Disarming Paper - Catalogue

DISARMING DESIGN FROM PALESTINE

DISARMING DESIGN FROM PALESTINE

for more information and to purchase products visit:

www.disarmingdesign.ps

ورقة مســتقلة، طبعت بمناســبة تقديم مشــروع تصاميم من فلســطين خالل ترينالي التصميم بعنوان "التصميم والصراع"، جينك ، بلجيكا شــتاء ٢٠١٣-٢٠١٤INDEPENDENT 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 is an in-clusive 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 decora-tions, 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 pro-duced 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 interna-tional colleagues. The project aims to catalyze the development of design as a discourse in Palestine.

“We need to have a discussion as a com-munity 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, independ-ent of occupation, as people and as a community.”

The overall objective of the project is to con-tribute to sustainable cultural and economic development in Palestine, through stimulating working relationships between artists, design-ers and manufacturers. The label also investi-gates in the position contemporary designers can take in relation to conflictual situations. It makes use of art and design as powerful tools that allow us to have serious discussions 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.

تصاميم من فلسطيي هي عالمة تصميم شاملة تمثل منتجات فنيه من فلسطين تقدم

رواية بديلة. تتراوح هذه لمنتجات من ساعات رملية تحتوي على اسمنت من جدار الفصل العنصري،

إلى لعبة شطرنج مستحيلة تحتوي على خزانات مياه و أبراج مراقبة، من زينة مطرزة للسيارات إلى

فستان مصنوع من كوفية، ومن مناظر طبيعيه على اوشحة، إلى أقراط على شكل ورق الزيتون.

تقدم هذه المجموعة الناميه من المنتجات على االنترنت و من خالل معرض متنقل*، كمجموعة

تهدف الى تمثيل الثقافة الفلسطينية والواقع الفلسطيني كمان أنها تعكس وظيفة الفن في

حاالت النزاع.

يتم تطوير، تصميم وإنتاج السلع من قبل مصممين معاصرين، فنانين وطالب بالتعاون مع حرفيين و شركات محليه. خالل عدة ورشات تقنية، ينخرط

الفنانين في تصميم مكثف مع شركات ناشئة صغيرة و زمالء دوليين. ويهدف المشروع إلى

تحفيز وتطوير التصميم كحوار في فلسطين.

“كمجتمع نحن في حاجة الى مناقشة نوع الرموز البصرية التي نتبناها، ما

نستخدم وكيف نمثل أنفسنا”، يقول مجد عبد الحميد، مدير اإلنتاج لنزع سالح

التصميم، “نحن بحاجة للتفكير حول محدثتنا البصرية، مستقلين من

االحتالل، كأناس وكمجتمع. “

الهدف العام للمشروع هو المساهمة في التنمية المستدامة الثقافية واالقتصادية في فلسطين، من خالل تحفيز عالقات العمل بين

فنانين و مصممين. بجانب إلى عالمة التصميم، يبحث المشروع وضع ومكانة المصممين المعاصرين

بيما يتعلق في حاالت التناقضة، وذلك ألن الفن والتصميم هي أدوات قوية جدا التي تسمح لنا

بإجراء مناقشات جدية داخل المجتمع حول الحقائق السياسية واالجتماعية والثقافية.

*

تم العرض األول خالل بينالي الفن الفلسطيني قلنديا الدولي ٢٠١٢. وتم تنفيذ هذا المشروع ألول مرة خارج

فلسطين خالل الترينالي الدولي السابع ) الصراع والتصميم( في بلجيكا

Suit made out of traditional Bedouin fabric with “Disengagement observer force” label. Design & production: Tommi Vasko & Tessel Brühl

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, construc-

tion 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 em-

bodies 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.

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

زي المراقبين الدوليين لفض االشتباك مصنوع من النسيج الفلسطيني التقليدي ، الذي كثيرا ما يستخدم

في الخيام القامة المهرجانات واللقاءات السياسية و يعمل الزي بمثابة انعكاس رمزي لهذه المناسبات

الخاصة. في الوقت نفسه يمكن مالحظته بوضوح في ظروف مختلفة و متعددة مثال على الطرق

السريعة والمعابر المزدحمة، ومواقع البناء، الساحات، والشواطئ، وحدائق الحيوان أو المناظر الطبيعية. على

عكس ما سبق فان الزي الرسمي لقوة األمم المتحدة لمراقبة فض االشتباك ابيض اللون و محايد- هذا الزي

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

Pho

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ark Jan van

Tellingen

DISENGAGED OBSERVER OUTFIT زي المراقبيــن الدوليين

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

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, cul-

tural 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.

قميص رسمي مصنوع من كوفية بيضاء.المصممين : تومي فاسكو و مارك يان فان تيلينجن

الصانع : مصنع نسيج الحرباوي -الخليل- و فرج كسبري- بيت لحم

القميص األبيض يعتبر جزء مهم من المعايير العالمية لالناقة والذي يعكس لمرتديه الرجل صفات الرجل

الواعي والمهني واالنيق في مختلف االماكن والظروف: التجارية والسياسة، وفي الجامعات، البرامج

الحوارية وفي البيناليات الثقافية أوالحفالت. هذا القميص ' بالنكو ' هو قميص ملون مصنوع من الكوفية

التقليدية البيضاء، والذي رغم صنعه منها ال يعكس معنى ' بالنكو ' . لألسف ، جودة القميص هشة بسبب اآلالت والمواد المتاحة ، وهيمنة المنتج الصيني رخيص

الثمن. ومع ذلك ، فان بالنكو يمنحك سلطة بسبب رمزيته االجتماعية والسياسية ، ولكن في نفس الوقت

فإنه يتطلب السلوك الحذر . ال تفرك .ال ترتديه وهو متسخ . ال تقم بحركات مفاجئة . ال يستعمل معه مبيض.

ال يتم وضعه في النشافة.

Pho

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ark Jan van

Tellingen

BLANCO بالنكو

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

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

Crossing an Israeli checkpoint, every Palestinian

has to present a magnetic card containing person-

al information, finger prints and an eye scan. So

when Nadya Hazbunova passes a barrier, she holds

her finger on a scanner and this tells the soldiers

her whole story. It’s like the renowned Palestinian

poet Mahmoud Darwish wrote in his poem Iden-

tity card: “Record! I am an Arab, and my identity

card is number 50,000, I have eight children,

and the ninth is coming after a summer…”. The

fingerprint design for this t-shirt is made of this

poem. Although it’s hard to read from afar, once

you look close you can see that what seemed to be

a fingerprint is actually much more. The design

is an invitation to the world to look closely at this

story and not judge anything from afar, as nothing

is what it seems.

