Basel Abbas & Ruanne Abou-Rahme: Palestinian artists at Copenhagen’s Glyptotek

Basel Abbas and Ruanne Abou-Rahme (courtesy of the artists).

22 NOVEMBER 2024 • By Arie Amaya-Akkermans
During a period when Palestinians are being crushed by Israel’s oppressive war machine, and heavy anti-Arab propaganda campaign, Basel Abbas & Ruanne Abou-Rahme remind us that Palestinians are still making art.

 

In one of the arch-vaulted rooms at Copenhagen’s Ny Carlsberg Glyptotek, a number of gleaming reproductions of archaeological artifacts hang from the ceiling. Suspended in mid-air, the shiny black figurines seem engaged in a slow but almost ecstatic dance, casting shadows on the heliotrope-tinted footage of Palestinian landscapes adorning the walls.  One of the reproductions, in particular, stands out. It’s that of a headless female, with slightly disproportionate, half-folded arms. She wears a necklace and a girdle, both depicted by straight grooves. The original idol is behind glass two rooms away, in another one of the galleries devoted to prehistoric art from the Middle East and Cyprus. We know very little about it other than the fact that it’s a female terracotta figurine from Syria dating back to the later part of the Bronze Age. It entered the museum’s collection only in 1987, an interesting date of accession, considering that an international convention was adopted as early as 1970 to prohibit and prevent the illicit import, export and transfer of cultural property.


Anatolian and Levantine idols at the Glyptotek, courtesy of the author
Anatolian and Levantine idols at the Glyptotek (courtesy of the author).

Could it have been looted from Syria? How many times did it change hands? When did its journey of displacement begin? The idol — and its 3-D printed reproduction — resembles two of the anthropomorphic brown clay figurines unearthed almost a decade later, sometime between 1994 and 2010, at the archaeological site of Umm El-Marra in Syria, east of modern-day Aleppo. That excavation, led by Near Eastern archaeologist Glenn Schwartz, recovered more than two hundred clay figurines and fragments from the Bronze Age, showcasing the transition from hand-modeling to molding between the Middle and the Late Bronze Age. In 2011, the excavation was suspended indefinitely after the civil war made archaeological work in Syria impossible. The replica of the idol is one of the main characters in It is easy to forget what I came for among so many who have always lived here (2024), an installation by Palestinian duo Basel Abbas and Ruanne Abou-Rahme. Set in the Glyptotek, the work is part of a large exhibition comprising about 10 installations created by the duo over a number of years. Entitled The Song is the Call, and the Land is Calling, the entire show is a collaboration between the museum and Copenhagen Contemporary, a young art institution on the edges of the Danish capital.


Basel Abbas and Ruanne Abou-Rahme, The song is the call and the land is calling, Ny Carlsberg Glyptotek © Photo by David Stjernholm.
Basel Abbas and Ruanne Abou-Rahme, “The song is the call and the land is calling,” Ny Carlsberg Glyptotek (photo David Stjernholm).

A number of ancient idols and figurines from Anatolia and the Levant, drawn from the museum’s collection, were reproduced through 3D-printing for the exhibition, liberating them from traditional museography and situating them in new, porous narratives that extend far back into the past but also move forward into undefined tenses, into fluid contemporaneities. These assemblages of different elements, preserved from the past, resurrected in the present, mixed with leakages from the future, create a sense of  parallel timelines and coexisting propensities. The idols on display at the museum show how paradoxical archaeological classifications are: Artifacts in the same classification can be separated often by thousands of years and have almost no continuity between them. Neolithic mother-goddesses, Kusura, Beycesultan, Troy or Caykenari-type idols, likely from Southwestern Anatolia, and early Iron Age terracottas from Syria, inhabit together that imaginary space called prehistory, only on the basis of certain vague typological features they share, in the same way that the Arab world or the Middle East is one continuous entity in the contemporary imagination.

In liberating, if not the fragile artifacts themselves, but at least their presence, from this rigid but unscientific taxonomy, releasing them into a vital, chaotic, throbbing performance that resembles a bacchic dance or a ritual gathering in the hinterland, Abbas and Abou-Rahme’s installation forces us to grapple with the gaps of our knowledge about them. Why do we call these enigmatic objects “idols” or “ritual objects” in the first place? Though they are quite common finds and have been crafted and used for millennia, we know very little about their origins, functions, or even who or what is being represented. The Glyptotek’s own file on the Troy-type idols tells us that they originate from residential houses where they served as house goddesses, votive gifts from temples. They have also been found interred with the dead, in graves situated in the Burdur region, near Antalya. And yet this object that accompanied families through life and death wasn’t simply a precious heirloom but also an everyday tool; perhaps a rattle, a talisman, an oracle and ultimately a burial offering.

Yet when we are immersed in the intoxicating sensorial experience of It is easy to forget what I came for among so many who have always lived here (the title of which is borrowed from a line in American poet Adrienne Rich’s anthology Diving into the Wreck (1973), and which the artists have frequently quoted in their works for the past decade), we might wonder what it is exactly that we are seeing and hearing. The multilayered sound samples, the rotating projections of Palestinian flora, and the intense pink-purple color that is the background of the entire exhibition bring up the question: How are Near Eastern archaeology, thistle flowers and dance performances connected with Palestine in the apocalyptic present, and what kind of representations of violence do they confront us with? The answer begins in the adjacent room, with the first part of the series And Yet My Mask Is Powerful (2016-2018), initially shown at the now defunct Alt Artspace in Istanbul, with the itinerant nonprofit Protocinema.


