و موقف في الموضة‬ scarf to remain whole. Wearing this unique piece on a night out becomes both a political as well as a fashion statement.

Photo: Martina Petrelli

The Disengaged Observer-outfit is made of traditional Palestinian fabric, which is frequently used in tents for festivals and political meetings.

The outfit therefore functions as a camouflage for these special occasions. At the same time it provides high visibility in almost every other surrounding; highways, busy crossings, construction sites, city squares, beaches, zoos or scenic landscapes. Unlike those in the ‘United Nations Disengaged Observer Force’ – who are dressed in all white and neutral default aesthetics – this alternative outfit for a Disengaged Observer embodies the complex nature of being an outsider in Palestine. Is it possible not to interfere in politics or take sides? How can one act without taking a hierarchical position? Is it even possible to be neutral, but still be interested in the everyday life of Palestinians? This outfit provides a transparent and honest opportunity to be a Disengaged (but empathic) Observer.

Photo: Moniek Driesse

I AM AN ARAB T-SHIRT DISENGAGED OBSERVER OUTFIT

2013-2012 ‫تصميم من فلســطين تجميع‬

2 ‫صفحة‬

DISARMING DESIGN FROM PALESTINE COLLECTION 2012—2013

2013-2012 ‫تصميم من فلســطين تجميع‬

3 ‫صفحة‬

‫فلســطين في كل مكان‬

Photo: Tariq Salsa

EVERYWHERE PALESTINE

PAGE 3

2013 .‫ سم‬170 × 45 .‫صور بانورامية للمدن الفلسطينية مطبوعة على اوشحة من الحرير‬ )‫هولندا (نماذج‬- ‫ برينتينغ اونليميتد‬:‫ طارق سلسع انتاج‬:‫تصميم‬

Panoramic photos of Palestinian cities printed on silk scarfs. 45 x 170 cm. 2013 Designi: Tariq Salsa. Production: Print Unlimited, the Netherlands (prototypes)

These pictures might seem to be only houses, trees, sea and stones. But for Tariq Salsa they are his dreams of being able to stay in Palestine. Most places he was only able to enter with the permission of the occupiers: “I felt confused, between humiliation and joy, but despite the pain, I keep on visiting my land”. Stopping at checkpoints, Tariq passed the settlements and saw some of the despoiled houses. He saw child camps, where similar stories to his were being lived. He smelled the odors and touched the pain of his natives. He came back collecting images randomly, like the land scrambled in his dreams. He printed his country on scarfs to support his head and hold it high, to take the land everywhere he goes.

Keffiyeh with a hole in the black pattern from which an embroidered soccer ball emerges. Cotton 130 x 130 cm. 2012 Design: Hannes Bernard. Manufacturers: Hirbawi Textile Factory, Hebron & Awatef Romeyeh (embroidery)

This augmented keffiyeh is a tribute to the Palestinian women’s football team and is a first step in investigating the possibilities for a new identity and merchandise for the national women’s team.

2012 .‫ سم‬130 × 130 ‫ القطن‬.‫كوفية كرة القدم لمطرزة‬ ‫ مصنع نسيج الحرباوي والخليل وعواطف رومية‬:‫ صنع‬.‫ هانس برنارد‬:‫تصميم‬ )‫(التطريز‬

‫هذه الكوفية هي بمثابة إشادة بفريق كرة القدم‬ ‫الفلسطيني للنساء وخطوة أولى في البحث عن‬ ‫احتماالت لهوية بصرية جديدة لفريق كرة القدم‬ ‫الفلسطيني للنساء‬

made in palestine

‫صنع في فلسطين‬

Keffiyeh pattern made out of fake logos from fashion brands.

Cotton silk, 130 x 130 cm. Design: Jaroslav Toussaint Production: Print Unlimited (Prototype)

For Palestinians, the keffiyeh is a strong national symbol in the struggle against the occupation.

However, it has become a fashion accessory in the West – with as little political meaning as for example a Che Guevara T-shirt. In Palestine, the keffiyeh is not part of everyday street fashion. Jaroslav noticed that many young people are actually wearing big logos from luxury fashion brands on their clothing, instead. Palestinian textile factories producing clothes for their home market profit from the lack of persecution of copyright infringement by copying logos of luxury brands to increase the value of their products. The pattern of this keffiyeh is composed out of a collection of such logos, originally found and copied in Palestine.

.‫نقشة الكوفية مصنوعة من شعارات وهمية من عالمات تجارية الخاصة باألزياء‬ ‫ ياروسالف توسان‬:‫ تصميم‬.‫ سم‬130 × 130 ،‫حرير والقطن‬ )‫ طباعة انلمتيد (نموذج‬: ‫انتاج‬

‫بالنسبة للفلسطينيين تعتبر الكوفية رمزا وطنيا‬ ‫ فقد أصبحت جزءا‬،‫ ومع ذلك‬.‫للنضال ضد االحتالل‬ ‫ مجردة من اي معنى‬- ‫من اإلكسسوارات في الغرب‬ ‫سياسي مثل صورة تشي غيفارا على الملبوسات‬ ‫ في فلسطين الكوفية ليست جزءا من االزياء‬. ‫ فقد الحظ ياروسالف‬.‫الشعبية الشبابية في الشارع‬ ‫أن الكثير من الشباب يرتدون مالبس تحتوي على‬ ‫شعارات عالمات األزياء الفاخرة و تقوم مصانع النسيج‬ ‫الفلسطيني بانتاج هذه المالبس بدون مالحقة قانونية‬ ‫فتنسخ الشعارات من العالمات التجارية الفاخرة لزيادة‬ ‫ ويتكون هذا النمط من الكوفية من‬.‫قيمة منتجاتها‬ ‫مجموعة من مثل هذه الشعارات التي يمكن مالحظتها‬ .‫في فلسطين‬

Image: Jaroslav Toussaint

‫ الكوفية‬- ‫كــرة قدم‬

Photo: Annelys de Vet

soccer keffiyeh

.‫ ولكن بالنسبة لطارق سلسع تمثل أحالمه بالبقاء في فلسطين‬.‫قد نبدوهذه مجرد صور لمنازل واشجار والبحر والحجارة‬ ‫ استمر‬،‫ وبالرغم من االلم‬،‫ "شعرت بالحيرة بين مشاعر الذل والفرح‬:‫معظم األماكن كان بمقدرته زيارته بإذن من االحتالل‬ ،‫ رأى مخيمات األطفال‬.‫ ومروره عن المستوطنات والمنازل المسلوبة‬،‫ من خالل توقفه عند نقاط التفتيش‬." ‫بزارة ارضي‬ ‫ مثل األرض‬،‫ عاد يجمعالصور بشكل عشوائي‬.‫اشتم روائح و احس بألم ابناء بلده‬.‫حيث يتم عيش قصص مشابهة لقصته‬ .‫ ليأخذ األرض في كل مكان يذهب اليه‬،‫ ثم طبع بالده على وشاح لدعم رأسه واالحتفاظ بها عالية‬.‫المتناثرة في أحالمه‬

DISARMING DESIGN FROM PALESTINE COLLECTION 2012—2013

PAGE 4

‫ليف بيهايند‬

Photo: Martina Petrelli

LEAf BEHIND

PRECIOUS STONES

2013-2012 ‫تصميم من فلســطين تجميع‬

4 ‫صفحة‬

‫ألحجار الكريمة‬ Photo: Donna Verheijden

Set of silver-plated olive tree leaves (from the garden of Sawsan Rishmawi) made into earrings. 4 cm. 2013 Design & production: Sawsan Rishmawi

Hand-knitted necklace with local stone, inserted in the clasp.

30 cm. 2012. Design: Tashakil Jewelry Design & Donna Verheijden.

Production: Tashakil Jewelry Design

‫حذاء الحرية‬

IDENTITY SHOES

‫حــذاء يعبر عن هوية‬

Photo: Martina Petrelli

FREEDOM SHOES

‫فكرة هذه قالدة نتجت من حوار دار بين الفنان مجد‬ ‫عبد الحميد وأصحاب مجوهرات تشاكيل حول تهريب‬ ،‫السجناء الفلسطينيين الهدايا من السجن لعائالتهم‬ ً ‫يدويا تم‬ ‫عادة ما تكون هذه الهدايا حجارة مزينة‬ ‫و‬ ً ‫ تصبح أثمن ممتلكات السجين‬،‫التقاطها من أرض السجن‬ ‫الثمين هي‬ ‫ قالدة الحجر‬.‫التي تحمل ذكريات و قصص‬ ً ‫ تم‬،‫يدويا مستوحاة من قصة السجين‬ ‫قالدة محبوكة‬ ‫وضع الحجر عمدا في الجزء األمامي الذي يفتح ويغلق‬ .‫الجوهرة لنشر الحكاية‬

High heel shoes out of olive wood, leather and keffiyeh fabric.

2013. Design: Nadya Hazbunova. Production: Iyad Sway (Olive wood platform heel), Saed Abedallah (Welt & insoles), Nadya Hazbunova (Keffiyeh straps)

Leather shoes with “Freedom” tote out of embroidery. 2012 Designing: Abu Ameed & Hannes Bernard. Shoemaker: Rahala Shoes, Ramallah

‫ مع قطعة تطريز فلسطيني‬، ‫حذاء حر‬ ‫ هانس برنارد وأبو العميد‬:‫تصميم‬ ‫ رام الله‬،‫ أحذية الرحالة‬:‫الصانع‬

‫األحذية لديها تقليد طويل كرمز للمعارضة في جميع‬ Shoes have a long tradition as symbols of opposi‫أنحاء العالم و تظهر جليا من خالل رمي األحذية او رفعها‬ tion across the world – showing one’s sole, point‫ األحذية من الحاجات و من سبل‬.‫كوسيلة لالعتراض‬ ing a shoe and even throwing shoes in opposition. ‫الراحة واحدى طرق التعبير عن النفس على اختالف‬ They are essential for both our comfort and our need to express ourselves, our tastes and our fan‫ يذهبون أين نذهب و يرافقوننا كجزء‬.‫األذواق واألهواء‬ cies. They go where we go, and carry with them the ‫ يتم تصنيع أحذية الحرية من قبل شركة‬. .‫من قصصنا‬ story of where they’ve been. Freedom Shoes are ‫ بالتعاون مع سيدة تقوم‬.‫عائلية يديرها أبو العميد‬ manufactured by a family business, run by Abu ‫بالتطريز تم تصميم هذا الحذاء من مشتقات لون الرمان‬ Ameed. Together with a local embroider, a special ‫ هذا الحذاء يحمل قصة المكان الذي صنع‬.‫في رام الله‬ pomegranate edition hi-top sneaker was designed .‫فيه و يطوف معها في جميع أنحاء العالم‬ and made in Ramallah. This Freedom Shoe is a tongue-in-cheek reference to the place where they come from, Palestine, and a story that can then be carried around the world.