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

قصيدة الشاعر الفلسطيني الراحل محمود درويش سجل انا عربي مكتوبة على شكل بصمة

من اجل عبور الحواجز االسرائيلية للذهاب الى القدس على كل فلسطيني تقديم بطاقة ممغنطة تحتوي على

معلوماته الشخصية وبصمات االصابع ومسح للعين. في كل مرة تمر نادية حزبنوفا الحاجز االسرائيلي فانها

بمجرد تمرير إصبعها على الماسح الضوئي يتعرف الجنود على معلوماتها كاملة مثل الشاعر الفلسطيني

محمود درويش الذي كتب قصيدته: "سجل انا عربي ورقم بطاقتي خمسون الف واطفالي ثمانية وتاسعهم

سيأتي بعد صيف ". لقد تم تصميم بصمة من كلمات القصيدة. على الرغم من صعوبة قراءة النص من بعيد، بمجرد النظر الى التصميم فانه يبدو وكأنه بصمة لكن

في واقع الحال النص يحتمل أكثر من ذلك بكثير. التصميم هو دعوة للعالم أن للنظر عن كثب بدون حكم

مسبق على أي شيء من بعيد.

Pho

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on

iek Driesse

I AM AN ARAB T-SHIRT سجل أنا عربى

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

This elegant evening gown is made of the iconic

keffiyeh scarf, produced by the Hirbawi factory

in Hebron. Palestine’s last factory that produces

the original scarfs is struggling for its exist-

ence ever since the rise of the copied keffiyehs

manufactured in China. The Keffiyeh Night Dress

pays attention to the traditional design and

measurements. The model of the dress allows the

scarf to remain whole. Wearing this unique piece

on a night out becomes both a political as well as a

fashion statement.

فستان بسيط من كوفية واحدة، بدون قص القماش.المصممين : دونا فيرهايدن ومارتينا بتريلي

الصانع : مصنع نسيج الحرباوي -الخليل- وازياء النجوم -رام ا-لله.

هذا ثوب السهرة األنيق من وشاح الكوفية الشهيرة ، التي ينتجها مصنع الحرباوي في مدينة الخليل.

وهو اخر مصنع فلسطيني ينتج الكوفية الفلسطينية االصلية، ويكافح من أجل بقاءه واستمراريته بعد ظهور

نسخ الكوفية المصنعة في الصين. هذا الفستان يولي اهتماما اللتصميم و القياسات التقليدية. ان تصميم

فستان السهرة يحافظ على الكوفية كوحدة واحدة دون قصها حيث من يرتدي هذه القطعة الفريدة للخروج ليال

يعبر عن موقف سياسي و موقف في الموضة

Pho

to: M

artina Petrelli

KEFFIYEH NIGHT DRESS فستان سهرة من ا لكوفية

Beit Sahour. Tariq Salsa, 2012

DISARMING DESIGN FROM PALESTINE COLLECTION 2012—2013 PAGE 2 تصميم من فلســطين تجميع ٢٠١٢-٢٠١٣ صفحة ٢

Panoramic photos of Palestinian cities printed on silk scarfs. 45 x 170 cm. 2013Designi: 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.

صور بانورامية للمدن الفلسطينية مطبوعة على اوشحة من الحرير. ٤5 × ١7٠ سم. ٢٠١٣تصميم: طارق سلسع انتاج: برينتينغ اونليميتد -هولندا )نماذج(

قد نبدوهذه مجرد صور لمنازل واشجار والبحر والحجارة. ولكن بالنسبة لطارق سلسع تمثل أحالمه بالبقاء في فلسطين. معظم األماكن كان بمقدرته زيارته بإذن من االحتالل: "شعرت بالحيرة بين مشاعر الذل والفرح، وبالرغم من االلم، استمر

بزارة ارضي ". من خالل توقفه عند نقاط التفتيش، ومروره عن المستوطنات والمنازل المسلوبة. رأى مخيمات األطفال، حيث يتم عيش قصص مشابهة لقصته.اشتم روائح و احس بألم ابناء بلده. عاد يجمعالصور بشكل عشوائي، مثل األرض

المتناثرة في أحالمه. ثم طبع بالده على وشاح لدعم رأسه واالحتفاظ بها عالية، ليأخذ األرض في كل مكان يذهب اليه.

EVERYWHERE PALESTINE فلســطين في كل مكان Pho

to: Tariq

Salsa

Keffiyeh with a hole in the black pattern from which an embroi-dered 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 Pales-

tinian 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.

كوفية كرة القدم لمطرزة. القطن ١٣٠ × ١٣٠ سم. ٢٠١٢تصميم: هانس برنارد. صنع: مصنع نسيج الحرباوي والخليل وعواطف رومية

)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

soccer keffiyeh كــرة قدم - الكوفية Pho

to: A

nn

elys de Vet

Keffiyeh pattern made out of fake logos from fashion brands. Cotton silk, 130 x 130 cm. Design: Jaroslav ToussaintProduction: 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 exam-

ple a Che Guevara T-shirt. In Palestine, the keffiyeh

is not part of everyday street fashion. Jaroslav

noticed that many young people are actually wear-

ing big logos from luxury fashion brands on their

clothing, instead. Palestinian textile factories pro-

ducing 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, origi-

nally found and copied in Palestine.

نقشة الكوفية مصنوعة من شعارات وهمية من عالمات تجارية الخاصة باألزياء. حرير والقطن، ١٣٠ × ١٣٠ سم. تصميم: ياروسالف توسان

انتاج : طباعة انلمتيد )نموذج(

بالنسبة للفلسطينيين تعتبر الكوفية رمزا وطنيا للنضال ضد االحتالل. ومع ذلك، فقد أصبحت جزءا

من اإلكسسوارات في الغرب - مجردة من اي معنى سياسي مثل صورة تشي غيفارا على الملبوسات

. في فلسطين الكوفية ليست جزءا من االزياء الشعبية الشبابية في الشارع. فقد الحظ ياروسالف

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

قيمة منتجاتها. ويتكون هذا النمط من الكوفية من مجموعة من مثل هذه الشعارات التي يمكن مالحظتها

في فلسطين.

made in palestine صنع في فلسطين Image: Jaro

slav Tou

ssaint

DISARMING DESIGN FROM PALESTINE COLLECTION 2012—2013 PAGE 3 تصميم من فلســطين تجميع ٢٠١٢-٢٠١٣ صفحة ٣

Hand-knitted necklace with local stone, inserted in the clasp. 30 cm. 2012. Design: Tashakil Jewelry Design & Donna Verheijden. Production: Tashakil Jewelry Design

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 be-

ing crafted and decorated by hand. It becomes the

prisoner’s most valuable possession that carries

memories and stories. The Precious Stone Neck-

lace 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.