Basel Abbas and Ruanne Abou-Rahme, And yet my mask is powerful (Part 1) 2016. Courtesy of the artists
Basel Abbas and Ruanne Abou-Rahme, “And yet my mask is powerful” (Part 1) 2016 (courtesy of the artists).

The video installation merges two different absorptions on the artists’ part. First, a fascinating youth movement that has emerged in Palestine, in which groups of young people take trips to visit the many Palestinian villages emptied and destroyed during the Nakba (there are over five hundred of them). These “visits,” which include summer camps and performances, are not nostalgic pilgrimages but rather reactivations, repossessions of these spaces and their meanings. In We Know What It Is For, We Who Have Used It (2018), the third part of their project And Yet My Mask is Powerful, the title once again borrowed from Rich, the artists write of these visits: “When they go out there it’s like the sites are not dead, they aren’t sites just of trauma, they are something much more. They are full of potential to imagine a time of their own making, S said, a time that is not set to a colonial calendar”. Indeed, in the videography, you can see young Palestinians entering these villages in the West Bank, on “time bending trips,” treading through the thick vegetation, searching for something, walking towards a somewhere, seemingly by instinct.


Basel Abbas and Ruanne Abou-Rahme, And yet my mask is powerful (part 2), 2018 (detail). Courtesy of the artists
Basel Abbas and Ruanne Abou-Rahme, “And yet my mask is powerful” (Part 2), 2018 (detail) (courtesy of the artists).

Superimposed upon this is the artists’ ongoing interest in the collection of antiquities “belonging” to Moshe Dayan, the army general and Israeli defense minister, who was also an infamous looter of antiquities. One of the objects in Dayan’s collection was a prehistoric mask looted from El Hadeb, near Hebron, known to the Israeli Antiquities Authority as the “Dayan Mask.” Dayan claimed that the mask was acquired from an antiquities dealer in Hebron, but rumors abound about it having been forcibly taken by Dayan and the Israeli army from the dealer or from a farmer who found it first. But this isn’t just any old mask. It belongs to a small group of artifacts, a series of 9,000 year old Neolithic masks, the oldest known in the world, that have been found throughout the West Bank and near the Dead Sea. All the sites in which the masks were found have ambiguous, pseudo-Biblical names bestowed upon them by the Israeli authorities, names such as “the Judean Desert” or “the Judean Hills;” attempts to obscure the extractive nature of the finds and the historical plunder, at the hands of the Israeli army, of cultural heritage in Palestine, turning all of it over to Israeli institutions and private collectors. 

Dayan’s antiquities were sold to the Israeli state after his death, in a transaction that raised eyebrows among archaeologists. In 2014, the Israel Museum in Jerusalem displayed the entire group of masks, including the so-called Dayan Mask in an exhibition entitled Face to Face: The Oldest Masks in the World, which included an astonishing eight masks from a single private collection in the US. That private collector was hedge fund billionaire and ardent Israel supporter Michael Steinhardt, whose antiquities have often been at the center of legal controversy, with Italy, Greece, Lebanon and Turkey all having accused Steinhardt at different points of having knowingly acquired stolen or looted artifacts.

Abbas and Abou-Rahme weren’t able to attend the exhibition at the Israel Museum, but in And Yet My Mask Is Powerful (2016-2018), they set out to produce an intervention that would connect Palestinians, both physically and symbolically, not only to these destroyed villages, but with deep time: They decided to “hack” the masks. Using a virtual tour of the Israel Museum’s exhibition as their guide (made available by the museum itself), they replicated the masks with the help of a 3D designer and made multiple copies of them in different materials. Then, they took these replicas with them to the villages destroyed in 1948. Young Palestinians put them on to reenact rituals some ten millennia old. The performance with the masks wasn’t necessarily intended to reconnect past and present, but rather to enlarge time into what the artists have called “the space of projection,” an intermediate site between myth, fiction and wish. The original artifacts predate monotheism, and, as in the case of the Bronze Age idols, we know very little about their function — which is precisely why they operate as powerful symbols of human ambiguity.


Basel Abbas & Ruanne Abou-Rahme, May amnesia never kiss us on the mouth: only sounds that tremble through us (2020-2022), The song is the call, and the land is calling (2024). Installation view at Copenhagen Contemporary (2024). Photo: David Stjernholm
Basel Abbas & Ruanne Abou-Rahme, “May amnesia never kiss us on the mouth: only sounds that tremble through us” 2020-2022; “The song is the call, and the land is calling” 2024. Installation view at Copenhagen Contemporary 2024 (photo David Stjernholm)

The reproduction of the masks is a singular act of repatriation. One that questions the value and status of the original by returning the copy to an archaeological context that is traditionally regarded as destroyed or missing. Looking at the different stories of the theft and extraction of the masks — from Moshe Dayan, to a Polish priest, an English physician or Steinhardt’s collection — the artists propose an indigenous ontology: Removed from the landscape, the mask is dead, fossilized, and bereft of power. In We Know What It Is For, We Who Have Used It (2018), Abbas and Abou-Rahme write: “Its expression seemed sadder now that it had been deemed dead and placed under glass. It stayed there a long time, rarely seen and never touched. Until it returned here, in this new form we gave it. One could say that what’s there is the copy and what’s here is the real thing.” It’s an innovative way of thinking about heritage, combining prehistoric time with digital futures, and yet still not forgetting about the political meaning of archaeological and cultural plunder for displaced Palestinians. 