Visiting the workshop of Hani Awwad, Beit Sahour. Annelys de Vet, 2013

.‫ "أنا أحب األشجار خاصة أشجار الزيتون‬:‫سوسن رشماوي‬ ‫في بالدي األشجار لديها مشاعر و عندما أقف على‬ ‫األرض فوق جذور الشجرة نشعر ببعضنا و نتشارك االرض‬ ‫ لدي شجرتان بمثابة االبناء تبلغان من العمر‬. ‫و التاريخ‬ ‫ العالقة مع شجرة الزيتون تدخل‬.‫ثالث وثماني سنوات‬ ‫ و خشب يقيت من‬.‫ الزيتون والزيت‬، ‫في تفاصيل الحياة‬ ‫البرد في الشتاء و واآلن األوراق المطلية بالفضة تحمل‬ ." ‫هذه القصة‬

Photo: Jaroslav Toussaint

The idea for this necklace arrised when artist Majd Abdel Hamid and the owners of Tashakil told how Palestinian prisoners often smuggle gifts out of jail for their family. The gifts are usually stones picked up from the prison’s ground, which are being crafted and decorated by hand. It becomes the prisoner’s most valuable possession that carries memories and stories. The Precious Stone Necklace is a traditional hand-knitted choker, inspired by the prisoner’s story. The captured stone – deliberately placed in the front – opens and closes the jewelry for the anecdote to be spread.

Sawsan Rishmawi: “I love trees. I love my olive trees. My trees have feelings. When I stand on the ground with their roots under my feet, we feel each other. Our roots hold strong and silently in the earth. No one will move us. My trees are one, three and eight years old. My trees are like my children. I couldn’t live without them. I eat the olives, the oil. The seeds become beads. The wood heats my house. And now the leaves spread this story.” (acknowledgement Tessel Brühl)

ً .‫يدويا مع حجر فلسطيني‬ ‫قالدة محبوكة‬ .‫ مجوهرات تشاكيل ودونا فيرهيجدن‬:‫ تصميم‬.2012 .‫ سم‬30 .‫ مجوهرات تشاكيل‬:‫صنع‬

‫أقراط مصنوعة من مجموعة من أوراق شجرة الزيتون مطلية بالفضة (من حديقة‬ 2013 .‫ سم‬4 .)‫سوسن رشماوي‬ ‫ سوسن رشماوي‬:‫تصميم وصنع‬

Nadya Hazbunova: “My beginnings in design were marked by my determination to bring my Palestinian heritage into a new level internationally, while raising awareness in regards to the Palestinian issue in a fashionable non-invasive way. I have always strived to reflect my identity through my designs and created a line of accessories.

Olive trees have been a symbol of the Palestinian struggle, telling the story of ancient roots and strong trees. The keffiyeh on the other hand has been an undeniable symbol of the Palestinian people retelling their story internationally. The sandal is an embodiment of both these symbols together. It was constructed from a strong and beautifully grained olive wood platform heel fully crafted by hand, embellished with belt straps made of the traditional keffiyeh fabric. The end result is a strong yet somehow fragile fashionable runway-worthy piece screaming ‘Palestinian’.”

. ‫صندل من خشب الزيتون و الكوفية‬ ‫ نادية حزبنفوا‬: ‫مصمم‬ ، ‫ سعيدعبد الله‬- ‫ فيلت و النعال‬/ ‫ بيت جاال‬، ‫ اياد صوي‬- ‫ خشب الزيتون‬: ‫الصانع‬ ‫ بيت لحم‬، ‫ نادية حزبنوفا‬- ‫ كوفية‬- ‫األشرطة‬

‫ " اتسمت بدايتي بتصميم المالبس‬: ‫نادية حزبنوفا‬ ‫و الحلي باصرار على استحداث التراث الفلسطيني‬ ‫الى مستوى جديد دوليا و عالميا و التوعية بما يخص‬ ‫ لقد سعيت‬. ‫القضية الفلسطينية بطريقة غير مبتذلة‬ ‫دائما للتعبير عن هويتي من خالل تصاميمي وايضا‬ ‫من خالل بإنشاء خط من االكسسوارات المصنوعة من‬ ‫ شجرة الزيتون وجذورها القديمة ترمز‬.‫خشب الزيتون‬ ‫للنضال الفلسطيني و الكوفية من ناحية أخرى هي من‬ ‫ خشب‬،‫مزج هذه الرموز معا‬.‫رموز الشعب الفلسطيني‬ ‫الزيتون و الكوفية يجتمعان لتكوين حذاء يختزل العديد‬ ‫ كعب الصندل‬،‫من خصوصيات القضية الفلسطينية‬ ‫صنع يدويا من قطعة خشب زيتون جميل مع أشرطة‬ ‫ النتيجة النهائية‬.‫مصنوعة من نسيج الكوفية التقليدية‬ ‫هي قطعة عصرية المدرج تحتوي على تناقض ما بين‬ .‫الهشاشة و القوة‬ -

DISARMING DESIGN FROM PALESTINE COLLECTION 2012—2013

‫نظارات الصحوة‬

It is believed that shutting out light allows people to achieve a deeper level of sleep. During air travel, many sleeping masks are being used to block out light when sleeping. While many people seem to be covering their eyes in relation to the conflict situation in Palestine, these Awakening Goggles are a sleeping mask designed to symbolically make the vision of Palestinian women travel the world and catalyze a broader and open view.

SEPERATION CURTAIN

‫ستارة الفصل‬

2013 .‫ مطرزة بشكل عيني السيدة التي قامت بانتاجها‬، ‫نظارات واقية للعيون‬ ‫ بيت ساحور‬،‫ السيدة رشماوي‬: ‫ انتاج‬،‫ تسيل برول‬:‫تصميم‬

‫يعتقد أن حجب الضوء يسمح للناس تحقيق مستوى‬ ‫ خالل السفر الجوي يتم استخدام‬.‫أعمق من النوم‬ ‫ في حين يبدو‬.‫العديد من أقنعة النوم لحجب الضوء‬ ‫أن العديد من الناس يغطون اعينهم بما يتعلق بالصراع‬ ‫ نظارات الصحوة مصممة لمشاركة نظرة‬،‫في فلسطين‬ . ‫النساء الفلسطينيات مع العالم‬

‫غطاء سلك الكهرباء‬

Photo: Mamon Shreteh

ELECTRICITY WIRE COVER

2013-2012 ‫تصميم من فلســطين تجميع‬

5 ‫صفحة‬

Shower curtain with image of the separation barrier. 2012 Design: Amer Amin. Prototype: Gasman Advertising

This shower curtain with an image of the separation barrier is slightly transparent, providing a different view on the wall.

This electricity wire cover is inspired by the traditional palestinian stitch sabaleh. The colorful line is commonly used to decorate dresses in the Ramallah area or on winter headdresses in Bethlehem. Based on this technique a new single stitch was developed, revealing the simplicity of the embroidery. The old usage i s transformed to the use in an every-day modern object; and electricity wire for for instance a lamp.

This explores the capacity impeded in traditional craftsmanship to be reused for modern times.

‫منفضة ســجائر بشك برج المراقبة‬

‫تطريز السبلة التقليدية‬ ‫هو من وحي‬ ‫هذا الغطاء‬ ‫عادة‬ ‫ التي يتم استخدمها‬،‫الفلسطينية‬ ً ‫الفساتين في منطقة رام الله أو على أغطية‬ ‫لتزيين‬ ‫ و على أساس‬.‫الرأس في فصل الشتاء في بيت لحم‬ ‫هذا األسلوب تم تطوير غرزة جديدة تكشف بساطة‬ ‫ يتحول االستخدام القديم إلى إستخدم حديث‬.‫التطريز‬ ‫على سبيل‬ ‫يومي و هو سلك أحد المصابيح الكهربائية‬ ‫يكشف هذا العمل القدرة على إعادة إستخدام‬ .‫المثال‬ .‫الحرف التقليدية بما يتناسب مع عصرنا الحالي‬

Photo: Annelys de Vet

The car embroidery includes stickers, a pillow, seat and dashboard covers. Old – and new – cars can get their customized Palestinian identity. Through these accessories, the perception of cars, speed and the masculinity is related to culture, the feminine and traditional handcrafts.

‫جازمان للدعاية‬:‫ صنع النموذج األولي‬.‫ عامر أمين‬:‫تصميم‬ ‫و اإلعالن‬

:‫ تصميم‬.‫أغطية أسالك الكهرباء مصنوعة من خالل تقنيات التطريز التقليدي‬ .‫ ربات منازل من منطقة رام الله‬:‫ صنع‬.‫وفاء مرعي‬

CAR EMBROIDERY ‫مطرزات للسيارة‬

Embroidered accessories for cars. 2013 Design: Ali Aldeek

2012 .‫ستارة حمام مع صورة من جدار العزل‬

2013 .‫اكسسوارات مطرزة للسيارات‬ ‫ علي الديك‬:‫تصميم‬

‫يهدف العمل الى خلط مفاهيم و معتقدات تتعلق‬ ‫بالسيارات والسرعة والرجولة من جهة والصناعات اليدوية‬ ‫ يتكون المشروع من ملصقات‬. ‫التقليدية من جهة اخري‬ ‫باشكال و انماط التطريز التقليدي الفلسطيني و‬ ‫ يمكن‬.‫غطاء مطرز يدويا للمقاعد و لوحة أجهزة القياس‬ ‫للسيارات الجديدة و القديمة الحصول على مطرزات و‬ .‫اضافةشخصيةفلسطينيةللسيارة‬

Public ashtray from aluminium with sandblasting. 30 x 80 cm.

2012 Design: Khaled Hourani. Production: Abu Muath

Ashtray in the form of a security tower with the text: “Security seriously harms you and others around you.”

‫ خالد‬:‫ تصميم‬2012 .‫ سم‬80 × 30 .‫منفضة سجائر من األلومنيوم مع الرملي‬ ‫ أبو معاذ‬:‫ انتاج‬.‫حوراني‬

‫منفضة سجائر على شكل برج مراقبة تحتوي على‬ ‫ "األمن يضر بك واآلخرين من حولك‬: ‫العبارة التالية‬ ".‫بشكل خطير‬

Photo: Annelys de Vet

WATCHTOWER ASHTRAY

Covers for electricity wires, made with traditional embroidery techniques. Design: Wafa Meri.