قالدة محبوكة يدويًا مع حجر فلسطيني. ٣٠ سم. ٢٠١٢. تصميم: مجوهرات تشاكيل ودونا فيرهيجدن.

صنع: مجوهرات تشاكيل.

فكرة هذه قالدة نتجت من حوار دار بين الفنان مجد عبد الحميد وأصحاب مجوهرات تشاكيل حول تهريب

السجناء الفلسطينيين الهدايا من السجن لعائالتهم، و عادًة ما تكون هذه الهدايا حجارة مزينة يدويًا تم

التقاطها من أرض السجن، تصبح أثمن ممتلكات السجين التي تحمل ذكريات و قصص. قالدة الحجر الثمين هي

قالدة محبوكة يدويًا مستوحاة من قصة السجين، تم وضع الحجر عمدا في الجزء األمامي الذي يفتح ويغلق

الجوهرة لنشر الحكاية.

Pho

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on

na Verh

eijden

PRECIOUS STONES ألحجار الكريمة

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

Shoes have a long tradition as symbols of opposi-

tion across the world – showing one’s sole, point-

ing a shoe and even throwing shoes in opposition.

They are essential for both our comfort and our

need to express ourselves, our tastes and our fan-

cies. They go where we go, and carry with them the

story of where they’ve been. Freedom Shoes are

manufactured by a family business, run by Abu

Ameed. Together with a local embroider, a special

pomegranate edition hi-top sneaker was designed

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.

حذاء حر ، مع قطعة تطريز فلسطيني تصميم: هانس برنارد وأبو العميد

الصانع: أحذية الرحالة، رام الله

األحذية لديها تقليد طويل كرمز للمعارضة في جميع أنحاء العالم و تظهر جليا من خالل رمي األحذية او رفعها

كوسيلة لالعتراض. األحذية من الحاجات و من سبل الراحة واحدى طرق التعبير عن النفس على اختالف

األذواق واألهواء. يذهبون أين نذهب و يرافقوننا كجزء من قصصنا. . يتم تصنيع أحذية الحرية من قبل شركة

عائلية يديرها أبو العميد. بالتعاون مع سيدة تقوم بالتطريز تم تصميم هذا الحذاء من مشتقات لون الرمان

في رام الله. هذا الحذاء يحمل قصة المكان الذي صنع فيه و يطوف معها في جميع أنحاء العالم.

FREEDOM SHOES حذاء الحرية Pho

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artina Petrelli

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)

Nadya Hazbunova: “My beginnings in design

were marked by my determination to bring my

Palestinian heritage into a new level internation-

ally, while raising awareness in regards to the Pal-

estinian 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 .مصمم : نادية حزبنفوا

الصانع : خشب الزيتون - اياد صوي ، بيت جاال / فيلت و النعال - سعيدعبد الله ، األشرطة - كوفية - نادية حزبنوفا ، بيت لحم

نادية حزبنوفا : " اتسمت بدايتي بتصميم المالبس و الحلي باصرار على استحداث التراث الفلسطيني

الى مستوى جديد دوليا و عالميا و التوعية بما يخص القضية الفلسطينية بطريقة غير مبتذلة . لقد سعيت

دائما للتعبير عن هويتي من خالل تصاميمي وايضا من خالل بإنشاء خط من االكسسوارات المصنوعة من خشب الزيتون. شجرة الزيتون وجذورها القديمة ترمز

للنضال الفلسطيني و الكوفية من ناحية أخرى هي من رموز الشعب الفلسطيني.مزج هذه الرموز معا، خشب الزيتون و الكوفية يجتمعان لتكوين حذاء يختزل العديد

من خصوصيات القضية الفلسطينية، كعب الصندل صنع يدويا من قطعة خشب زيتون جميل مع أشرطة

مصنوعة من نسيج الكوفية التقليدية. النتيجة النهائية هي قطعة عصرية المدرج تحتوي على تناقض ما بين

الهشاشة و القوة.-

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IDENTITY SHOES حــذاء يعبر عن هوية

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

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 chil-

dren. 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)

أقراط مصنوعة من مجموعة من أوراق شجرة الزيتون مطلية بالفضة )من حديقة سوسن رشماوي(. ٤ سم. ٢٠١٣ تصميم وصنع: سوسن رشماوي

سوسن رشماوي: "أنا أحب األشجار خاصة أشجار الزيتون. في بالدي األشجار لديها مشاعر و عندما أقف على

األرض فوق جذور الشجرة نشعر ببعضنا و نتشارك االرض و التاريخ . لدي شجرتان بمثابة االبناء تبلغان من العمر

ثالث وثماني سنوات. العالقة مع شجرة الزيتون تدخل في تفاصيل الحياة ، الزيتون والزيت. و خشب يقيت من البرد في الشتاء و واآلن األوراق المطلية بالفضة تحمل

هذه القصة ".

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artina Petrelli

LEAf BEHIND ليف بيهايند

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

DISARMING DESIGN FROM PALESTINE COLLECTION 2012—2013 PAGE 4 تصميم من فلســطين تجميع ٢٠١٢-٢٠١٣ صفحة ٤

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

This shower curtain with an image of the separa-

tion barrier is slightly transparent, providing a

different view on the wall.

ستارة حمام مع صورة من جدار العزل. ٢٠١٢

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

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iek Driesse

SEPERATION CURTAIN ستارة الفصل

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.”

منفضة سجائر من األلومنيوم مع الرملي. ٣٠ × 8٠ سم. ٢٠١٢ تصميم: خالد حوراني. انتاج: أبو معاذ

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

بشكل خطير."

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WATCHTOWER ASHTRAY منفضة ســجائر بشك برج المراقبة

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

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 sit-

uation 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.

نظارات واقية للعيون ، مطرزة بشكل عيني السيدة التي قامت بانتاجها. ٢٠١٣تصميم: تسيل برول، انتاج : السيدة رشماوي، بيت ساحور

يعتقد أن حجب الضوء يسمح للناس تحقيق مستوى أعمق من النوم. خالل السفر الجوي يتم استخدام

العديد من أقنعة النوم لحجب الضوء. في حين يبدو أن العديد من الناس يغطون اعينهم بما يتعلق بالصراع

في فلسطين، نظارات الصحوة مصممة لمشاركة نظرة النساء الفلسطينيات مع العالم .