The return to nature with the artifact is the crucial element here: While immersing themselves in the land, searching for the lost villages, the flora itself gave many clues about a pre-colonial time. Israeli settlers planted water-intensive, invasive European trees in the region, with the hope of erasing traces of Palestinian life, but certain natural markers such as the seasonal growth of shrubs, thistle and phacelia, reappeared in sites of destruction, providing a spatial orientation that defied colonial cartography. The intense heliotrope color of the shrub’s flowers, a purple-pink hue, became fundamental to many of the artists’ works since that period. In particular, the fluid, constantly changing and overlapping video-installations associated with their ongoing project May Amnesia Never Kiss Us in the Mouth (a large number of works from which is on show in the second part of the exhibition at Copenhagen Contemporary). 

In contrast to that return to nature, the masks on display at the Israel Museum poignantly showcased the ongoing cultural and archaeological violence of the state. An Israeli newspaper reviewed the exhibition under the title “World’s Oldest Masks Come Home to Jerusalem”, resorting to the imperialist strategy of reading the entirety of the past, all the way to the most remote prehistory, as a part of the modern narrative of  the nation state. And the process continues. As recently as 2018, a settler found another mask near Hebron, and it was promptly transferred to the Israel Museum. Last month, as Abbas and Abou-Rahme’s exhibition at the Glyptotek was still on, an amendment was proposed in the Knesset to the Israel Antiquities Authority law, to expand its jurisdiction to cover the entirety of the West Bank. Critics say it amounts to annexation under the guise of archaeology and antiquities, and could also stall much-needed infrastructure development, potentially forever. The government is taking advantage of the war against Gaza and Lebanon to further entrench lawlessness in the West Bank.


Basel Abbas and Ruanne Abou-Rahme, The song is the call and the land is calling, Ny Carlsberg Glyptotek © Photo by David Stjernholm
Basel Abbas and Ruanne Abou-Rahme, “The song is the call and the land is calling,” Ny Carlsberg Glyptotek (photo David Stjernholm),

But the artists’ response to the colonial condition, which includes occupation, lawlessness, impunity and unrestrained violence, has never been one of simple mourning and despair. Many recent works from the series May Amnesia Never Kiss Us in the Mouth, both those present at Copenhagen Contemporary and the multi-room installation Until We Became Fire and Fire Became Us (2023), in the high-profile exhibition Nebula in Venice with Fondazione In Between Art Film, also still on view, emphasize the celebration of resistance. In a nonlinear poetic flow of prehistoric artifacts, traditional dances, indigenous plants and landscapes of displacement, the artists bear witness to the contemporary Palestinian experience during a time of genocide, but also resist the trap of becoming passive suffering subjects. They do not focus on the historical reconstruction of the facts of the occupation because it is an act that simply restates the condition of loss as irreversible, an incontestable imposition of colonial power. Their work is rather an attempt to open up a different space inside the present; a space that envisions other imaginaries, other possibilities.

They examine how communities experience violence and how they grieve, but also how they restructure themselves in moments of intense stress and suffering as a form of survival. The scattered, intoxicating, spinning narrative might seem disorienting at first, but it serves as a threshold to go beyond the present grief and to partake in the experience of what violence does to images, to bodies, to eyes, to memories. Abbas and Abou-Rahme have collected a vast archive of online videos of ordinary people singing and dancing in Yemen, Syria, Palestine and Iraq, and, working with musicians, they began writing performance scripts and overlaying, sampling, and resampling sounds to go along with them. The sound and live performance elements in their practice go back to the very beginning of their careers in the 2000s, when they discovered sound as a force that can travel through walls, defying the dead ends of the Israeli occupation that make movement through the West Bank and Jerusalem impossible for Palestinians. They have thus always been interested in interrogating conditions for which there is no current possibility of repair.

The most important gesture towards decolonization in their work, however, is not visual or historical but epistemic: The resistance to the ghettoization of the Palestinian condition as something unique and exceptional and unrelated to other conditions. But colonialism, as legal scholar Nasser Hussain argued in The Jurisprudence of Emergency, is not a historical period that ended, but a process and a world-system that can reappear at any time. The occupation of Palestine stands at an intersection between archaeology, jurisprudence, the utilitarian nature of humanitarian discourse, capitalist realism, warfare and imperialism. Abou-Rahme expanded on this in a conversation with curator Mike Sperlinger in 2023: “We use this condition to push back against the flatness of representation and images, and to open it to a multiplicity. To use this structure to think about the multiplicity of time and place that goes on at any given moment and refuse any singular narrative.”

And so It is easy to forget what I came for among so many who have always lived here (2024), tells us something crucial about modern archaeology, which is ultimately connected to the colonial present in Palestine and elsewhere. The Glyptotek’s collection of Anatolian and Levantine idols, displayed together in spite of the enormous temporal and geographical distance between them, as well as the gaps in our knowledge about them, is not a form of categorization unique that particular museum; similar displays can be found in many museums in Turkey, Greece, and the United States. But the artists’ installation reminds us that once upon a time, less than a century ago, these idols were not together at all. In fact, they were rarely exhibited; they lay in dusty boxes in museum storages and dig houses. Insofar as they didn’t explain anything about the worlds of Ancient Greece and Rome or the Bible, they were of little interest, and museum catalogs in the past even called them ugly monsters. It was only when modern art became interested in primitivism that idols became widely collected and classified into rigid categories.