Embroidery: Housewifes from Ramallah area

Photo: Moniek Driesse

Goggles with the eyes of the artisan embroidered on them. 2013 Design: Tessel Brühl. Embroidery: Miss Rishmawi, Beit Sahour

Photo: Moniek Driesse

AWAKENING GOGGLES

PAGE 5

DISARMING DESIGN FROM PALESTINE COLLECTION 2012—2013

PAGE 6

Photo: Martina Petrelli

‫اخبار قديمة من فلســطين‬

‫ النبيذ و العرق‬، ‫كــؤوس للبيرة‬

Three glasses for Palestinian alcoholic drinks: Arak, (Taybeh) Beer, and wine. Design: Wafa Meri. Production: Hebron Glass & Ceramics Factory

‫عملة فالفل‬

THE LAND OF MILK AND HONEY

Honey from the Land of Milk and Honey, 2012 Design: Rudy Luijters. Beekeeper: Montaser Saad, Ramallah Falafel mold with Palestinian pound, sandblasted. 15 cm. 2013.

Design: Tommi Vasko. Production: Ushama Boulos, Bethlehem (prototype)

The current financial crisis exposed how power today is in the hands of the ones who are able to just create money in forms of bits, paper or metal.

Palestine doesn’t have its own currency and is mainly dependent on currencies and central banks of Israel, Jordan and the United States. Its hands are tied when it comes to ruling its own economy. But since the tools to print notes seem to be already present, can’t the crisis be solved through sovereignty? The falafel-coin-maker is a tool that transforms falafel stalls or private kitchens into imaginary central banks of the future State of Palestine. Making, or cooking money is easy. Like a real central bank, you have to play with quantity and value, supply and demand.

Maher Shaheen with his family in their living room in Hebron. Annelys de Vet, 2012

‫المشروبات الكحولية ال تحظى بمكانة مؤثرة بالهوية‬ ‫الفلسطينية المعاصرة ومع ذلك فان هنالك تاريخ طويل‬ ‫من انتاج النبيذ في االراضي الفلسطينية باالضافة‬ ‫الى العرق و هو مشروب كحولي مصنوع من اليانسون‬ ‫ اما‬،‫و يحظى هذا المشروب باقبال في الضفة الغربية‬ ‫بخصوص البيرة فتصنع بقرية الطيبة بالقرب من رام الله و‬ ‫ مع هذه المجموعة من الكؤوس يمكن‬.‫لها ذات االسم‬ .‫للمرء أن يشرب نخب مهرجان األذواق المختلفة‬

‫أرض اللبن و العســل‬

Photo: Mark Jan van Tellingen

FALAFEL COIN MAKER

‫في صحيفة القدس هناك قسم يسمى "القدس‬ ‫ صورة من الصفحة األولى من هذه‬:"‫قبل عشرين عاما‬ ، ‫ بعد قراءة هذاالجزء‬.‫الصحيفة قبل عقدين من الزمن‬ ‫ ويتم‬.‫فإن اخبار اليوم تبدو كما كانت قبل عشرين عاما‬ ، ‫ واالسرى‬،‫ محادثات السالم‬:‫بحث الموضوعات ذاتها‬ ‫ خالصة المقطع هو أن األخبار كانت‬.‫والقدس والالجئين‬ ‫ لقد‬.‫ نحن بحاجة إلى تغيير‬.‫و الزالت على ذات الحال‬ ‫سئمنا من األخبار التي نتلقاها كل يوم؛ المستوطنات‬ .‫ والسجناء‬،‫ والحق بالعودة‬،‫وجدار الفصل العنصري‬ ‫الحلول النهائية والعديد من االتفاقات التي لم تنفذ‬ :‫ أحمد نصار‬.‫حتى أصبحت األخبار مبتذلة و مكررة‬ ‫ أنا لم أتابع األخبار وال الصحف لبعض الوقت‬،‫"شخصيا‬ ." ‫ ما أفعله قد يكون أكثر فائدة بتحوليها الى اوعية‬.‫اآلن‬

.‫ البيرة و النبيذ‬، ‫ العرق‬:‫ثالثة كؤوس لمشروبات كحولية صناعة فلسطينية‬ ‫ الخليل‬،‫ مصنع زجاج‬:‫ وفاء مرعي انتاج‬:‫تصميم‬

.‫ سم‬15 . ‫مطبوع بالرمل علي معدن‬،‫قالب فالفل بشكل جنيه الفلسطيني‬ )‫ بيت لحم (نموذج‬،‫ تومي فاسكو انتاج اسامة بولس‬:‫ تصميم‬.2013

‫كشفت األزمة المالية الحالية كيف ان مراكز القوة‬ ‫تتقاسم الثروة و تقوم بصناعة المال في بأشكال عدة‬ ‫ في الوقت الراهن ال توجد‬.‫سواء الورق أو المعدن‬ ‫عملة خاصة بفلسطين وتعتمد بشكل رئيسي على‬ ‫العمالت والبنوك المركزية في إسرائيل واألردن‬ ‫ ان االرتباط بعمالت اخرى يكبل‬.‫والواليات المتحدة‬ ‫االقتصاد الفلسطيني مما يدفع للبحث عن حلول‬ ‫ لم ال‬. ‫خاصة ان األدوات الالزمة لطباعة المال متوفرة‬ ‫تحل المشكلة من خالل صانع فالفل على شكل عملة‬ ‫و تحوبل أكشاك الفالفل الى فروع للبنك المركزي‬ ‫وبما ان طبخ المال مهمة‬. ‫الفلسطيني المستقبلي‬ ‫سهلة يتحول كشك الفالفل الى بنك مركزي يتعامل‬ .‫مع كمية وقيمة العرض والطلب‬

2012 ، ‫العسل من أرض اللبن و العسل‬ ‫ رام الله‬،‫ منتصر سعد‬: ‫ انتاج‬. ‫ رودي لويترز و منتصر سعد‬: ‫تصميم‬

‫مربي النحل في فلسطين ينقل خاليا النحل على‬ Beekeepers in Palestine used to move their ‫األقل ثالث مرات في السنة ؛بداية بوادي األردن في‬ colonies (transhumance) at least three times a ‫أوائل الربيع حيث الزهور األولى ثم في وقت الحق إلى‬ year; from the lower Jordan Valley in early spring ‫ بهذه‬. ‫التالل وأخيرا إلى منطقة رام الله لفصل الصيف‬ where the first flowers would blossom, later to ‫الطريقة يقوم النحل بجمع الرحيق طوال فصول السنة‬ the hillside and finally to the Ramallah region for ‫ كيلوغراما من‬25 ‫ إلى‬20 ‫ وسوف توفر كل خلية من‬، summer. This way, the bees would collect nectar ‫ االحتالل و نقاط التفتيش تجعل‬، ‫ اليوم‬.‫العسل سنويا‬ throughout the seasons and each hive would ‫من المستحيل بالنسبة لمربي النحل التحرك و نقل‬ provide 20 to 25 kilos of honey per year. Today, ‫ خالل‬. ‫ لذلك فإنها تبقى في مكان واحد‬، ‫خاليا النحل‬ the occupation and the checkpoints make it ‫ و لم يتمكن‬، ‫ أغلقت معظم الطرق‬، ‫االنتفاضة الثانية‬ impossible for beekeepers to move around with their colonies, so they stay in one place. During the ‫ ونتيجة‬.‫سعد من زيارة خاليا النحل ألكثر من ستة أشهر‬ second Intifada, most roads were blocked and bee- ‫ فإن الغالبية العظمى من الخاليا لم تستطع البقاء‬، ‫لذلك‬ keeper Saad was not able to visit his hives for more ‫ منذ ذلك الحين لم يتبقى لدي سعد‬. ‫على قيد الحياة‬ than six months. As a result, the majority of his ‫سوى خمس خاليا نحل و بأفضل االحوال انتاج العسل ال‬ colonies did not survive. Since then, Saad has only ،‫ بشكل متناقض‬.‫ كيلوغرامات من العسل سنويا‬5 ‫يتجاوز‬ four to five colonies left. For Saad, the best possible ‫أصبح العسل شحيحا في أرض اللبن والعسل‬ harvest is now approximately 5 kilos of honey per hive per year. Contradictorily, honey has become a scarce delicacy in the Land of Milk and Honey.

Photo: Martina Petrelli

In the newspaper Alquds there is a section called “Alquds twenty years ago”: a picture of the front page of this newspaper two decades before. Reading this news, it seems today is as it was twenty years ago. The same topics are being discussed: peace talks, prisoners, Jerusalem and refugees.

The bottom line of the section is that news was the same and nothing has changed. We need to change. We are tired of the same news we receive every day; settlements, the Apartheid Wall, the right to return, prisoners. Final solutions and many agreements that have not been implemented even became news, like waves drowning us. Ahmad Nassar: “Personally, I have not been following the news nor reading the newspapers for a while now. What I’m doing might be more useful: I make bowls out of them.”

Alcoholic drinks are not the first thing that provide Palestine its contemporary identity. Yet there is a long history of wine production: Palestinian Arak (alcoholic spirit from the anise drinks family) is a very popular drink on the Westbank and the Taybeh beer brewed in the Ramallah district is distributed widely nationally and internationally.

With this set of hand blown glasses one can toast on this festival of tastes.

‫ تصميم‬2012 .‫مطلى للحماية‬، ‫وعاء مصنوع من الورق معجون من صحف قديمة‬ ‫ أحمد نصار‬:‫وانتاج‬

Bowl made of papier-mâché of old newspapers and lacquered for protection. 2012 Design & production: Ahmad Nassar

Photo: Annelys de Vet

arak- beer- and wine-glasses OLD NEWS FROM PALESTINE

2013-2012 ‫تصميم من فلســطين تجميع‬

6 ‫صفحة‬

DISARMING DESIGN FROM PALESTINE COLLECTION 2012—2013

‫استنادا على مشروع الفنان‬ ‫خالد حوراني الطريق إلى‬ ‫حيث قام بوضع لوحات‬،‫فلسطين‬ ‫سيراميك تصور بالكيلومترات‬ ‫المسافة إلى القدس من النقطة‬ ‫ سكان الضفة‬.‫التي يتم اختيارها‬ ‫الغربية وقطاع غزة ال يمكنهم‬ .‫الوصول إلي القدس بدون تصريح‬ ‫العمل يربط المواقع و المعالم‬ ‫بالقدس سواء كانت اسالمية أو‬ ‫مسيحية بغض النظر عن بعدها‬ ‫ و يؤكد على‬،‫عن مدينة القدس‬ ‫مركزية و اهمية القدس بالنسبة‬ ‫للفلسطينيين بغض النظر عن‬ .‫الواقع السياسي و االحتالل‬

BIRD PLATES ‫صحن للطيور‬

Plate with which the leftovers of the food can be given to the birds with additional water in the middle part. Handpainted ceramics, 2013. Design: Maher Shaheen.