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AWAKENING GOGGLES نظارات الصحوة

Embroidered accessories for cars. 2013Design: Ali Aldeek

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.

اكسسوارات مطرزة للسيارات. ٢٠١٣تصميم: علي الديك

يهدف العمل الى خلط مفاهيم و معتقدات تتعلق بالسيارات والسرعة والرجولة من جهة والصناعات اليدوية

التقليدية من جهة اخري . يتكون المشروع من ملصقات باشكال و انماط التطريز التقليدي الفلسطيني و

غطاء مطرز يدويا للمقاعد و لوحة أجهزة القياس. يمكن للسيارات الجديدة و القديمة الحصول على مطرزات و

اضافة شخصية فلسطينية للسيارة.

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CAR EMBROIDERY مطرزات للسيارة

Covers for electricity wires, made with traditional embroidery techniques. Design: Wafa Meri. Embroidery: Housewifes from Ramallah area

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 simplici-

ty 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.

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

هذا الغطاء هو من وحي تطريز السبلة التقليدية الفلسطينية، التي يتم استخدمها عادًة

لتزيين الفساتين في منطقة رام الله أو على أغطية الرأس في فصل الشتاء في بيت لحم. و على أساس

هذا األسلوب تم تطوير غرزة جديدة تكشف بساطة التطريز. يتحول االستخدام القديم إلى إستخدم حديث

يومي و هو سلك أحد المصابيح الكهربائية على سبيل المثال. يكشف هذا العمل القدرة على إعادة إستخدام

الحرف التقليدية بما يتناسب مع عصرنا الحالي.

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ELECTRICITY WIRE COVER غطاء سلك الكهرباء

DISARMING DESIGN FROM PALESTINE COLLECTION 2012—2013 PAGE 5 تصميم من فلســطين تجميع ٢٠١٢-٢٠١٣ صفحة 5

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

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. Read-

ing 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 implement-

ed even became news, like waves drowning us. Ah-

mad 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.”

وعاء مصنوع من الورق معجون من صحف قديمة ،مطلى للحماية. ٢٠١٢ تصميم وانتاج: أحمد نصار

في صحيفة القدس هناك قسم يسمى "القدس قبل عشرين عاما": صورة من الصفحة األولى من هذه الصحيفة قبل عقدين من الزمن. بعد قراءة هذاالجزء ، فإن اخبار اليوم تبدو كما كانت قبل عشرين عاما. ويتم بحث الموضوعات ذاتها: محادثات السالم، واالسرى ،

والقدس والالجئين. خالصة المقطع هو أن األخبار كانت و الزالت على ذات الحال. نحن بحاجة إلى تغيير. لقد

سئمنا من األخبار التي نتلقاها كل يوم؛ المستوطنات وجدار الفصل العنصري، والحق بالعودة، والسجناء.

الحلول النهائية والعديد من االتفاقات التي لم تنفذ حتى أصبحت األخبار مبتذلة و مكررة. أحمد نصار:

"شخصيا، أنا لم أتابع األخبار وال الصحف لبعض الوقت اآلن. ما أفعله قد يكون أكثر فائدة بتحوليها الى اوعية ".

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OLD NEWS FROM PALESTINE اخبار قديمة من فلســطين

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 kitch-

ens 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.

قالب فالفل بشكل جنيه الفلسطيني،مطبوع بالرمل علي معدن . ١5 سم. ٢٠١٣. تصميم: تومي فاسكو انتاج اسامة بولس، بيت لحم )نموذج(

كشفت األزمة المالية الحالية كيف ان مراكز القوة تتقاسم الثروة و تقوم بصناعة المال في بأشكال عدة

سواء الورق أو المعدن. في الوقت الراهن ال توجد عملة خاصة بفلسطين وتعتمد بشكل رئيسي على

العمالت والبنوك المركزية في إسرائيل واألردن والواليات المتحدة. ان االرتباط بعمالت اخرى يكبل

االقتصاد الفلسطيني مما يدفع للبحث عن حلول خاصة ان األدوات الالزمة لطباعة المال متوفرة . لم ال

تحل المشكلة من خالل صانع فالفل على شكل عملة و تحوبل أكشاك الفالفل الى فروع للبنك المركزي

الفلسطيني المستقبلي .وبما ان طبخ المال مهمة سهلة يتحول كشك الفالفل الى بنك مركزي يتعامل

مع كمية وقيمة العرض والطلب.

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FALAFEL COIN MAKER عملة فالفل

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

Alcoholic drinks are not the first thing that pro-

vide 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.

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

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 و يحظى هذا المشروب باقبال في الضفة الغربية، اما

بخصوص البيرة فتصنع بقرية الطيبة بالقرب من رام الله و لها ذات االسم. مع هذه المجموعة من الكؤوس يمكن

للمرء أن يشرب نخب مهرجان األذواق المختلفة.

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arak- beer- and wine-glasses كــؤوس للبيرة ، النبيذ و العرق

Honey from the Land of Milk and Honey, 2012Design: Rudy Luijters. Beekeeper: Montaser Saad, Ramallah

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, later to

the hillside and finally to the Ramallah region for

summer. This way, the bees would collect nectar

throughout the seasons and each hive would

provide 20 to 25 kilos of honey per year. Today,

the occupation and the checkpoints make it

impossible for beekeepers to move around with

their colonies, so they stay in one place. During the

second Intifada, most roads were blocked and bee-

keeper Saad was not able to visit his hives for more

than six months. As a result, the majority of his

colonies did not survive. Since then, Saad has only

four to five colonies left. For Saad, the best possible

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.