Modern Western artists from the 20th century such as Picasso, Moore and Brancusi were all fascinated and inspired by these strange creatures from the remote past, which is what led, in part, to the formal creation of certain categories of prehistoric art, and in turn accelerated their plunder from the Eastern Mediterranean. But when Abbas and Abou-Rahme liberated them from their dormant state into a multitemporal, transitory state, placing them in conversation with destroyed villages, fragments of pottery, burnt wood and plants from the West Bank, the gleaming pink color of the flowers, poetry, songs, dances and sounds, perhaps they came back to life again, if only temporarily. Just like the masks, these mysterious objects of life and death began to serve not only as witnesses to destruction, but also as catalysts of rebirth, of cyclical return, of new life. 

At the end of their parafictional text for the third part of And Yet My Mask Is Powerful, moving back and forth between wish and fact, desire and fiction, Abbas and Abou-Rahme offer us a powerful reflection. Standing on the traces of Palestinian villages, they have just completed a series of performances with the mask replicas and are no longer sure whether these are copies or not. “I looked out onto Kufer Birim through the strange circular eyes,” they write, “and all I could think was if this was meant as a spirit mask for the dead when it was made, what is a spirit mask for now? For the dead or for the living? I was surrounded by bushes, plants and trees that were all shades of phosphoric green. I don’t know if it was the effect of the heat or the mask but I felt like the whole place was alive, swarming with life. I just had to use the mask, to look out from under its eyes, to become it and let it become me. And then I could step out of time, out of the time they invented, this time that is occupied, this time they have declared me dead or dying. I am alive, this destroyed village is alive, this mask is for the living.”

We are thus left with a final impression that upends everything we think we know about archaeology. For when archaeologists began excavating in Greece, Anatolia and the Levant in the 19th century, they were certain that it was the past they were going to find. But instead, the artists show us, what in fact emerged was the present, flowing in all directions, contaminated, nebulous, untamable.

 

Arie Amaya-Akkermans

Arie Amaya-Akkermans is an art critic and senior writer for The Markaz Review, based in the broader Middle East since 2003. His work is primarily concerned with the relationship between archaeology, heritage, art, and politics in the Eastern Mediterranean, with a special... Read more

is an art critic and senior writer for The Markaz Review, based in the broader Middle East since 2003. His work is primarily concerned with the relationship between archaeology, heritage, art, and politics in the Eastern Mediterranean, with a special interest in displaced communities. His byline has appeared previously on Hyperallergic, San Francisco Arts Quarterly, Quotidien de l'Art, Al-Monitor, and DAWN Journal. Previously, he has been a guest editor of Arte East Quarterly, a moderator in the talks program of Art Basel, and a recipient of fellowships at IASPIS, UNIDEE, and Kone Foundation.

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Palestine, Political Theatre & the Performance of Queer Solidarity in Jean Genet’s Prisoner of Love

7 JUNE 2024 • By Saleem Haddad
Palestine, Political Theatre & the Performance of Queer Solidarity in Jean Genet’s <em>Prisoner of Love</em>
Essays

A Small Kernel of Human Kindness: Some Notes on Solidarity and Resistance

24 MAY 2024 • By Nancy Kricorian
A Small Kernel of Human Kindness: Some Notes on Solidarity and Resistance
Art

Demarcations of Identity: Rushdi Anwar

10 MAY 2024 • By Malu Halasa
Demarcations of Identity: Rushdi Anwar
Editorial

Why FORGETTING?

3 MAY 2024 • By Malu Halasa, Jordan Elgrably
Why FORGETTING?
Centerpiece

Memory Archive: Between Remembering and Forgetting

3 MAY 2024 • By Mai Al-Nakib
Memory Archive: Between Remembering and Forgetting
Art & Photography

Not Forgotten, Not (All) Erased: Palestine’s Sacred Shrines

3 MAY 2024 • By Gabriel Polley
Not Forgotten, Not (All) Erased: Palestine’s Sacred Shrines
Book Reviews

Palestinian Culture, Under Assault, Celebrated in New Cookbook

3 MAY 2024 • By Mischa Geracoulis
Palestinian Culture, Under Assault, Celebrated in New Cookbook
Essays

Freedom—Ruminations of a Syrian Refugee

3 MAY 2024 • By Reem Alghazzi, Manal Shalaby
Freedom—Ruminations of a Syrian Refugee
Art

Malak Mattar: No Words, Only Scenes of Ruin

26 APRIL 2024 • By Nadine Nour el Din
Malak Mattar: No Words, Only Scenes of Ruin
Opinion

Censorship over Gaza and Palestine Roils the Arts Community

12 APRIL 2024 • By Hassan Abdulrazzak
Censorship over Gaza and Palestine Roils the Arts Community
Art

Past Disquiet at the Palais de Tokyo in Paris

1 APRIL 2024 • By Kristine Khouri, Rasha Salti
<em>Past Disquiet</em> at the Palais de Tokyo in Paris
Essays

Undoing Colonial Geographies from Paris with Ariella Aïsha Azoulay

1 APRIL 2024 • By Sasha Moujaes, Jordan Elgrably
Undoing Colonial Geographies from Paris with Ariella Aïsha Azoulay
Book Reviews

Fady Joudah’s […] Dares Us to Listen to Palestinian Words—and Silences

25 MARCH 2024 • By Eman Quotah
Fady Joudah’s <em>[…]</em> Dares Us to Listen to Palestinian Words—and Silences
Art & Photography

Will Artists Against Genocide Boycott the Venice Biennale?