Production: Hebron Glass & Ceramics Factory

One-third of the food produced for human consumption ends up in the trash. We should have greater responsibility towards life on this earth and with little effort it is possible to give our planet more beauty. Why can’t we be as generous as nature?

These plates are for sharing our food with the birds that chirp and sing for us. In remembrance of Mother Teresa who said: “If we are only interested in our own needs, we will neglect the needs of others. Giving of ourselves is the highest form of generosity. We should not only serve ourselves, but serve those around us”.

UNDER CONSTRUCTION PLATES ‫اطباق قيد البناء‬

‫صحن خاص للطيور يوضع به بقايا الطعام مع مياه‬ :‫ تصميم‬.2013‫ و‬،‫ سيراميك‬.‫في الجزء األوسط‬ ‫ مصنع زجاج و سيراميك‬: ‫ انتاج‬.‫ماهر شاهين‬ ‫الخليل‬

‫ثلث الغذاء المنتج لالستهالك‬ ‫البشري ينتهي في سلة‬ ‫ ينبغي علينا ابداء‬.‫المهمالت‬ ‫مسؤولية أكبر تجاه الحياة على‬ ‫هذه األرض ومع القليل من الجهد‬ ‫فمن الممكن أن نساهم بدورة‬ ‫ لماذا ال يمكننا‬. ‫الحياة على االرض‬ ‫أن نكون كريمين مثل الطبيعة؟‬ ‫هذه الصحون هي لتقاسم بقايا‬ ‫طعامنا مع الطيور التي تزقزق‬ ‫ "إذا‬: ‫األم تريزا تقول‬.‫وتغني لنا‬ ‫كنا مهتمون فقط في احتياجاتنا‬ ‫الخاصة سوف نهمل احتياجات‬ ‫ العطاء من النفس هو‬.‫اآلخرين‬ ‫ ال ينبغي لنا‬. ‫اعلى درجات الكرم‬ ‫ ولكن خدمة‬،‫فقط خدمة أنفسنا‬ ." ‫من حولنا‬

Plates displaying scenes of newly built museums in Palestine. Handpainted ceramics, 2013. Design: Martina Petrelli.

Production: Hebron Glass & Ceramics Factory

Traditional ceramic plates depict buildings like the Church of Nativity in Bethlehem, the Tomb of Abraham and the Dome of the Rock in Jerusalem.

Five new museums are being developed in Palestine; a new cultural impulse is underway.

That is why these are already historical edifices that should become part of the common cultural image building and find their place in the national and international imaginary of Palestine.

Glassbubble, miniwall and plate all produced and handpainted in Hebron Glass & Ceramic Factory.

‫المشروع يتكون من اطباق‬ ‫سيراميك تحتوي على صور‬ ‫لخمسة متاحف فلسطينيية‬ ‫جري تشييد جزء منها و الجزء‬ ‫ ان الموجة‬،‫االخر قيد االنشاء‬ ‫الثقافية تستحق الوقوف عندها و‬ ‫محاورتها من خالل طرحها كصورة‬ .‫عامة‬

‫اقتراح لهدية دبلوماسية‬

Photo: Shameer Nyland Ali

Handmade and handwritten mugs from Hebron to be given out to European deputies. Design: Angelica Falkeling, 2013. Production: Hebron Glass & Ceramics Factory

Spheres made of glass, enclosing miniaturized scenes. 2013 Handpainted ceramics and glass, 2013 Design: Shameer Nyland Ali. Production: Hebron Glass & Ceramics Factory

‫اطباق تحتوي على صور لمباني المتاحف التي‬ ‫يتم انشاؤها في االراضي الفلسطينيية‬ ‫ مارتينا بترولي‬: ‫ تصميم‬،‫سيراميك‬ ‫ مصنع الخليل للزجاج و السيراميك‬:‫انتاج‬

‫ انتاج‬.‫شامير نايالند علي‬:‫ تصميم‬2013 ‫صناعة يدوية من السيراميك والزجاج‬ ‫مصنع الخليل للزجاج و سيراميك‬:

‫كرات مصنوعة من الزجاج تضم مشاهد مصغرة من‬ 2013 ‫فلسطين‬

Angelica Falkeling: “My teacher once told me about the thank-you-ceremony at the Ministry of Culture. She had worked for ten years in a governmental founded grant committee that was about to be shut down. After having a drink, everyone got a present: a black mug with a white text saying “The Future of Culture”, which is the name of the foundation. My teacher turned the mug around and read “Made in China” on the bottom.

My proposal for diplomatic gifts is therefore handmade and handwritten mugs from Hebron.”

:‫ تصميم‬.‫أكواب مكتوبة بخط اليد من الخليل تقدم كهدية للنواب األوروبيين‬ ‫ مصنع زجاج وسيراميك الخليل‬:‫ اإلنتاج‬.2013 ‫انجليكا فالكينغ‬

‫ " قالت لي معلمتي ذات مرة عن حفل‬:‫انجليكا فالكينغ‬ ‫اقيم في وزارة الثقافة بمناسبة انتهاء عمل لجنة عملت‬ ‫ حصل الجميع‬.‫لمدة عشر سنوات لتقديج المنح الحكومية‬ ‫ قدح اسود مع‬:‫على هدية تعبيرا عن الشكر و العرفان‬ ‫ وهو‬،"‫نص مكتوب باللون األبيض "مستقبل الثقافة‬ ‫ نظرت المعلمة الي القدح لتجد باسفله‬.‫اسم المشروع‬ ‫ اقتراحي صناعة اكواب كهدية‬."‫عبارة "صنع في الصين‬ ‫دبلوماسية مصنوعة يدويا ومكتوبة بخط اليد من الخليل‬ ." ‫إلى أن تعطى للنواب األوروبيين‬

Photo: Jarosloav Toussaint

Proposal for a diplomatic gift

wall ball ‫كرة الجدار‬

Photo: Annelys de Vet

In remembrance of Khaled Hourani’s project The Road to Palestine, the International Academy of Art Palestine developed ceramic plates depicting distance markers to Jerusalem.

Each plate marks the distance to the Old City in Jerusalem, which for most West Bank and Gaza residents is inaccessible without a permit. The plates connect locations in the whole world to the city that Palestinians, whether they are Muslim or Christian, consider their capital and spiritual center. In its simple statement of physical distances, the Palestinians’ lost or limited access to Jerusalem is memorialized while affirming the city’s centrality, thus collapsing or rejecting the political boundaries that define day-to-day life.

.‫صحن مع المسافة إلى القدس بالكيلومترات‬ 2013 ‫مصنوعة يدويا‬ ‫ األكاديمية الدولية للفنون فلسطين‬:‫تصميم‬ ‫مصنع الخليل للزجاج والسيراميك‬:‫انتاج‬

2013-2012 ‫تصميم من فلســطين تجميع‬

7 ‫صفحة‬

Photo: Jaroslav Toussaint

Plate with the distance to Jerusalem in kilometers. Handpainted ceramics, 2013 Design: International Academy of Art Palestine. Production: Hebron Glass & Ceramics Factory

Photo: Jaroslav Toussaint

DISTANCE TO JERUSALEM ‫المسافة إلى القدس‬

PAGE 7

DISARMING DESIGN FROM PALESTINE COLLECTION 2012—2013

PAGE 8

2013-2012 ‫تصميم من فلســطين تجميع‬

8 ‫صفحة‬

Photo: Jarosloav Touassaint

WATCHTOWERS AND WATERTANKS GAME ‫لعبــة أبراج المراقبة وخزانات المياه‬

‫عائلة من الزرافات‬

The taxidermied family of giraffes of Qalqilya zoo, in olive wood.

2013. Idea: Annelys de Vet Production: Iyad Sway, Beit Jala

Alternative chess game, with watch towers and water tanks as pawns, impossible to play. Olive wood. 2o13 Design: Mark Jan van Tellingen. Production: Majed Abu Farha, Beit Sahour

Chess is a game of conflict with two opposing parties trying to defeat one another through their tactical intellect. An ordinary chess game can take several hours. In some cases it can even end without a winner, making it a draw. The Watchtower and Water Tanks game is based on the aesthetics of chess. But this game is an eternal status quo.

There are no possibilities of movement, since all places are occupied. And there is no winner; the only solution is to ‘clear the stage’.

‫مصنوعة‬.‫لعبة شطرنج بديلة مع استخدام أبراج المراقبة وخزانات المياه كبيادق‬ ،‫ ماجد أبو فرحة‬:‫ إنتاج‬.‫ مارك يان فان تيلنغن‬:‫ تصميم‬2013 .‫من خشب الزيتون‬ ‫بيت ساحور‬

‫الشطرنج هي لعبة تعتمد على التكتيك بين خصمين‬ ،‫ تاخد في بعض االحيان ساعات‬.‫كل يحاول هزيمة االخر‬ ‫ برج المراقبة وخزانات المياه‬.‫و قد تنتهي حتى بالتعادل‬ ‫ اذ ان الرقعة ممتلئة‬،‫هي تعليق على الوضع القائم‬ ‫ والحل‬،‫ ال توجد إمكانيات للحركة وال يوجد فائز‬،‫بالكامل‬ .' ‫الوحيد هو "مسح الساحة‬

‫سيارة اجرة صفراء‬

Photo: Annelys de Vet

yellow cab toy

On 19 August 2002, a giraffe named Brownie died in the Qalqiliyah zoo, the only zoo in the Israeli-occupied West Bank. Israeli soldiers invaded the city of 45,000 inhabitants. There were gun-shots, tear gas, and flare grenades. Brownie, in apparent panic, rammed his head against a metal pole and fell to the ground. In the morning he was found dead in his enclosure. Ruti, the female giraffe, lost her unborn baby ten days later out of grief. The two dead animals were stuffed by veterinarian Sami Khader and later housed in a specially built “museum” next to the zoo. Other animals that died in the zoo are also kept there, including a lion, a zebra, and a baboon.

Brownie, nine years old, originally came from South Africa. He arrived via Israel in Qalqiliyah in 1997 at a time when it was the agricultural center of the West Bank and the Palestinian city was not yet sealed off from the outer world by an eightmeter-high concrete wall.

There are many Yellow Cab taxicab operators around the world (some with common heritage, some without). Most yellow coloured Shared Taxis, often from the Ford brand, have fixed bus-stations, mostly car parks near the centre of towns or cities. Larger minivans carry seven passengers and inner-city shared taxis carry four. Fares are fixed and overcharging on these services is extremely rare. You should pay the driver directly once the journey has begun, although you can wait until you reach your destination. Passengers will often work out the change between themselves.