العسل من أرض اللبن و العسل ، ٢٠١٢تصميم : رودي لويترز و منتصر سعد . انتاج : منتصر سعد، رام الله

مربي النحل في فلسطين ينقل خاليا النحل على األقل ثالث مرات في السنة ؛بداية بوادي األردن في

أوائل الربيع حيث الزهور األولى ثم في وقت الحق إلى التالل وأخيرا إلى منطقة رام الله لفصل الصيف . بهذه

الطريقة يقوم النحل بجمع الرحيق طوال فصول السنة ، وسوف توفر كل خلية من ٢٠ إلى ٢5 كيلوغراما من

العسل سنويا. اليوم ، االحتالل و نقاط التفتيش تجعل من المستحيل بالنسبة لمربي النحل التحرك و نقل

خاليا النحل ، لذلك فإنها تبقى في مكان واحد . خالل االنتفاضة الثانية ، أغلقت معظم الطرق ، و لم يتمكن

سعد من زيارة خاليا النحل ألكثر من ستة أشهر. ونتيجة لذلك ، فإن الغالبية العظمى من الخاليا لم تستطع البقاء

على قيد الحياة . منذ ذلك الحين لم يتبقى لدي سعد سوى خمس خاليا نحل و بأفضل االحوال انتاج العسل ال

يتجاوز 5 كيلوغرامات من العسل سنويا. بشكل متناقض، أصبح العسل شحيحا في أرض اللبن والعسل

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THE LAND OF MILK AND HONEY أرض اللبن و العســل

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


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

In remembrance of Khaled

Hourani’s project The Road to

Palestine, the International

Academy of Art Palestine devel-

oped 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 Palestin-

ians, whether they are Muslim

or Christian, consider their cap-

ital and spiritual center. In its

simple statement of physical

distances, the Palestinians’ lost

or limited access to Jerusa-

lem 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.مصنوعة يدويا ٢٠١٣

تصميم: األكاديمية الدولية للفنون فلسطين انتاج:مصنع الخليل للزجاج والسيراميك

استنادا على مشروع الفنان خالد حوراني الطريق إلى

فلسطين،حيث قام بوضع لوحات سيراميك تصور بالكيلومترات

المسافة إلى القدس من النقطة التي يتم اختيارها. سكان الضفة

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 عن مدينة القدس، و يؤكد على

مركزية و اهمية القدس بالنسبة للفلسطينيين بغض النظر عن الواقع السياسي و االحتالل.

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DISTANCE TO JERUSALEMالمسافة إلى القدس

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 remem-

brance of Mother Teresa who

said: “If we are only interested

in our own needs, we will

neglect the needs of others. Giv-

ing of ourselves is the highest

form of generosity. We should

not only serve ourselves, but

serve those around us”.

صحن خاص للطيور يوضع به بقايا الطعام مع مياه في الجزء األوسط. سيراميك، و٢٠١٣. تصميم:

ماهر شاهين. انتاج : مصنع زجاج و سيراميك الخليل

ثلث الغذاء المنتج لالستهالك البشري ينتهي في سلة

المهمالت. ينبغي علينا ابداء مسؤولية أكبر تجاه الحياة على

هذه األرض ومع القليل من الجهد فمن الممكن أن نساهم بدورة

الحياة على االرض . لماذا ال يمكننا أن نكون كريمين مثل الطبيعة؟

هذه الصحون هي لتقاسم بقايا طعامنا مع الطيور التي تزقزق

وتغني لنا.األم تريزا تقول : "إذا كنا مهتمون فقط في احتياجاتنا

الخاصة سوف نهمل احتياجات اآلخرين. العطاء من النفس هو

اعلى درجات الكرم . ال ينبغي لنا فقط خدمة أنفسنا، ولكن خدمة

من حولنا ".

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BIRD PLATESصحن للطيور

Plates displaying scenes of newly built museums in Palestine. Handpainted ceramics, 2013. Design: Martina Petrelli. Production: Hebron Glass & Ceramics Factory

Traditional ceramic plates de-

pict 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.

اطباق تحتوي على صور لمباني المتاحف التي يتم انشاؤها في االراضي الفلسطينيية

سيراميك، تصميم : مارتينا بترولي انتاج: مصنع الخليل للزجاج و السيراميك

المشروع يتكون من اطباق سيراميك تحتوي على صور

لخمسة متاحف فلسطينيية جري تشييد جزء منها و الجزء االخر قيد االنشاء، ان الموجة

الثقافية تستحق الوقوف عندها و محاورتها من خالل طرحها كصورة

عامة.

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UNDER CONSTRUCTION PLATESاطباق قيد البناء

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

Glassbubble, miniwall and plate all produced and

handpainted in Hebron Glass & Ceramic Factory.

صناعة يدوية من السيراميك والزجاج ٢٠١٣ تصميم:شامير نايالند علي. انتاج :مصنع الخليل للزجاج و سيراميك

كرات مصنوعة من الزجاج تضم مشاهد مصغرة من فلسطين ٢٠١٣

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wall ball كرة الجدار

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

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 govern-

mental 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 hand-

made and handwritten mugs from Hebron.”

أكواب مكتوبة بخط اليد من الخليل تقدم كهدية للنواب األوروبيين. تصميم: انجليكا فالكينغ ٢٠١٣. اإلنتاج: مصنع زجاج وسيراميك الخليل

انجليكا فالكينغ: " قالت لي معلمتي ذات مرة عن حفل اقيم في وزارة الثقافة بمناسبة انتهاء عمل لجنة عملت

لمدة عشر سنوات لتقديج المنح الحكومية. حصل الجميع على هدية تعبيرا عن الشكر و العرفان: قدح اسود مع

نص مكتوب باللون األبيض "مستقبل الثقافة"، وهو اسم المشروع. نظرت المعلمة الي القدح لتجد باسفله عبارة "صنع في الصين". اقتراحي صناعة اكواب كهدية

دبلوماسية مصنوعة يدويا ومكتوبة بخط اليد من الخليل إلى أن تعطى للنواب األوروبيين ".

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Proposal for a diplomatic gift اقتراح لهدية دبلوماسية


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

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.

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

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 الفورد يطلق على كل سيارات النقل العام ، معظم هذه السيارات تعمل على النقل ما بين المدن الفلسطينيية و القرى المحيطة . االجرة ثابتة ما بين المواقف الخاصة

لهذه السيارات و التي تسمي "المجمع" و غالبا ما تكون في وسط المدينة.

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yellow cab toy سيارة اجرة صفراء

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 with-

out 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’.

لعبة شطرنج بديلة مع استخدام أبراج المراقبة وخزانات المياه كبيادق.مصنوعة من خشب الزيتون. ٢٠١٣ تصميم: مارك يان فان تيلنغن. إنتاج: ماجد أبو فرحة،

بيت ساحور

الشطرنج هي لعبة تعتمد على التكتيك بين خصمين كل يحاول هزيمة االخر. تاخد في بعض االحيان ساعات،

و قد تنتهي حتى بالتعادل. برج المراقبة وخزانات المياه هي تعليق على الوضع القائم، اذ ان الرقعة ممتلئة

بالكامل، ال توجد إمكانيات للحركة وال يوجد فائز، والحل الوحيد هو "مسح الساحة '.