18 MARCH 2024 • By Hadani Ditmars
Will Artists Against Genocide Boycott the Venice Biennale?
Poetry

Two Poems from Maram Al-Masri

3 MARCH 2024 • By Maram Al-Masri, Hélène Cardona
Two Poems from Maram Al-Masri
Books

Four Books to Revolutionize Your Thinking

3 MARCH 2024 • By Rana Asfour
Four Books to Revolutionize Your Thinking
Essays

The Story of the Keffiyeh

3 MARCH 2024 • By Rajrupa Das
The Story of the Keffiyeh
Essays

Messages from Gaza Now / 5

26 FEBRUARY 2024 • By Hossam Madhoun
Messages from Gaza Now / 5
Weekly

World Picks from the Editors: Feb 23 — Mar 7

23 FEBRUARY 2024 • By TMR
World Picks from the Editors: Feb 23 — Mar 7
Essays

The Oath of Cyriac: Recovery or Spin?

19 FEBRUARY 2024 • By Arie Amaya-Akkermans
<em>The Oath of Cyriac</em>: Recovery or Spin?
Art

Issam Kourbaj’s Love Letter to Syria in Cambridge

12 FEBRUARY 2024 • By Sophie Kazan Makhlouf
Issam Kourbaj’s Love Letter to Syria in Cambridge
Art & Photography

The Body, Intimacy and Technology in the Middle East

4 FEBRUARY 2024 • By Naima Morelli
The Body, Intimacy and Technology in the Middle East
Columns

Driving in Palestine Now is More Dangerous Than Ever

29 JANUARY 2024 • By TMR
Driving in Palestine Now is More Dangerous Than Ever
Featured article

Israel-Palestine: Peace Under Occupation?

