작업 소개

서울시립미술관에서 진행된 전시 <고향> 아티스트 인터뷰 및 홍보영상을 기획, 제작하였다

미술은 약속되거나 그리고 약속되지 않는 시간을 의미 있게 엮을 수 있는 새로운 방식을 찾아 나섭니다.
이번 전시에서는 중동이라는 지역에서 발생한 여러 미술적 활동들을 살펴보고,
한국이라는 지역에서 상상 가능한 교감에 참여하기를 독려하며,
서로를 관계 지을 실마리를 찾아보고자 합니다.

– 서울시립미술관 홈페이지 전시소개글

프로젝트 내용

이번 전시는 지역미술의 정체성을 다루는 서울시립미술관 비서구권 미술전시 세 번째 시리즈로 2015년 아프리카, 2017년 라틴에 이어 중동 지역의 현대미술을 살펴봅니다. 1970년대 부터 원전을 비롯한 대규모 건설 사업을 위해 중동으로 진출 했던 한국의 여러 기업들에 대한 기억, 각종 뉴스를 통해서만 접하는 중동의 복잡한 문제들, 최근 난민으로 건너온 중동의 사람들에 대한 사회적 편견과 두려움 등 우선적으로 떠오르는 인상들을 생각해보면, 사실 우리는 중동을 잘 알지 못하면서 단편적인 정보를 통해 만들어놓은 선입견만으로 중동을 잘 알고 있다고 착각하고 있을지 모릅니다. 이번 전시는 서울에서는 여전히 낯설게 여겨지는 지리적 의미에서 중동과 아랍이라는 이름의 문화권에 속하는 미술에 대해 생각해보고, 우리도 모르는 사이에 추상적으로만 인식되어버린 중동과 아랍의 세계가 가진 특정성을 다시 주목하여, 존재하기도 전에 잃어버린 장소감을 복구하는 것을 목표로 합니다.

– 서울시립미술관 홈페이지 <고향> 전시소개글

Hi my name is Khadim Ali and I am a visual artist, I was born at the border of Pakistan and Afghanistan, in a little town called Quetta.

Since I am belonging to a family of storyteller, my great grandparents were storytellers, they sang the book called Shanameh, in the context of modern Pakistan and Afghanistan political scenario.

And how the hazaras are going through ongoing persecution in afghanistan and what was the picture of my great grandparents when they were talking about their golden period of Afghanistan.

I am tracing back the history and connecting or bridging with the present history of Afghanistan. The top image is the image when my great grandfathers were talking about afghanistan and the epic stories happening in Kabul.

But when I heard about the political turmoil in Afghanistan, I saw there’s lot of protests in the city where I was growing up, then I went to Afghanistan and I saw how the internationals were involved in war against terror in Afghanistan and also there’s existence of Talleban there, also they’re standing in the field of opium which is the main source of their income.

The project is basically related to the book. and in the math book the problems were ‘if you kill 5 communists our of 10 communists, how many communists are left?’
and in the video I interviewed one of the best teachers of afghanistan who were nominated in the top 10 teachers of the world, and he started the refugee school in Pakistan.

he was also asked us to introduce that book into his school when he was teaching in pakistan. but he refused to teach in that book and now he is leading one of the best school in afghanistan and he is talking about the impact of the book on the young generation who actually went to those school and studied the jihad books.

My name is Raed Ibrahim, I am from Jordan, There I stayed for some time and I did this street signs on the streets of that area, talking to people and trying not to force myself into this society There I stayed for some time and I did this street signs on the streets of that area. So it’s the separation of the non-separated (usually) powers or combines. It talks about left and right, but men and women that was the main topic, and of course I mean the east has yin and yang was very insisted idea. and , specifically these two, I lived in this area for some time.

Of course I interacted with the people, and the hope of those young people were very clear, like the ability to live life and to have this great expectations was clear, in this very poor, limited area and life, they were really able to fly in their minds. There’s this, the back home sign, this is a new sign but it was always in my mind, as if, we’re always looking for a going back to where we should be, to home. And it’s not important to be a physical home, sometimes to where we belong.

My name is Hazem Harb, I’m a palestinian artist, I was born in Gaza city in palestine. Now, I’m using archival photography as a tool into my art, not only archival photography, I also use videos, I do installations, sometimes, it depend always on the concept, so I have different tools to use depending always on the concept on what needs to be (done). My work,

Especially in this work I’m using 4 photographies of Jerusalem, especially from the olives mounts, where this place has been completely changed due to the colonization or the Israeli Occupation to Palestine in general and especially to Jerusalem. In this work I’ve asked some of my friends to do a photography of the olives tree that has been demolished or cut from the israel occupation in Jerusalem, and then I did a copy-paste of that image, as the age-memory of the place. because some of the places have been completely demolished – they don’t exist anymore, so I’m just covering the space with this kind of iconic shapes of the modernism.