Wood workshop of Josef Abu Jack. Mark Jan van Tellingen, 2013

‫أسرة الزرافات المحنطة الموجودة في حديقة حيوانات قلقيلية مصنوعة‬ ،‫مانوفكترر و إياد صوي‬ ‫انليس ديفيت‬ :‫ تصميم‬.2013 . ‫خشب الزيتون‬ ‫من‬ .‫بيت جاال‬

‫ توفيت الزرافة بروني في حديقة‬2002 ‫ أغسطس‬19 ‫في‬ ‫حيوانات قلقيلية و هي حديقة الحيوانات الوحيدة‬ (‫مدينة قلقيلية‬ ‫عند اقتحام‬. ‫في الضفة الغربية‬ ‫في‬ ‫جنود االحتالل‬ ‫ نسمة) من قبل‬45،000 ‫من‬ ‫التي تتكون‬ ‫وقنابل‬ ‫اإلسرائيلي تم إستخدام الغاز المسيل للدموع‬ ‫ و في حالة الذعر‬.‫ و كان هناك طالقات نارية‬،‫مضيئة‬ ‫هذه ارتطم رأس بروني في احدى االعمدة المعدنية‬ ‫ في الصباح عثر عليه ميتا في‬،‫و سقط على األرض‬ ‫روتي و هي الزرافة األنثى في الحديقة‬ . ‫حظيرته‬ ً ‫ تم تحنيط‬.‫حزنا على بروني‬ ‫أيام‬ 10 ‫فقدت جنينها بعد‬ ‫ و‬،‫الطبيب البيطري سامي خضر‬ ‫الزرافتان من قبل‬ ‫كاألسد و الحمار‬ ‫من ثم وضعوا بجانب حيوانات أخرى‬ ‫ في المتحف الذي بني‬ ‫ و قرد البابون‬، ‫الوحشي‬ ً ‫ أتى بروني وهو في‬.‫خصيصا بجانب حديقة الحيوانات‬ ‫ وصل عبر إسرائيل‬،‫التاسعة من عمره من جنوب أفريقيا‬ ‫ في الوقت التي كانت تعد فيه‬1997 ‫إلى قلقيلية في‬ ‫قلقيلية المركز الزراعي في الضفة الغربية و لم تكن بعد‬ ‫معزولة عن العالم و محاصرة بجدار سمنت طوله ثمانية‬ .‫أمتار‬

‫طائرة ورقية‬

Photo: Martina Petrelli

diy kite

Mini-sized yellow taxi busses in wood Idea: Mamon Ashreteh & Annelys de Vet. Production: Hanni Awad

Photo: Annelys de Vet

family of giraffes

‫سيارات أجرة مصغرة مصنوعة يدويا من الخشب‬ ‫ هاني عوض‬: ‫ انتاج‬.‫ مأمون شريتح‬:‫تصميم‬

،‫سيارات األجرة الصفراء من االمور المشتركة في العالم‬ ‫في فلسطين معظم السيارات المستعملة للمواصالت‬ ‫عامة هي من طراز فورد سبعة ركاب و قد اصبح اسم‬ ‫ معظم هذه‬، ‫الفورد يطلق على كل سيارات النقل العام‬ ‫السيارات تعمل على النقل ما بين المدن الفلسطينيية‬ ‫ االجرة ثابتة ما بين المواقف الخاصة‬. ‫و القرى المحيطة‬ ‫لهذه السيارات و التي تسمي "المجمع" و غالبا ما تكون‬ .‫في وسط المدينة‬

Kite made out of used materials in different shapes. The package includes instructions together with a Palestinian newspaper. 2012 Design & making: Taqi Aldeen

In 2011, thousands of Gaza schoolchildren gathered to break the world’s simultaneous kite-flying record, which was covered by the media worldwide. All kites were constructed by hand and with unparalleled craftsmanship. When seen from a distance, kites in Gaza may look quite ordinary.

But while Gaza children, in many respects, are just children, their kites are hardly ordinary. The message of the kite flying event was, of course, neither an expression of innocence, nor about breaking a world record. It was about Gaza itself, about being a proud and still hopeful place. Gaza children’s kites are messages of defiance, hope and the longing for freedom.

‫ وتشمل حزمة تعليمات مع صحيفة‬. ‫طائرة ورقية مصنوعة من مواد مختلفة‬ 2012 . ‫فلسطينية‬ ‫ تقي الدين‬: ‫تصميم وانتاج‬

‫ تجمع آالف من تالميذ المدارس في غزة‬2011 ‫في عام‬ ‫لكسر سجل تحليق اكبر عدد من الطائرات الورقية في‬ ‫ وقد تم تغطية الحدث من قبل العديد من وسائل‬، ‫العالم‬ ‫صنع االطفال الطائرات الورقية ببراعة ال مثيل‬.‫اإلعالم‬ . ‫ الرسالة من هذا الحدث تعبر عن االمل في غزة‬.‫لها‬ ‫الطائرات الورقية من األطفال في غزة هي رسائل تعبر‬ .‫عن التحدي واألمل و الشوق إلى الحرية‬

DISARMING DESIGN FROM PALESTINE COLLECTION 2012—2013

PAGE 9

daftar

9 ‫صفحة‬

2013-2012 ‫تصميم من فلســطين تجميع‬

‫دفتر‬

Photo: Dina Khalil

‫كرة لتخفيف التوتر‬

Photo: Tommi Vasko

STRESS BALL

Notebooks with patterns of traditional tiles. 10 x 15 cm. 2013 Design: Dina Khalil. Production: Gasman Advertising, Ramallah

Stone wrapped in felt as a stress ball. 2013 Idea: Mark-Jan van Tellingen Production: Ma’an lil-Hayat, Beit Sahour

A locally designed and produced notebook. The patterns are inspired by important aesthetic symbols: Palestinian floor tiles. The unique geometries allow the expansion of the design to a variety of patterns, thanks to the color, the shape and the rotation of each single tile. By simplifying these geometries and transforming them into the pages of a notebook, they become an illustrative platform for our thoughts and ideas.

2013 ‫حجر ملفوف بالصوف‬ ‫ مارك فان يناير تيلينغن‬: ‫مصمم‬ ‫ بيت ساحور‬، ‫ معا للحياة‬: ‫الصانع‬

A conflict is an attack on people’s mental strength; ‫الصراع يؤدي الى اضطرابات نفسية و توتر مستمر يواجه‬ ‫ عندما تحدثت الى فنان فلسطيني‬.‫الناس عواقبه يوميا‬ being confronted with the consequences of a ‫عن الصراع و سألته اذا شارك برمي الحجارة على القوات‬ conflict every day produces tension. When talking to a Palestinian artist about the conflict, the Dutch ‫نعم بالنسبة لي‬، ‫االسرائيلية باحدى االنتفاضات فاجاب‬ Mark-Jan van Tellingen was wondering if he had ‫ في هذا‬.‫كان نوع من التفريغ للتوتر و المشاعر المتأججة‬ ever thrown stones at Israeli forces. “Yes,” the ‫المعنى أصبح الحجر منفس و مخرج لتفريغ التوتر الى‬ artist replied. For him it was a release of restrained ‫ هذا التصميم مزيج من‬.‫حد ما يشبه كرة تخفيف التوتر‬ tension, a short moment of completely de-stress‫ هل سيقوم هذا الحجر المغلف بالصوف بعمله؟‬.‫االثنين‬ ing. In this sense the stone became the object of release. Similar to a stress ball, it had the objective to release tension. This design became a fusion of these two objects. A stress ball containing a stone, wrapped in felt. Will it serve its purpose?

‫ساعة رملية‬

Subjective atlas of Palestine, 010 Publishers 2007 Editing & design: Annelys de Vet in collaboration with Khaled Hourani and the International Academy of Art Palestine.

Design: Majd Abdel Hamid, 2013

Hour glass with crushed cement of the separation wall.

‫دفتر مالحظات مستوحى من انماط هندسية مستخدة‬ ‫ يمتازبجمالية عالية‬،‫في البالط التقليدي الفلسطيني‬ ‫بحيث ان هندسته المتنوعة في‬. ‫و طبيعته المتنوعة‬ ‫ يمنح افق واسع لتطوير‬، ‫ والشكل‬، ‫ واللون‬، ‫األنماط‬ ‫ الوحدة االساسية التي يؤدي‬.‫مجموعة من الدفاتر‬ ‫تكرارها الى انماط تتشكل على صفحات دفتر لتصبح‬ ‫مساحة لطرح االفكار‬

‬‫‫اطلس فلسطين الذاتي‬

Photo: Jarosloav Toussaint

HOURGLASS

SUBJECTIVE ATLAS OF PALESTINE

2013 . ‫ سم‬15 × 10 .‫دفتر أنماط البالط التقليدية‬ ‫ رام الله‬، ‫ شركة جازمان للدعاية و اإلعالن‬: ‫ المنتج‬. ‫ دينا خليل‬: ‫المصممة‬

‫ مصنع جبع للزجاج‬،‫ ابو مروان‬:‫ مجد عبد الحميد المنتج‬: ‫المصمم‬

‫ساعة رملية مصنوعة من االسمنت المطحون من الجدار‬ .‫العازل‬

Sublime landscapes, tranquil urban scenes, frolicking children; who would associate these images with Palestine? Annelys de Vet, in collaboration with artist Khaled Hourani, invited Palestinian artists, photographers and designers to map their country as they see it. Given their closeness to the subject, this has resulted in unconventional, very human impressions of the landscape and the architecture, the cuisine, the music and the poetry of thought and expression. The drawings, photographs, maps and narratives made for this atlas reveal individual life experiences. The contributions give an entirely different angle on a nation in occupied territory. In this subjective atlas it is the Palestinians themselves who show the disarming reverse side of the black-and-white image generally resorted to by the media.