29 JANUARY 2024 • By Laëtitia Soula
Israel-Palestine: Peace Under Occupation?
Books

Illuminated Reading for 2024: Our Anticipated Titles

22 JANUARY 2024 • By TMR
Illuminated Reading for 2024: Our Anticipated Titles
Fiction

“New Reasons”—a short story by Samira Azzam

15 JANUARY 2024 • By Samira Azzam, Ranya Abdelrahman
“New Reasons”—a short story by Samira Azzam
Essays

Jesus Was Palestinian, But Bethlehem Suspends Christmas

25 DECEMBER 2023 • By Ahmed Twaij
Jesus Was Palestinian, But Bethlehem Suspends Christmas
Columns

Messages from Gaza Now / 2

18 DECEMBER 2023 • By Hossam Madhoun
Messages from Gaza Now / 2
Music

We Will Sing Until the Pain Goes Away—a Palestinian Playlist

18 DECEMBER 2023 • By Brianna Halasa
We Will Sing Until the Pain Goes Away—a Palestinian Playlist
Beirut

“The Summer They Heard Music”—a short story by MK Harb

3 DECEMBER 2023 • By MK Harb
“The Summer They Heard Music”—a short story by MK Harb
Book Reviews

First Kurdish Sci-Fi Collection is Rooted in the Past

28 NOVEMBER 2023 • By Matt Broomfield
First Kurdish Sci-Fi Collection is Rooted in the Past
Art & Photography

War and Art: A Lebanese Photographer and His Protégés

13 NOVEMBER 2023 • By Nicole Hamouche
War and Art: A Lebanese Photographer and His Protégés
Arabic

Poet Ahmad Almallah

9 NOVEMBER 2023 • By Ahmad Almallah
Poet Ahmad Almallah
Opinion

Palestine’s Pen against Israel’s Swords of Injustice

6 NOVEMBER 2023 • By Mai Al-Nakib
Palestine’s Pen against Israel’s Swords of Injustice
Book Reviews

Suad Aldarra’s I Don’t Want to Talk About Home

5 NOVEMBER 2023 • By Ammar Azzouz
Suad Aldarra’s <em>I Don’t Want to Talk About Home</em>
Essays

On Fathers, Daughters and the Genocide in Gaza 

30 OCTOBER 2023 • By Deema K Shehabi
On Fathers, Daughters and the Genocide in Gaza 
Book Reviews

The Refugee Ocean—An Intriguing Premise

30 OCTOBER 2023 • By Natasha Tynes
<em>The Refugee Ocean</em>—An Intriguing Premise
Editorial

Palestine and the Unspeakable

16 OCTOBER 2023 • By Lina Mounzer
Palestine and the Unspeakable
Art

Vera Tamari’s Lifetime of Palestinian Art

16 OCTOBER 2023 • By Taline Voskeritchian
Vera Tamari’s Lifetime of Palestinian Art
Book Reviews

A Day in the Life of Abed Salama: A Palestine Story

16 OCTOBER 2023 • By Dalia Hatuqa
<em>A Day in the Life of Abed Salama</em>: A Palestine Story
Weekly

World Picks from the Editors, Oct 13 — Oct 27, 2023

12 OCTOBER 2023 • By TMR
World Picks from the Editors, Oct 13 — Oct 27, 2023
Poetry

Home: New Arabic Poems in Translation

11 OCTOBER 2023 • By Sarah Coolidge
<em>Home</em>: New Arabic Poems in Translation
Books

Edward Said: Writing in the Service of Life 

9 OCTOBER 2023 • By Layla AlAmmar
Edward Said: Writing in the Service of Life 
Books

Fairouz: The Peacemaker and Champion of Palestine

1 OCTOBER 2023 • By Dima Issa
Fairouz: The Peacemaker and Champion of Palestine
Book Reviews

Saqi’s Revenant: Sahar Khalifeh’s Classic Nablus Novel Wild Thorns

25 SEPTEMBER 2023 • By Noshin Bokth
Saqi’s Revenant: Sahar Khalifeh’s Classic Nablus Novel <em>Wild Thorns</em>
Art

Special World Picks Sept 15-26 on TMR’s Third Anniversary

14 SEPTEMBER 2023 • By TMR
Special World Picks Sept 15-26 on TMR’s Third Anniversary
Book Reviews

Laila Halaby’s The Weight of Ghosts is a Haunting Memoir

28 AUGUST 2023 • By Thérèse Soukar Chehade
Laila Halaby’s <em>The Weight of Ghosts</em> is a Haunting Memoir
Book Reviews

What’s the Solution for Jews and Palestine in the Face of Apartheid Zionism?

21 AUGUST 2023 • By Jonathan Ofir
What’s the Solution for Jews and Palestine in the Face of Apartheid Zionism?
Book Reviews

Ilan Pappé on Tahrir Hamdi’s Imagining Palestine

7 AUGUST 2023 • By Ilan Pappé
Ilan Pappé on Tahrir Hamdi’s <em> Imagining Palestine</em>
Art

What Palestine Brings to the World—a Major Paris Exhibition

31 JULY 2023 • By Sasha Moujaes
<em>What Palestine Brings to the World</em>—a Major Paris Exhibition
Book Reviews

Can the Kurdish Women’s Movement Transform the Middle East?

31 JULY 2023 • By Matt Broomfield
Can the Kurdish Women’s Movement Transform the Middle East?
Interviews

Musical Artists at Work: Naïssam Jalal, Fazil Say & Azu Tiwaline

17 JULY 2023 • By Jordan Elgrably
Musical Artists at Work: Naïssam Jalal, Fazil Say & Azu Tiwaline
Book Reviews

Why Isn’t Ghaith Abdul-Ahad a Household Name?

10 JULY 2023 • By Iason Athanasiadis
Why Isn’t Ghaith Abdul-Ahad a Household Name?
Fiction

“The Long Walk of the Martyr”—fiction from Salar Abdoh

2 JULY 2023 • By Salar Abdoh
“The Long Walk of the Martyr”—fiction from Salar Abdoh
Fiction

Tears from a Glass Eye—a story by Samira Azzam

2 JULY 2023 • By Samira Azzam, Ranya Abdelrahman
Tears from a Glass Eye—a story by Samira Azzam
Featured Artist

Artist at Work: Syrian Filmmaker Afraa Batous

26 JUNE 2023 • By Dima Hamdan
Artist at Work: Syrian Filmmaker Afraa Batous
Editorial

EARTH: Our Only Home

4 JUNE 2023 • By Jordan Elgrably
EARTH: Our Only Home
Essays

Turkey’s Earthquake as a Generational Disaster

4 JUNE 2023 • By Sanem Su Avci
Turkey’s Earthquake as a Generational Disaster
Arabic

Arab Theatre Grapples With Climate Change, Borders, War & Love

4 JUNE 2023 • By Hassan Abdulrazzak
Arab Theatre Grapples With Climate Change, Borders, War & Love
Essays

Alien Entities in the Desert

4 JUNE 2023 • By Dror Shohet
Alien Entities in the Desert
Featured Artist

Nasrin Abu Baker: The Markaz Review Featured Artist, June 2023

4 JUNE 2023 • By TMR
Nasrin Abu Baker: The Markaz Review Featured Artist, June 2023
Islam

From Pawns to Global Powers: Middle East Nations Strike Back

29 MAY 2023 • By Chas Freeman, Jr.
From Pawns to Global Powers: Middle East Nations Strike Back
Music

Artist At Work: Maya Youssef Finds Home in the Qanun

22 MAY 2023 • By Rana Asfour
Artist At Work: Maya Youssef Finds Home in the Qanun
Book Reviews

How Bethlehem Evolved From Jerusalem’s Sleepy Backwater to a Global Town

15 MAY 2023 • By Karim Kattan
How Bethlehem Evolved From Jerusalem’s Sleepy Backwater to a Global Town
TMR Conversations

TMR CONVERSATIONS: Amal Ghandour Interviews Raja Shehadeh

11 MAY 2023 • By Amal Ghandour, Raja Shehadeh
TMR CONVERSATIONS: Amal Ghandour Interviews Raja Shehadeh
Film

The Refugees by the Lake, a Greek Migrant Story

8 MAY 2023 • By Iason Athanasiadis
The Refugees by the Lake, a Greek Migrant Story
Book Reviews

In Search of Fathers: Raja Shehadeh’s Palestinian Memoir

13 MARCH 2023 • By Amal Ghandour
In Search of Fathers: Raja Shehadeh’s Palestinian Memoir
Centerpiece

Broken Home: Britain in the Time of Migration

5 MARCH 2023 • By Malu Halasa
Broken Home: Britain in the Time of Migration
Fiction

“Counter Strike”—a story by MK HARB

5 MARCH 2023 • By MK Harb
“Counter Strike”—a story by MK HARB
Cities

For Those Who Dwell in Tents, Home is Temporal—Or Is It?