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WATCHTOWERS AND WATERTANKS GAMEلعبــة أبراج المراقبة وخزانات المياه

The taxidermied family of giraffes of Qalqilya zoo, in olive wood. 2013. Idea: Annelys de Vet Production: Iyad Sway, Beit Jala

On 19 August 2002, a giraffe named Brownie died

in the Qalqiliyah zoo, the only zoo in the Israe-

li-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 eight-

meter-high concrete wall.

أسرة الزرافات المحنطة الموجودة في حديقة حيوانات قلقيلية مصنوعة من خشب الزيتون . ٢٠١٣. تصميم: انليس ديفيت مانوفكترر و إياد صوي،

بيت جاال.

في ١9 أغسطس ٢٠٠٢ توفيت الزرافة بروني في حديقة حيوانات قلقيلية و هي حديقة الحيوانات الوحيدة

في في الضفة الغربية .عند اقتحام مدينة قلقيلية) التي تتكون من ٤5،٠٠٠ نسمة( من قبل جنود االحتالل اإلسرائيلي تم إستخدام الغاز المسيل للدموع وقنابل

مضيئة، و كان هناك طالقات نارية. و في حالة الذعر هذه ارتطم رأس بروني في احدى االعمدة المعدنية

و سقط على األرض، في الصباح عثر عليه ميتا في حظيرته . روتي و هي الزرافة األنثى في الحديقة

فقدت جنينها بعد ١٠ أيام حزنًا على بروني. تم تحنيط الزرافتان من قبل الطبيب البيطري سامي خضر، و

من ثم وضعوا بجانب حيوانات أخرى كاألسد و الحمار الوحشي ، و قرد البابون في المتحف الذي بني

خصيصًا بجانب حديقة الحيوانات. أتى بروني وهو في التاسعة من عمره من جنوب أفريقيا، وصل عبر إسرائيل إلى قلقيلية في ١997 في الوقت التي كانت تعد فيه

قلقيلية المركز الزراعي في الضفة الغربية و لم تكن بعد معزولة عن العالم و محاصرة بجدار سمنت طوله ثمانية

أمتار.

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family of giraffes عائلة من الزرافات

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

طائرة ورقية مصنوعة من مواد مختلفة . وتشمل حزمة تعليمات مع صحيفة فلسطينية . ٢٠١٢

تصميم وانتاج : تقي الدين

في عام ٢٠١١ تجمع آالف من تالميذ المدارس في غزة لكسر سجل تحليق اكبر عدد من الطائرات الورقية في

العالم ، وقد تم تغطية الحدث من قبل العديد من وسائل اإلعالم.صنع االطفال الطائرات الورقية ببراعة ال مثيل لها. الرسالة من هذا الحدث تعبر عن االمل في غزة .

الطائرات الورقية من األطفال في غزة هي رسائل تعبر عن التحدي واألمل و الشوق إلى الحرية.

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diy kite طائرة ورقية

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


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

Sublime landscapes, tranquil urban scenes, frol-

icking 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.

٠١٠ ناشيرين ٢٠٠7. تصميم : انليس ديفيت مانوفكترر بالتعاون مع خالد حوراني واألكاديمية الدولية للفنون في فلسطين.

مناظر طبيعية سامية، مشاهد هادئة للمدن، أطفال ترقص فرحا، من الذي يربط هذه الصور لفلسطين؟

دعت انليس ديفيت مانوفكترر بالتعاون مع الفنان خالد حوراني عدة فنانين و مصورين و

مصممين فلسطينيين لرسم خريطة بالدهم كما يرونها. نظرًا لقربهم لهذا الموضوع أدى إلى خلق

انطباعات إنسانية غير تقليدية عن المناظر الطبيعية ،الهندسة المعمارية، المطبخ ، والموسيقى و

الشعر الفكر والتعبير. الرسومات ، والصور والخرائط و الروايات التي نتجت تكشف عن تجارب حياة فردية،

كما أنها تعطي صورة مختلفة كليا لبلد محتل. يظهر الفلسطينيون بأنفسهم من خالل هذا األطلس

الموضوعي جانب أخر معاكس للصورة المتواجدة في وسائل اإلعالم.

SUBJECTIVE ATLAS OF PALESTINE اطلس فلسطين الذاتي

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

A locally designed and produced notebook. The

patterns are inspired by important aesthetic sym-

bols: 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 ge-

ometries and transforming them into the pages of

a notebook, they become an illustrative platform

for our thoughts and ideas.

دفتر أنماط البالط التقليدية. ١٠ × ١5 سم . ٢٠١٣المصممة : دينا خليل . المنتج : شركة جازمان للدعاية و اإلعالن ، رام الله

دفتر مالحظات مستوحى من انماط هندسية مستخدة في البالط التقليدي الفلسطيني، يمتازبجمالية عالية

و طبيعته المتنوعة .بحيث ان هندسته المتنوعة في األنماط ، واللون ، والشكل ، يمنح افق واسع لتطوير

مجموعة من الدفاتر. الوحدة االساسية التي يؤدي تكرارها الى انماط تتشكل على صفحات دفتر لتصبح

مساحة لطرح االفكار

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daftar دفتر

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

A conflict is an attack on people’s mental strength;

being confronted with the consequences of a

conflict every day produces tension. When talking

to a Palestinian artist about the conflict, the Dutch

Mark-Jan van Tellingen was wondering if he had

ever thrown stones at Israeli forces. “Yes,” the

artist replied. For him it was a release of restrained

tension, a short moment of completely de-stress-

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?

حجر ملفوف بالصوف ٢٠١٣مصمم : مارك فان يناير تيلينغن الصانع : معا للحياة ، بيت ساحور

الصراع يؤدي الى اضطرابات نفسية و توتر مستمر يواجه الناس عواقبه يوميا. عندما تحدثت الى فنان فلسطيني عن الصراع و سألته اذا شارك برمي الحجارة على القوات االسرائيلية باحدى االنتفاضات فاجاب ،نعم بالنسبة لي كان نوع من التفريغ للتوتر و المشاعر المتأججة. في هذا

المعنى أصبح الحجر منفس و مخرج لتفريغ التوتر الى حد ما يشبه كرة تخفيف التوتر. هذا التصميم مزيج من

االثنين. هل سيقوم هذا الحجر المغلف بالصوف بعمله؟

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STRESS BALL كرة لتخفيف التوتر

Design: Majd Abdel Hamid, 2013

Hour glass with crushed cement of the separation

wall.