‫بالتعاون مع خالد حوراني‬ ‫مانوفكترر‬ ‫انليس ديفيت‬ : ‫تصميم‬ .2007 ‫ ناشيرين‬010 .‫واألكاديمية الدولية للفنون في فلسطين‬

‫ أطفال‬،‫ مشاهد هادئة للمدن‬،‫مناظر طبيعية سامية‬ ‫ من الذي يربط هذه الصور لفلسطين؟‬،‫ترقص فرحا‬ ‫بالتعاون مع‬ ‫مانوفكترر‬ ‫انليس ديفيت‬ ‫دعت‬ ‫خالد حوراني عدة فنانين و مصورين و‬ ‫الفنان‬ ‫لرسم خريطة بالدهم كما‬ ‫فلسطينيين‬ ‫مصممين‬ ً ‫نظرا لقربهم لهذا الموضوع أدى إلى خلق‬ .‫يرونها‬

‫عن المناظر الطبيعية‬ ‫إنسانية غير تقليدية‬ ‫انطباعات‬ ‫ والموسيقى و‬، ‫المطبخ‬ ،‫الهندسة المعمارية‬، ‫ والصور والخرائط و‬، ‫الرسومات‬ .‫الشعر الفكر والتعبير‬ ،‫تكشف عن تجارب حياة فردية‬ ‫الروايات التي نتجت‬ ‫ يظهر‬.‫تعطي صورة مختلفة كليا لبلد محتل‬ ‫كما أنها‬ ‫هذا األطلس‬ ‫الفلسطينيون بأنفسهم من خالل‬ ‫الموضوعي جانب أخر معاكس للصورة المتواجدة في‬ .‫وسائل اإلعالم‬

DISARMING DESIGN create-SHOP REPORT September 2012 and october 2013 createshops have been organized by the International Academy of Art Palestine and the Sandberg Instituut Amsterdam. Palestinian designers, artists, students and Amsterdam based Design master students worked from Ramallah and Bethlehem, to develop prototypes for the new collection of products. It resulted in vibrant, unpredictable and very fruitful weeks. In the underneath article you can read about the experiences of the create-shop that took place in September 2012. Annelys de Vet, 2012

You have to love what you do, and not do what you love

slightly adjusted) objects. We underline that each product should somehow reflect upon the current situation so that each design will tell a story. We also challenge the participants to come up with alternative titles for the project, since there are different opinions about the impact of the current one.

The aim of the create-shop is to develop several prototypes that will be exhibited in November during the Qalandia International Art Biennial*. After this we will research which products can be taken into production to sell the coming years through a mobile design shop and an on-line magazine. Khaled stresses that even though the project has a focus on crafts, local manufactors and businesses, the essence of this experience is artistic, innovative and creative. It aims to evoke new ideas and designs, which will strengthen the relationships between artists, craftsmen and businesses, introducing a new generation in the world of Palestinian artistic culture.

Sunday 2nd September The passport control employee at the Ben Gurion (IL) airport asks us where we’re planning to go. The answer ‘Ramallah’ causes us a long delay with questions and baggage checks. The Palestinian taxi-driver is patient, waits two hours and finally brings us to Ramallah where DEVISION LINES we receive a very warm welcome.

Tuesday 4th September Driving from Ramallah to Hebron would Artist and great host Majd Abdel Hamid is donormally take one hour, but since Palestiniing the research and production of the project, ans in the West Bank are not allowed to drive and today he shows us around. Together with through Jerusalem we have to make a long the Sandberg master students Hannes Berdetour which takes at least two hours. nard, Martina Petrelli and Donna Verheijden When we arrive at the Hebron Glass & we walk pass a remarkable shoe-shop and stop Ceramics Factory we are invited to work with when Hannes gets excited about the typograthe craftsmen. We blow our own glass experphy of the facade. iments, develop designs for cups and plates, Masri – which means ‘Egyptian’ in Arab – is including one with drawings of everyday a shoe shop that hasn’t changed since it was moments. established in the sixties. The owner speaks We follow our tour to the Hirbawi Textile FacArab, English, Spanish and French and used to tory, the only factory in Palestine making keffihave a shoe factory with at least 25 employees. yehs – the iconic patterned scarf. Although the But he can’t find people anymore who love factory was closed a few years ago, due to the to make shoes. As a comment to his next gener- competitive cheap Chinese low quality copies ation he states: “But you have to love what you that dominated the market – now the producdo, and not do what you love.” tion is rising again and they make around 100 scarves a day. Compared to the 600 they were making on a daily base it’s not so much, but at least the factory with its employees is doing reasonable business.

In the old city we pass an humiliating checkpoint to visit two Palestinian potteries that are still located on the road that has become a division line. Officially citizens of the West Bank are not allowed to visit them, unless the Palestinian owner can tell the soldier at the checkpoint that he knows the visitors. We can cross the division to receive a very warm welcome in the Oriental Handmade Pottery Factory. The owner Khaled Fakhori shows us how he makes vases and allows the participants to try their hand – which is of course more complicated then expected. We also discuss Maher Shaheen’s idea to develop ceramics with – possibly annoying – division lines in it. These ceramics would reflect the situation in Hebron by being divided in two sections – for instance a coffee cup with a little wall inside. Khaled is exited about the idea and will experiment with it the coming days.

find one. When we leave Majd sees friends on the street and walks to them. When he comes back he says exited that he found a stone: his friend is willing to give his.

Tailor Kamel Salous in his workshop Starts Fashion working on the folding method of the Keffiyeh Night Dress.

Closed shops in Hebron.

gemstones Wednesday 5th September In the morning the Sandberg students give small presentations with assignments to the bachelor students of the Academy. Hannes Bernard presents his thoughts on ‘post liberated graphic design’ – images that haven’t been made by someone educated as a designer, but that become landmarks of a colloquial visual language. He asks the students to collect more of these examples and tell him why they think it’s good or bad design. Donna Verheijden invites the students to make one-minute videos about a place of which they have a strong memory. Martina Petrelli wants to collect stories for imaginary films that have to be represented by one image as a film-still. Next Wednesday the results will be presented.

Together we discuss the different ideas of the participants. Wafe, an engineer participating in the create-shop, will investigate making hand blown glasses for beer and wine.

Those can become beautiful tableware that also reveal the importance of the Palestinian beer and wine industry. Another participant presents the idea of making a shower curtain with an image of the wall on it, the others speculate whether this work would celebrate the wall or not. An international Danish art student says that for her it, once in her home, it would be a strong anti-wall symbol. A long discussion arises when one person explains how he has been thinking about Palestinian products to finally realize that he, as a current Palestinian citizen is the real product. He feels that he is being used as an object both by the occupation and by the Palestinian real estate investors who demolish the old houses to change them into multi-storey buildings. I get a penetrating insight of how different people ‘live the occupation’.

We pass by tailor Kamel Salous from Stars Fashion and check with him if he can make a simple, but elegant dress out of the keffiyeh we brought with us from the Hirbawi Textile Factory. The tailor is willing to do it. Majd adds advices how to fold the scarf in order to keep the keffiyeh “intact”.

LIVING THE OCCUPATION

Thursday 6th September At 9.30am we are gathering at the Academy to travel to Nablus for a visit to a soap factory and a tile industry. Unfortunately there are difficulties since the road from Ramallah to Nablus is closed because of demonstrations. There are strikes against the raising food and gas prices.

I learn how the Palestinian economy is locked to the Israeli economy; when they raise their taxes, Palestine has to follow since all import and export goes through Israel, including the taxes. But the Palestinian authority is broke, prices have been rising over the last two years to an unsustainable level, taxes have been doubled and the income of the citizens has only decreased.

We can’t leave the city so we stay in Ramallah for the day. Together with Hannes I visit the warm and friendly shoemaker Abu Ameed from the Rahala shoe shop – which means ‘traveler’ in Arab. In his workshop we explain our project and Hannes has an idea about one of the Rahala shoe designs in which he would like to include special embroidery and a stitched label. The shoemaker calls a lady who makes embroidery and she will come to the workshop this Monday. We move to his shoe shop where we get a delicious Arab coffee Mahmoud Almasri, owner of “Masri Shoes”, in his shop. and Imad promises us that he will make the samples next week. a new generation Walking back to the Academy I pass Manara Monday 3rd September square and observe the demonstrators. There Up: weaver Abid Keraki next to the machines that are especially made All the participants of the create-shop gather are not too many, they are not violent, but they for keffiyehs, and can only be used for this process. at the International Academy of Art. There are Down: brainstorming possibilities for a keffiyeh. are able to stop all the cars and occupy the bachelor students from the art school, as well square. The traffic is a chaos, cars and taxis toot as many professional artists and designers.

In the afternoon we visit the old city of their horns, the police seems very kind and The director Khaled Hourani, artist Majd Abdel Hebron. We walk through what used to be a passers-by are smiling. But chaos it is.

Hamid and myself give a presentation about very lively souk. The centre once had around

the aims of the project. We explain how we 23 000 Arab inhabitants, but since the early We then visit the jewelry shop Tashikil. The Arriving at the Academy Majd tells that it’s not want to develop products in collaboration eighties Israeli settlers have (illegally) moved owners, Salma and Hiam show us their pieces. even certain if we will be able to reach Bethlewith different craftsmen. We want to use as in. Currently there are 400 settlers living here Salma explains how she uses old Palestinian hem on Saturday and Nablus on Sunday, since much existing production processes and Pales- who are ‘protected’ by approximately 2 000 embroidery to make modern jewelry. She also the demonstrations are increasing and the tinian resources as possible to develop new (or Israeli soldiers. We see several of these soldiers talks about her mother and about the type of demonstrators are persuading all the shops walking around holding huge firearms in embroidery she makes. By making jewelry this and workshops to close down in solidarity. *Qalandiya International (QI) to engage the local public in front of them. way she reflects upon the Palestinian heritage.

Abu Ameed from the Rahala shoe shop in his workshop working on is a biennial event that takes programs that are not straitjack Today no more than 3.000 Arabs have manWe try to find out what other materials for the his self designed shoes. place across Palestinian cities, eted by realpolitik, and to allow towns, and villages. It focuses them to look at art in a more aged to stay living in their houses, unprotectnecklaces are local, but since gemstones or on exhibiting contemporary imaginative and open manner. It ed by any authority.

The majority of the shops corals don’t exist in the West Bank, the stones Palestinian and international is an attempt to join forces and art, highlighting valuable archiresources and form links across are closed because it has been made impossishe uses are imported. An Arab conversatectural sites, and includes talks, a fragmented geography; a take ble for the owners to maintain their business- tion follows, which Majd translates later on walks and performances. on unity.

QI, in its first take, is a collabThe QI program encompasses a es. The Palestinian police are not allowed to explaining that the most precious stones in oration between the Jerusalem diversity of newly commissioned enter the old city, if they try they are arrested Palestine are actually the ones that prisoners Show and the Riwaq Biennale, as projects and presentations well as other Palestinian cultural as various as the institutions and put into jail by the Israeli military author- smuggle from the jails and take home. Often institutions, in an attempt to involved, it is inclusive rather ities. Many of the streets in the old city are they are beautifully decorated or crafted into pool resources and work than exclusive, interdisciplinary, covered with wired textiles, in order to protect a little toy as presents for their family. Salma collectively towards showcasing and open allowing engagement, and promoting contemporary and even implication. the people from stones thrown down from says that she is willing to design and make a culture in Palestine, locally and above by fanatic settlers. necklace with such a stone, if we are able to internationally. It is an attempt

Ramallah. Annelys de Vet, 2013

Over lunch we get an insight in how Majd is living the occupation and what he needs to deal with on a daily basis. We’re left in silence.

Majd also lightens his story with humour, which allows us to carry on and we work on our sketches and make appointments for the next days.

Demonstrators at Manara Square.