5 MARCH 2023 • By Arie Amaya-Akkermans
For Those Who Dwell in Tents, Home is Temporal—Or Is It?
Essays

More Photographs Taken From The Pocket of a Dead Arab

5 MARCH 2023 • By Saeed Taji Farouky
More Photographs Taken From The Pocket of a Dead Arab
Essays

Home Under Siege: a Palestine Photo Essay

5 MARCH 2023 • By Anam Raheem
Home Under Siege: a Palestine Photo Essay
Columns

Letter From Turkey—Antioch is Finished

20 FEBRUARY 2023 • By Arie Amaya-Akkermans
Letter From Turkey—Antioch is Finished
Columns

Sudden Journeys: Deluge at Wadi Feynan

6 FEBRUARY 2023 • By Jenine Abboushi
Sudden Journeys: Deluge at Wadi Feynan
TV Review

Palestinian Territories Under Siege But Season 4 of Fauda Goes to Brussels and Beirut Instead

6 FEBRUARY 2023 • By Brett Kline
Palestinian Territories Under Siege But Season 4 of <em>Fauda</em> Goes to Brussels and Beirut Instead
Art

The Creative Resistance in Palestinian Art

26 DECEMBER 2022 • By Malu Halasa
The Creative Resistance in Palestinian Art
Film

The Swimmers and the Mardini Sisters: a True Liberation Tale

15 DECEMBER 2022 • By Rana Haddad
<em>The Swimmers</em> and the Mardini Sisters: a True Liberation Tale
Art

Art World Picks: Albraehe, Kerem Yavuz, Zeghidour, Amer & Tatah

12 DECEMBER 2022 • By TMR
Art

Museums in Exile—MO.CO’s show for Chile, Sarajevo & Palestine

12 DECEMBER 2022 • By Jordan Elgrably
Museums in Exile—MO.CO’s show for Chile, Sarajevo & Palestine
Art

Where is the Palestinian National Museum of Modern and Contemporary Art?

12 DECEMBER 2022 • By Nora Ounnas Leroy
Where is the Palestinian National Museum of Modern and Contemporary Art?
Columns

Sudden Journeys: Israel’s Intimate Separations—Part 3

5 DECEMBER 2022 • By Jenine Abboushi
Sudden Journeys: Israel’s Intimate Separations—Part 3
Book Reviews

Fida Jiryis on Palestine in Stranger in My Own Land

28 NOVEMBER 2022 • By Diana Buttu
Fida Jiryis on Palestine in <em>Stranger in My Own Land</em>
Film

You Resemble Me Deconstructs a Muslim Life That Ends Radically

21 NOVEMBER 2022 • By Jordan Elgrably
<em>You Resemble Me</em> Deconstructs a Muslim Life That Ends Radically
Fiction

“Eleazar”—a short story by Karim Kattan

15 NOVEMBER 2022 • By Karim Kattan
“Eleazar”—a short story by Karim Kattan
Opinion

Fragile Freedom, Fragile States in the Muslim World

24 OCTOBER 2022 • By I. Rida Mahmood
Fragile Freedom, Fragile States in the Muslim World
Interviews

Interview with Ahed Tamimi, an Icon of the Palestinian Resistance

15 OCTOBER 2022 • By Nora Lester Murad
Interview with Ahed Tamimi, an Icon of the Palestinian Resistance
Essays

Nawal El-Saadawi, a Heroine in Prison

15 OCTOBER 2022 • By Ibrahim Fawzy
Nawal El-Saadawi, a Heroine in Prison
Book Reviews

A London Murder Mystery Leads to Jihadis and Syria

3 OCTOBER 2022 • By Ghazi Gheblawi
A London Murder Mystery Leads to Jihadis and Syria
Columns

Sudden Journeys: Israel’s Intimate Separations—Part 1

26 SEPTEMBER 2022 • By Jenine Abboushi
Sudden Journeys: Israel’s Intimate Separations—Part 1
Art & Photography

Kader Attia, Berlin Biennale’s Curator

15 SEPTEMBER 2022 • By Melissa Chemam
Kader Attia, Berlin Biennale’s Curator
Film

Ziad Kalthoum: Trajectory of a Syrian Filmmaker

15 SEPTEMBER 2022 • By Viola Shafik
Ziad Kalthoum: Trajectory of a Syrian Filmmaker
Columns

Phoneless in Filthy Berlin

15 SEPTEMBER 2022 • By Maisan Hamdan, Rana Asfour
Phoneless in Filthy Berlin
Film

The Mystery of Tycoon Michel Baida in Old Arab Berlin

15 SEPTEMBER 2022 • By Irit Neidhardt
The Mystery of Tycoon Michel Baida in Old Arab Berlin
Art & Photography

Photographer Mohamed Badarne (Palestine) and his U48 Project

15 SEPTEMBER 2022 • By Viola Shafik
Photographer Mohamed Badarne (Palestine) and his U48 Project
Film

Two Syrian Brothers Find Themselves in “We Are From There”

22 AUGUST 2022 • By Angélique Crux
Two Syrian Brothers Find Themselves in “We Are From There”
Book Reviews

Questionable Thinking on the Syrian Revolution

1 AUGUST 2022 • By Fouad Mami
Questionable Thinking on the Syrian Revolution
Art

Abundant Middle Eastern Talent at the ’22 Avignon Theatre Fest

18 JULY 2022 • By Nada Ghosn
Abundant Middle Eastern Talent at the ’22 Avignon Theatre Fest
Editorial

Editorial: Is the World Driving Us Mad?

