Your feedback is important to us!
We invite all our readers to share with us their views and comments about this article.
Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The Daily Star accepts no responsibility for the content of comment(s), including, without limitation, any error, omission or inaccuracy therein. Please note that your email address will NOT appear on the site.
Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (http://bit.ly/vDisqus)
Returning to Gaza from Paris, Batniji would busy himself cleaning up his studio there, only to find that the territory's poverty and imminent violence made work impossible.As the figurative pencil shavings accumulated, it dawned on the artist that his peculiar practice of burning through idleness left material traces. It's been restaged for "Customs Made: Quotidian Practices & Everyday Rituals," a group exhibition curated by Nat Muller and Livia Alexander at Sharjah's Maraya Art Center.Batniji's work is mounted in a stagelike false room within Maraya's main hall. Formally speaking, the two works that speak to one another most naturally are "Hannoun," the spatial epicenter of the show, and "FIRE/CAST/DRAW" (2013), a Rayyane Tabet work whose thematic tie to Batniji's is ritual – in this case both the quotidian practice of creating the piece and the supernatural premise it evokes.While reducing the tragedy of human displacement to the status of mundane practice, Yassin's series is among several works here that speak less explicitly to the matter of temporality than the theme of childhood, common to Tabet's and Batniji's works.
Democratizing the art exhibition
Metropolis wasn’t built in a day
On the aesthetics of extinction
FOLLOW THIS ARTICLE