FAIRY LIKE INDUSTRIES Saturday 8th September Unlike the last couple of days, there are no strikes planned or demonstrations, so we can get to Nablus by mini-bus. We drive north of Ramallah through gorgeous landscapes with more vegetation than we saw on the south side last week. Palestinian villages are built mostly in valleys, with stones from the Hebron area.

The architecture fits the landscape, as if they gently embrace each other. This is in strong contrast with the gated Israeli settlements located on the top of the hills, where the houses seem to be ordered from an international catalogue.

In Nablus we visit the flagstone factory Jalal Aslan. It’s one of few traditional tile factories still active in the region. Many of the designs are fixed to the walls of the buildings, a great example of how the interior reflects on the exterior. All concrete tiles are made by hand in the same way, piece by piece. The owner, whose grandfather founded the factory almost 90 years ago, invites us into a separate room where one of the work men brings us fresh Khafeh, a famous cheese pastry from Nablus soaked in sweet syrup. I am thrilled at how delicious it is.

Entering the workshop we are all amazed by the craftsmen. For many of us it’s the first time that we understand how these tiles , that we have seen so often, are actually made. A copper cliché with different compartments is put in a frame. Into each shape a colored concrete substance is added. The more detailed the pattern, the more effort this takes. The cliché is then taken out and a layer of thinly crushed stone is put on top with a sieve, followed by a layer of cement. A stone is put on top of the mixture, which is then compressed by a 15 tons pressure. The tile becomes one single piece, made up of compressed pigments, sand and concrete. After 24 hours of drying it’s ready to be used, forever.

We make a test tile and the owner entertains us by writing Majd’s name. Instead of a cliché now the colored concrete is used as ‘drip paint’, which results in sensitive and expressive line work. Create-shop participants are invited to come back to the factory in the next days to experiment with their own designs and ideas.

Up: Majd Abdel Hamid holding the just purchased tiles.

Down: Group photo with the owner of Jalal Aslan in the middle.

The owner suggests we take a group photo and we gather around him. He then walks the whole group to the soap factory that we want to visit. We have to hurry because they’re closed in the afternoon. Nablus is a morning city. All workshops close early, probably because of the heat – that today reaches approximately 35°C. Nablus used to have over 30 soap factories a century ago, providing soap for all of Palestine.

Now only two factories are left. We visit the Toukan Soap Factory, which is the cleanest and most fairy-like industry I have ever seen. That’s not just because of the lightness and fragrance of the soap, but because of the scarce use of tools, the precise use of resources and the incredible skills of the workers. Spreading the soap mixture, stamping each soap, cutting, drying and finally packaging them in paper; all is done by hand. It’s highly skilled manual labour, which we almost can’t follow with our eyes. Magic.

On our way back to the city we meet a salesman on the street with a car of covered fresh bread. He smiles and asks us how we are doing.

Then he tells in perfect English that he actually has a degree in business and engineering, but that there is no work in this country. And that’s why he’s selling bread.

The streets are remarkably empty since there is a full day of strikes involving taxi-drivers and public transport. Seeing an opportunity, Majd set up an action to clean the streets from the burned tires, starting with the Al Quds street. He invites all his friends and friends of friends through Facebook. Many of them join to help and traces of black coal remain on Majd’ feet and fingers the next days.

old news from palestine

Salesman on the street with a car of covered fresh bread.

Over lunch we talk with the Sandberg students Martina and Donna about the products that they’re developing and their experiences so far with being in Palestine for the first time.

They are having an incredible time and are deeply moved by the different encounters they have had – although they often feel helpless and frustrated not to be able to do anything to change the situation. On the other side they have never felt so safe compared to anywhere else in the world and are very intrigued about the nightlife in Ramallah.

I also talk with recently graduated psychologist Layaly about her proposal to make a CD of the sounds of Ramallah. She has recorded several and we listen to them. Layaly’s Russian-born mother joins us and suggests that the sounds of the weddings in Ramallah should definitely be included, because there are so many of them. Layaly agrees and tells us that she often ends up on at a wedding where she hardly knows the bride and groom, last Friday her father even found himself at the Up: after the soap has been spread and dried on the ground, each wrong wedding entirely. piece is stamped and then cut by hand.

In the evening Rudy and I visited the deDown: Workman packing soaps with magic speed. signer and engineer Wafa Meri. His studio is like a magical box where he conjures up for In the afternoon we take a walk through the us a series of beautiful prototypes that he has old city of Nablus. Majd warns us that if we developed for a previous project. Handwoven don’t have a guide we will get lost. And this is carpets, handblown lamps with glass from Heexactly what happens. We ask a passer-by to guide us and immediately we are shown path bron, braided baskets made out of the young branches of the olive tree and more. The idea through an almost illusionistic labyrinth of houses, streets, people, small shops and orien- arises of making a bedroom collection for the Disarming-Design-project with among other tal smells. We encounter many work places of carpenters, smiths, builders, tailors and more. things a pillow-case with embroidered edges, a bedside light and a carpet. In addition Wafa Each one of them is a treasure within their small scale and personal traces. These kind of proposes to design a set of handblown glasses for Palestinian alcoholic drinks like Tayshops have disappeared in the West. Either to beh-beer, wine and araq (a traditional spirit become bankrupt or commercialised, move to industrial zones or disappear to low income made with aniseed). countries. Here in Nablus it’s enlightening to THE LAND OF MILK AND HONEY see so many of them embedded in daily life.

Monday 10th September They offer a close relationship with the makWafa has introduced us to the remarkable beeing of things, a relation to the material and keeper Saad Dagher, who we visit at his nursery production processes. and plant shop next to the center of Ramallah.

Saad tells us the story of professional beekeeping in Palestine and how he has managed to maintain his hives through the years. During the second Intifada most roads were blocked and he wasn’t able to visit his hives for more then six months and as a result the majority of his colonies didn’t survive. Since then Saad has only 4 to 5 colonies left.

Beekeepers in Palestine used to move their colonies (transhumance) at least three times a year; from the lower Jordan Valley in early spring where the first flowers would blossom, “Moving” typography on the grave of Mahmoud Darwish later to the hillside and finally to the Ramallah region for summer. In that way the bees would safer then ever collect nectar throughout the seasons and Sunday 9th September each hive would provide 20 to 25 kilos of honey Sunday is apparently not a good day to visit per year. Today the occupation and the checkBethlehem as it will be crowded with tourists points make it impossible for beekeepers to and the Christian workmen have a day off. So move around with their colonies, so they stay for us it will be a working day, and everybody in one place. For Saad the best harvest now is develops their ideas and prototypes. approximately 5 kilos of honey per hive per Together with Dutch artist Rudy Luijters, I year. visit the just opened Mahmoud Darwish mu Saad introduced us to his son Montaser Saad, seum, the most well known Palestinian poet who is in charge of the hives now and will and author. His grave is at the center point of continue the family’s beekeeping. Rudy, who is the site, and says in Arab and English: “From also a beekeeper, offers them a pot of his own Palestine.. to Mahmoud Darwish”. The word honey whose flavour is very much appreciated.

Palestine is laid out in a remarkable way, as if In return, the next day we receive a pot of their the letters are trapped in a melancholic dance. delicious honey. We would like to include it Or maybe it’s a reflection on the logics of the in the Disarming-design-collection as ‘Honey Arab alphabet to the Roman typeface. from the land of milk and honey’.

Tuesday 11th September There have been demonstrations and fights in Hebron and Nablus. We are advised not to travel to the workshops there today. So we settle at the Academy and have individual talks with the participants.

Taqi is working on kites from used material and Palestinian newspapers. As a child he used to make many of them, like most of the local children that were meant to be sold. This was his way to save money to buy a bicycle. Maher is working on a set of dice from a variety of colored stones from different regions of Palestine. Another proposal is to make a child-size version of the colored mobile cars that street vendors use, called Arabia. Artist Ahmed has made a set of coffee tables and bowls from old newspapers and he brings the prototypes at the Academy. They are beautiful and are literally made from old news from Palestine. A similar title for these objects seems nice.

We’re visiting the shoemaker and designer Abu Ameed from Rahala shoes again. He’s working overtime making the shoes that Hannes has proposed with a special designed embroidery. In addition we’ve ordered some additional pairs to bring home. These shoes are really too special to be true and are actually made by hand on my feet. From the shoes Abu is wearing we order an extra pair for a friend, a museum director in London.

Testing new patterns for traditional tiles.

BACK AND FORTH Wednesday 12th September A strike for buses and taxis is announced at 2pm, which means that this morning is our last chance to visit the workshops outside Ramallah. Donna, Rudy and Majd go to Nablus to experiment with some new ideas for tile designs. Donna collected patterns of different facades of buildings to translate into new tile designs, Rudy makes a test for a dotted tile and Majd creates a drawing of a television by dripping the colored concrete onto the surface of the tile.

Eyad in his workshop, making a camel out of olive wood.

I take an early taxi to go to the Bethlehem Fair Trade Artisans to talk further about our collaboration. With the director of BFTA, Suzan Sahori I drive to visit some very talented woodcutters in a village nearby Bethlehem.

The small workshop is located at the ground floor of the house and a man and his two sons are working there. One of their current projects is a very detailed and highly crafted door for a church in Bethlehem with a relief of Jesus opening a door. This door stands in the workshop as an ongoing work.

In general their objects are small wooden animals for the many souvenir shops, who don’t pay them reasonable prices for their work. But they have few opportunities for their products.

We talk about developing wooden yellow-cab toys and a collection of animals that are currently living in the Qualqilya Zoo. They like the idea and all they need are photos of the animals. I promise to organize it, so that they will be able to make the animals in the upcoming weeks.

Unfortunately because of the announced strikes, we have to hurry up to get back before 2pm in Ramallah. Usually driving from Bethlehem to Ramallah would take maximum 30 minutes, but since the citizens of the West Bank may not travel through Jerusalem we have to make a detour of more then an hour.

A big demonstration is planned at 5pm at Manara Square in the city center. Donna and Martina want to film and document it and are invited to join Majd at a friend’s place on a balcony at the square. They start interviewing Majd and his friends, and the discussion develops into a much wider reflection about Palestine’s goals and European parallels. I stay at the hotel and follow the demonstration as it passes outside, back and forth.

Demonstrators passing Isral Street, Ramallah.

final presentation prototypes Thursday 13th September This afternoon we have the final presentation of the prototypes developed during the create-shop. Everything is displayed at the Academy and each participant explains their ideas and proposals. Art Academy director Khaled Hourani is excited about all the different ideas and provides the participants with constructive feedback.

Sam Bahour is a managing partner of AIM (Applied Information Management) and develops Palestinian businesses. He is invited Discussing the results of the createshop at the International Academy of Art Palestine.

as an external guest to give his feedback on the project. He says that he is amazed, even “shocked” by the high quality of the works.