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

ساعة رملية مصنوعة من االسمنت المطحون من الجدار العازل.

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HOURGLASS ساعة رملية


September 2012 and october 2013 create-shops have been organized by the Inter-national 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 proto-types 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 loveSunday 2nd SeptemberThe passport control employee at the Ben Gu-rion (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 we receive a very warm welcome.

Artist and great host Majd Abdel Hamid is do-ing the research and production of the project, and today he shows us around. Together with the Sandberg master students Hannes Ber-nard, Martina Petrelli and Donna Verheijden we walk pass a remarkable shoe-shop and stop when Hannes gets excited about the typogra-phy of the facade. Masri – which means ‘Egyptian’ in Arab – is a shoe shop that hasn’t changed since it was established in the sixties. The owner speaks Arab, English, Spanish and French and used to have a shoe factory with at least 25 employees. But he can’t find people anymore who love to make shoes. As a comment to his next gener-ation he states: “But you have to love what you do, and not do what you love.”

a new generation Monday 3rd SeptemberAll the participants of the create-shop gather at the International Academy of Art. There are bachelor students from the art school, as well as many professional artists and designers. The director Khaled Hourani, artist Majd Abdel Hamid and myself give a presentation about the aims of the project. We explain how we want to develop products in collaboration with different craftsmen. We want to use as much existing production processes and Pales-tinian resources as possible to develop new (or

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 pro-ject, 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.

DEVISION LINES Tuesday 4th SeptemberDriving from Ramallah to Hebron would normally take one hour, but since Palestini-ans in the West Bank are not allowed to drive through Jerusalem we have to make a long detour which takes at least two hours. When we arrive at the Hebron Glass & Ceramics Factory we are invited to work with the craftsmen. We blow our own glass exper-iments, develop designs for cups and plates, including one with drawings of everyday moments. We follow our tour to the Hirbawi Textile Fac-tory, the only factory in Palestine making keffi-yehs – the iconic patterned scarf. Although the factory was closed a few years ago, due to the competitive cheap Chinese low quality copies that dominated the market – now the produc-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 afternoon we visit the old city of Hebron. We walk through what used to be a very lively souk. The centre once had around 23 000 Arab inhabitants, but since the early eighties Israeli settlers have (illegally) moved in. Currently there are 400 settlers living here who are ‘protected’ by approximately 2 000 Israeli soldiers. We see several of these soldiers walking around holding huge firearms in front of them. Today no more than 3.000 Arabs have man-aged to stay living in their houses, unprotect-ed by any authority. The majority of the shops are closed because it has been made impossi-ble for the owners to maintain their business-es. The Palestinian police are not allowed to enter the old city, if they try they are arrested and put into jail by the Israeli military author-ities. Many of the streets in the old city are covered with wired textiles, in order to protect the people from stones thrown down from above by fanatic settlers.

In the old city we pass an humiliating check-point to visit two Palestinian potteries that are still located on the road that has become a divi-sion line. Officially citizens of the West Bank are not allowed to visit them, unless the Palestini-an 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 re-flect 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.

gemstonesWednesday 5th SeptemberIn the morning the Sandberg students give small presentations with assignments to the bachelor students of the Academy. Hannes Bernard presents his thoughts on ‘post liberat-ed 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 vid-eos 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 partic-ipating 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 then visit the jewelry shop Tashikil. The owners, Salma and Hiam show us their pieces. Salma explains how she uses old Palestinian embroidery to make modern jewelry. She also talks about her mother and about the type of embroidery she makes. By making jewelry this way she reflects upon the Palestinian heritage. We try to find out what other materials for the necklaces are local, but since gemstones or corals don’t exist in the West Bank, the stones she uses are imported. An Arab conversa-tion follows, which Majd translates later on explaining that the most precious stones in Palestine are actually the ones that prisoners smuggle from the jails and take home. Often they are beautifully decorated or crafted into a little toy as presents for their family. Salma says that she is willing to design and make a necklace with such a stone, if we are able to

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.

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 OCCUPATIONThursday 6th SeptemberAt 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 diffi-culties 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 and Imad promises us that he will make the samples next week. Walking back to the Academy I pass Manara square and observe the demonstrators. There are not too many, they are not violent, but they are able to stop all the cars and occupy the square. The traffic is a chaos, cars and taxis toot their horns, the police seems very kind and passers-by are smiling. But chaos it is. Arriving at the Academy Majd tells that it’s not even certain if we will be able to reach Bethle-hem on Saturday and Nablus on Sunday, since the demonstrations are increasing and the demonstrators are persuading all the shops and workshops to close down in solidarity.

*Qalandiya International (QI) is a biennial event that takes place across Palestinian cities, towns, and villages. It focuses on exhibiting contemporary Palestinian and international art, highlighting valuable archi-tectural sites, and includes talks, walks and performances.

QI, in its first take, is a collab-oration between the Jerusalem Show and the Riwaq Biennale, as well as other Palestinian cultural institutions, in an attempt to pool resources and work collectively towards showcasing and promoting contemporary culture in Palestine, locally and internationally. It is an attempt

to engage the local public in programs that are not straitjack-eted by realpolitik, and to allow them to look at art in a more imaginative and open manner. It is an attempt to join forces and resources and form links across a fragmented geography; a take on unity.

The QI program encompasses a diversity of newly commissioned projects and presentations as various as the institutions involved, it is inclusive rather than exclusive, interdisciplinary, and open allowing engagement, and even implication.

DISARMING DESIGN create-SHOP REPORT

Mahmoud Almasri, owner of “Masri Shoes”, in his shop.

Abu Ameed from the Rahala shoe shop in his workshop working on his self designed shoes.

Up: weaver Abid Keraki next to the machines that are especially made for keffiyehs, and can only be used for this process.Down: brainstorming possibilities for a keffiyeh.

Closed shops in Hebron.

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

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.

FAIRY LIKE INDUSTRIESSaturday 8th SeptemberUnlike 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 hous-es 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 sub-stance 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 mix-ture, 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 expres-sive 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.

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 be-cause of the heat – that today reaches approxi-mately 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.