He emphasises that it is the very first time that there will be a collection of contemporary products from Palestine. Of course some products already exist, but they have never been presented in a context in the way we have done. For example, our design label will include a kitchen, bedroom, garden and interior collection, and even toys! Presenting the products this way provides a very strong and meaningful narrative about Palestinian culture and economy.

security madam, security Friday 14th September Even though Friday is normally a holiday, Abu Ameed from Rahallah Shoes is working hard in his workshop. Hannes ordered an extra copy of shoes and the one pair for our friend is not finished yet. Tonight we’re leaving and the shoes need to be ready by then. I visit Abu and he asks what time we will leave exactly. He is relieved when we confirm that we’ll leave just after midnight. Around 11 pm he calls me to say that the shoes are ready and that his son will pick us up from the hotel to bring us to the bar Beit Aneeseh where Abu is. He has a remarkable son with a delightful warm character, who drives very well even though he is only 17 and has not yet got his drivers license.

At Beit Aneeseh we receive the shoes that are truly extraordinary. We order araq to share, and Hannes joins us, excited about his unique pair of shoes. We toast to Ramallah and its heart warming people. Abu’s son offers us a lift back to our hotel, where we arrive just in time for the taxi which is going to bring us to Ben Gurion airport.

At the airport we meet several moody airport employees. As the initiator of this trip I’m asked all kinds of questions by one of them. When I mention that we’ve been in Ramallah this woman glances at me sharply and asks “What did you do there?” I explain our create-shop at the Academy of Art and she wants to know why we would organize such a thing ‘there’, avoiding the word Palestine. I reply, “Because it’s a very good academy and there are many craftsmen in the area.” She looks as if she can’t believe it.

“Yes,” I continue, “there are fabulous pottery makers, glass blowers, tile manufacturers, carpenters, tailors, embroiderers, carpet makers, shoemakers, designers and many more very talented people.” The uniformed employee raises her eyebrows in disbelief and attaches suspicious stickers on all our passports.

We continue the security check and from each of us our suitcase needs to be opened and checked in detail. In my suitcase they find a pot of honey that they consider suspicious. Gruffly they demand that I explain what the pot is and where I got it from. I explain that I bought it in Ramallah and they ask firmly if I am really confident it is honey. “And are you sure nobody has given this to you?” asks a guard, loudly emphasising each word. I ask why she wants to know all this. “Prevention of terrorism.” The lady double checks the pot with a colleague and finally I am allowed to take it with us. Her face remains distrustful.

Another suitcase contains many books which are considered suspicious. The customs employee lights up when she finds the guide ‘Palestine and the Palestinians’ — as if she found a gun. “What is this?” she snarls. “A guide about Palestinian culture,” we respond. “Culture???” she says in disgust and continues browsing through the book.

All kinds of personal questions follow about our relationship, how we know each other, who we know in Ramallah, how we got to know them and many more unpleasant inquiries. We try to find out why they need to know this. The answer never changes: “Security madam, security.”

After two weeks of enlightening hospitality, warm hearted people and mutual respect, we couldn’t have imagined a more schizophrenic departure.

Check the website for the latest information, prices and purchases www.disarmingdesign.ps or contact us at DEVET, bureau for graphic research and cultural design disarming@bureaudevet.be Credits Create shops 1—14 September 2012 30 September – 13 october 2013 Hosted and organized by International Academy of Art Palestine Bethlehem Fairtrade Artisans (2013) Concept & development Annelys de Vet IAAP (Khaled Hourani) Production Majd Abdel Hamid (IAAP) Moniek Driesse (DEVET) Artistic advisers Majd Abdel Hamid, Khaled Hourani, Rudy Luijters, Annelys de Vet Business development Al Markaz for Development & Marketing Consultancies (Ahmad M. Uwaidat) Participating designers & artists Majd Abdel Hamid (PS) Ali Aldeek (PS) Taqi Aldeen (PS) Abu Ameed (PS) Amer Amin (PS) Ayed Arafah (PS) Joseph Audeh (PS) Hamdan Bahbouh (PS) Hannes Bernard (ZA) Tessel Brühl (NL) Hasan Draghmeh (PS) Moniek Driesse (NL) Angelica Falkeling (SE) Layaly Hamayel (PS) Nadya Hazbunova (PS) Dima Hourani (PS) Khaled Hourani (PS) Diala Isid (PS) Khaled Jarrar (PS) Dina Khalil (PS) Rudy Luijters (NL) Wafa Meri (PS) Ahmad Nassar (PS)

Background In 2007 the International Academy of Arts Palestine, designer Annelys de Vet and ICCO (Dutch inter-church organization for development cooperation) organized a workshop to develop the awarded ‘Subjective Atlas of Palestine’. This publication has created a different perspective about Palestine and its people, causing vibrant debates and visual dialogues on Palestinian identity. In 2012 the International Academy of Arts Palestine, Annelys de Vet and the Sandberg Instituut Amsterdam embarked on a new project under the title: Disarming Design from Palestine, generously supported

by ICCO, Unesco and the creative industries fund NL. Design collection Disarming design from Palestine is a growing collection of useful and narrative products that reflect upon the Palestinian reality.

Artists and designers collaborate with craftsmen to make contemporary products out of existing production processes.

The collection as a whole underlines the creative, poetic and intellectual potential of Palestinian artists, designers, entrepreneurs and craftsmen. The products will be represented and distributed by the new design-label with a traveling design store and a web shop.

Motivation Palestinian crafts have always represented Palestine’s social, political and cultural identity locally and internationally. Various products like the Palestinian keffiyeh, embroidery and ceramics stand out as strong symbols. Promoting and developing design and handcrafts can therefore be

Shameer Nyland Ali (NO) Martina Petrelli (IT) Hosni Radwan (PS) Sawsan Rishmawi (PS) Awatef Romeyeh (PS) Montaser Saad (PS) Tariq Salsa (PS) Maher Shaheen (PS) Mamon Shreteh (PS) Tashakil Jewelry Design (PS) Mark-Jan van Tellingen (NL) Jaroslav Toussaint (DE) Tommi Vasko (FI) Donna Verheijden (NL) Annelys de Vet (NL) Participating manufacturers Abu Muath, Ramallah Ahmad Nassar, Ramallah Al-Arja Textile, Beit Jala Bethlehem Fair Trade Artisans, Bethlehem Iyad Sway, Beit Jala Faraj Kasbary, Bethlehem Flagstone factory Jalal Aslan, Nablus Gasman Advertising, Ramallah Hanni Awad, Beit Jala Hebron Glass & Ceramics Factory Hirbawi Textile Factory, Hebron Ma’an lil-Hayat, Beit Sahour Maher Shaheen, Hebron Majed Abu Farha, Beit Sahour Masri Shoes, Ramallah Miss Rishmawi, Beit Sahour Montaser Saad, Ramallah Nursery of Saad Dagher, Ramallah Oriental Handmade Pottery Factory, Hebron Rahala Shoes, Ramallah Saed Abedallah, Bethlehem Sawsan Rishmawi, Beit Sahour Star Fashion, Ramallah Tashikil Jewelry Design, Ramallah Toukan Soap Factory, Nablus Ushama Boulos, Bethlehem Website DEVET (Joana Rodrigues, intern)

English – Arab translations Majd Abdel Hamid Dima Hourani Photography Mamon Ashreteh, Moniek Driesse, Dima Khalil, Shameer Nyland Ali, Martina Petrelli, Mark Jan van Tellingen, Jaroslav Toussaint, Tommi Vasko, Donna Verheijden, Annelys de Vet Typefaces Big Vesta Arabic (Gerard Unger & Nadine Chahine) Capitolium Head (Gerard Unger) Wilma (Enric Jardi) Printer Rodi Media (NL) Print run 4,000 © All rights reserved to the Palestinians

Partners

International Academy of Art Palestine

Bethlehem Fairtrade Artisans

Sandberg Instituut Amsterdam Generously supported by

ICCO (Dutch inter-church organization for development cooperation)

DISARMING NEWSPAPER Concept, editing, design DEVET (Annelys de Vet, Moniek Driesse) Arabic typography Dima Hourani

UNESCO (2012)

English proof reading Texty.nl (product texts) Kate McMahon (report 2012) Creative Industries Fund NL (2013)

important; not only from the perspective of cultural identity but also from a business and marketing point of view. Investigating the creative potential of its people, the design label Disarming Design from Palestine aims to create dialogue, networks, relationships and empower new models of artistic practices and handcrafts. The interndisciplinary approach can feed new ideas for crafts production, avoiding the traditional – and often conventional – representations of handcrafts. When this development of traditional craftsmanship can progress to new markets outside the beaten tracks, it will export a cultural pride which tells the Palestinian story differently and to new audiences.

Although the project has a focus on crafts and local manufacturers and businesses, the essence of this experience is artistic, innovative and creative. It aims to evoke new ideas and designs, which will strengthen the relationships between artists, craftsmen and entrepreneurs, introducing a new generation of Palestinian artistic culture to the international discourse.

Create-shops Students, artists and designers from Palestine and abroad engage in an enriching design discourse with artisans, small emerging businesses during the so called create-shops.

This coined term refers to a collaborative process with high emphasis on creativity, collaboration, production and quality.

Participants experiment and develop ideas collectively, engage in discussions and are introduced to different Palestinian craft workshops. The design label develops, distributes and promotes the commodities.

First create-shop in 2012 In summer 2012, and as a start up to the project, a meeting to conduct initial research was held in Ramallah. The initial research was followed by a tour to Hebron and Bethlehem to investigate and get acquainted with local industries and crafts. In September 2012, a two weeks create-shop was hosted and organized by the International Academy of Art Palestine (IAAP) and held in Ramallah. It was attended by students from IAAP, Sandberg Instituut Amsterdam and Palestinian designers, artists and artisans.

The workshop was orchestrated to introduce both local and international participants to existing crafts, and build bridges of collaboration through a cultural think tank and a collective visual and conceptual development of projects.

Second Edition in 2013 In autumn 2013 a second create-shop hosted by the Bethlehem Fair Trade Artisans (BFTA) was organized by the International Academy of Art Palestine (IAAP). Again it was attended by students from IAAP, Sandberg Instituut Amsterdam and Palestinian designers, artists and artisans. New projects were developed and product ideas of the former create-shop were refined, to be able to launch the betaversion of the web shop in december 2013.

Presentations The first presentation of the project took place during Qalandia International 2012, the first art biennial of Palestine. During the Design triennial ‘Design&Conflict’ in Genk (B) the project has been presented for the first time in Europe, which also included the launch of the (bèta version of the) web shop www.disarmingdesign.ps

Beit Sahour. Annelys de Vet, 2013