In the afternoon we take a walk through the old city of Nablus. Majd warns us that if we don’t have a guide we will get lost. And this is exactly what happens. We ask a passer-by to guide us and immediately we are shown path through an almost illusionistic labyrinth of houses, streets, people, small shops and orien-tal smells. We encounter many work places of carpenters, smiths, builders, tailors and more. Each one of them is a treasure within their small scale and personal traces. These kind of shops have disappeared in the West. Either to become bankrupt or commercialised, move to industrial zones or disappear to low income countries. Here in Nablus it’s enlightening to see so many of them embedded in daily life. They offer a close relationship with the mak-ing of things, a relation to the material and production processes.

safer then everSunday 9th SeptemberSunday is apparently not a good day to visit Bethlehem as it will be crowded with tourists and the Christian workmen have a day off. So for us it will be a working day, and everybody develops their ideas and prototypes. Together with Dutch artist Rudy Luijters, I visit the just opened Mahmoud Darwish mu-seum, the most well known Palestinian poet and author. His grave is at the center point of the site, and says in Arab and English: “From Palestine.. to Mahmoud Darwish”. The word Palestine is laid out in a remarkable way, as if the letters are trapped in a melancholic dance. Or maybe it’s a reflection on the logics of the Arab alphabet to the Roman typeface.

On our way back to the city we meet a sales-man 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.

Over lunch we talk with the Sandberg stu-dents 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 psycholo-gist Layaly about her proposal to make a CD of the sounds of Ramallah. She has record-ed 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 wrong wedding entirely. In the evening Rudy and I visited the de-signer and engineer Wafa Meri. His studio is like a magical box where he conjures up for us a series of beautiful prototypes that he has developed for a previous project. Handwoven carpets, handblown lamps with glass from He-bron, braided baskets made out of the young branches of the olive tree and more. The idea arises of making a bedroom collection for the Disarming-Design-project with among other things a pillow-case with embroidered edges, a bedside light and a carpet. In addition Wafa proposes to design a set of handblown glasses for Palestinian alcoholic drinks like Tay-beh-beer, wine and araq (a traditional spirit made with aniseed).

THE LAND OF MILK AND HONEYMonday 10th SeptemberWafa has introduced us to the remarkable bee-keeper Saad Dagher, who we visit at his nursery and plant shop next to the center of Ramallah. Saad tells us the story of professional beekeep-ing 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, later to the hillside and finally to the Ramallah region for summer. In that way the bees would collect nectar throughout the seasons and each hive would provide 20 to 25 kilos of honey per year. Today the occupation and the check-points make it impossible for beekeepers to move around with their colonies, so they stay in one place. For Saad the best harvest now is approximately 5 kilos of honey per hive per year. Saad introduced us to his son Montaser Saad, who is in charge of the hives now and will continue the family’s beekeeping. Rudy, who is also a beekeeper, offers them a pot of his own honey whose flavour is very much appreciated. In return, the next day we receive a pot of their delicious honey. We would like to include it in the Disarming-design-collection as ‘Honey from the land of milk and honey’.

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 palestineTuesday 11th SeptemberThere have been demonstrations and fights in Hebron and Nablus. We are advised not to trav-el 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 Pales-tine. 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 actu-ally 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.

BACK AND FORTHWednesday 12th SeptemberA 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.

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 wood-cutters in a village nearby Bethlehem.

Demonstrators at Manara Square.

Up: Majd Abdel Hamid holding the just purchased tiles.Down: Group photo with the owner of Jalal Aslan in the middle.

Up: after the soap has been spread and dried on the ground, each piece is stamped and then cut by hand.Down: Workman packing soaps with magic speed.

“Moving” typography on the grave of Mahmoud Darwish

Testing new patterns for traditional tiles.

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

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

Beit Sahour. Annelys de Vet, 2013

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 cur-rent 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 yel-low-cab toys and a collection of animals that are currently living in the Qualqilya Zoo. They like the idea and all they need are pho-tos 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 interview-ing 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 demonstra-tion as it passes outside, back and forth.

final presentation prototypesThursday 13th September This afternoon we have the final presenta-tion 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 de-velops Palestinian businesses. He is invited

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 contem-porary 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! Present-ing the products this way provides a very strong and meaningful narrative about Palestinian culture and economy.

security madam, securityFriday 14th SeptemberEven 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 leav-ing 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 sus-picious. 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 emphasis-ing 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 hospi-tality, warm hearted people and mutual respect, we couldn’t have imagined a more schizophrenic departure.

Demonstrators passing Isral Street, Ramallah.

Discussing the results of the createshop at the International Academy of Art Palestine.

BackgroundIn 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.

MotivationPalestinian 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

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-shopsStudents, 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 2013In 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 beta-version of the web shop in december 2013.

PresentationsThe 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

Check the website for the latest information, prices and purchaseswww.disarmingdesign.ps

or contact us atDEVET, bureau for graphic research and cultural [email protected]

CREDItS

Create shops 1—14 September 2012 30 September – 13 october 2013

Hosted and organized byInternational Academy of Art Palestine Bethlehem Fairtrade Artisans (2013)

Concept & development Annelys de Vet IAAP (Khaled Hourani)

ProductionMajd Abdel Hamid (IAAP) Moniek Driesse (DEVET)

Artistic advisersMajd Abdel Hamid, Khaled Hourani, Rudy Luijters, Annelys de Vet

Business developmentAl Markaz for Development & Marketing Consultancies (Ahmad M. Uwaidat)

Participating designers & artistsMajd 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)

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 manufacturersAbu Muath, RamallahAhmad 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, RamallahHanni Awad, Beit JalaHebron Glass & Ceramics Factory Hirbawi Textile Factory, Hebron Ma’an lil-Hayat, Beit Sahour Maher Shaheen, Hebron Majed Abu Farha, Beit SahourMasri Shoes, Ramallah Miss Rishmawi, Beit Sahour Montaser Saad, RamallahNursery of Saad Dagher, RamallahOriental 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

WebsiteDEVET (Joana Rodrigues, intern)

DISARMING NEWSPAPER

Concept, editing, designDEVET (Annelys de Vet, Moniek Driesse)

Arabic typographyDima Hourani

English proof readingTexty.nl (product texts)Kate McMahon (report 2012)

English – Arab translationsMajd Abdel HamidDima Hourani

PhotographyMamon Ashreteh, Moniek Driesse, Dima Khalil, Shameer Nyland Ali, Martina Petrelli, Mark Jan van Tellingen, Jaroslav Toussaint, Tommi Vasko, Donna Verheijden, Annelys de Vet

typefacesBig Vesta Arabic (Gerard Unger & Nadine Chahine)Capitolium Head (Gerard Unger) Wilma (Enric Jardi)

PrinterRodi 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)

UNESCO (2012)

Creative Industries Fund NL (2013)

Disarming Paper - Catalogue

Documents

Transcript of Disarming Paper - Catalogue