15 JULY 2022 • By TMR
Editorial: Is the World Driving Us Mad?
Columns

World Refugee Day — What We Owe Each Other

20 JUNE 2022 • By Jordan Elgrably
World Refugee Day — What We Owe Each Other
Art & Photography

Featured Artist: Steve Sabella, Beyond Palestine

15 JUNE 2022 • By TMR
Featured Artist: Steve Sabella, Beyond Palestine
Essays

Sulafa Zidani: “Three Buses and the Rhythm of Remembering”

15 JUNE 2022 • By Sulafa Zidani
Sulafa Zidani: “Three Buses and the Rhythm of Remembering”
Film

Saeed Taji Farouky: “Strange Cities Are Familiar”

15 JUNE 2022 • By Saeed Taji Farouky
Saeed Taji Farouky: “Strange Cities Are Familiar”
Fiction

Selma Dabbagh: “Trash”

15 JUNE 2022 • By Selma Dabbagh
Selma Dabbagh: “Trash”
Book Reviews

Fragmented Love in Alison Glick’s “The Other End of the Sea”

16 MAY 2022 • By Nora Lester Murad
Fragmented Love in Alison Glick’s “The Other End of the Sea”
Opinion

Palestinians and Israelis Will Commemorate the Nakba Together

25 APRIL 2022 • By Rana Salman, Yonatan Gher
Palestinians and Israelis Will Commemorate the Nakba Together
Columns

Green Almonds in Ramallah

15 APRIL 2022 • By Wafa Shami
Green Almonds in Ramallah
Columns

Libyan, Palestinian and Syrian Family Dinners in London

15 APRIL 2022 • By Layla Maghribi
Libyan, Palestinian and Syrian Family Dinners in London
Film Reviews

Palestine in Pieces: Hany Abu-Assad’s Huda’s Salon

21 MARCH 2022 • By Jordan Elgrably
Palestine in Pieces: Hany Abu-Assad’s <em>Huda’s Salon</em>
Opinion

U.S. Sanctions Russia for its Invasion of Ukraine; Now Sanction Israel for its Occupation of Palestine

21 MARCH 2022 • By Yossi Khen, Jeff Warner
U.S. Sanctions Russia for its Invasion of Ukraine; Now Sanction Israel for its Occupation of Palestine
Essays

Mariupol, Ukraine and the Crime of Hospital Bombing

17 MARCH 2022 • By Neve Gordon, Nicola Perugini
Mariupol, Ukraine and the Crime of Hospital Bombing
Poetry

Three Poems of Love and Desire by Nouri Al-Jarrah

15 MARCH 2022 • By Nouri Al-Jarrah
Three Poems of Love and Desire by Nouri Al-Jarrah
Art

Fiction: “Skin Calluses” by Khalil Younes

15 MARCH 2022 • By Khalil Younes
Fiction: “Skin Calluses” by Khalil Younes
Opinion

Ukraine War Reminds Refugees Some Are More Equal Than Others

7 MARCH 2022 • By Anna Lekas Miller
Ukraine War Reminds Refugees Some Are More Equal Than Others
Columns

“There’s Nothing Worse Than War”

24 FEBRUARY 2022 • By Jordan Elgrably
“There’s Nothing Worse Than War”
Editorial

Refuge, or the Inherent Dignity of Every Human Being

15 JANUARY 2022 • By Jordan Elgrably
Refuge, or the Inherent Dignity of Every Human Being
Art & Photography

Children in Search of Refuge: a Photographic Essay

15 JANUARY 2022 • By Iason Athanasiadis
Children in Search of Refuge: a Photographic Essay
Columns

Getting to the Other Side: a Kurdish Migrant Story

15 JANUARY 2022 • By Iason Athanasiadis
Getting to the Other Side: a Kurdish Migrant Story
Film Reviews

“Europa,” Iraq’s Entry in the 94th annual Oscars, Frames Epic Refugee Struggle

15 JANUARY 2022 • By Thomas Dallal
“Europa,” Iraq’s Entry in the 94th annual Oscars, Frames Epic Refugee Struggle
Fiction

Fiction: Refugees in Serbia, an excerpt from “Silence is a Sense” by Layla AlAmmar

15 JANUARY 2022 • By Layla AlAmmar
Fiction: Refugees in Serbia, an excerpt from “Silence is a Sense” by Layla AlAmmar
Book Reviews

Temptations of the Imagination: how Jana Elhassan and Samar Yazbek transmogrify the world

10 JANUARY 2022 • By Rana Asfour
Temptations of the Imagination: how Jana Elhassan and Samar Yazbek transmogrify the world
Fiction

Three Levantine Tales

15 DECEMBER 2021 • By Nouha Homad
Three Levantine Tales
Beirut

Sudden Journeys: The Villa Salameh Bequest

29 NOVEMBER 2021 • By Jenine Abboushi
Sudden Journeys: The Villa Salameh Bequest
Essays

Syria Through British Eyes

29 NOVEMBER 2021 • By Rana Haddad
Syria Through British Eyes
Columns

Burning Forests, Burning Nations

15 NOVEMBER 2021 • By Hadani Ditmars
Burning Forests, Burning Nations
Book Reviews

The Vanishing: Are Arab Christians an Endangered Minority?

15 NOVEMBER 2021 • By Hadani Ditmars
The Vanishing: Are Arab Christians an Endangered Minority?
Columns

Refugees Detained in Thessonaliki’s Diavata Camp Await Asylum

1 NOVEMBER 2021 • By Iason Athanasiadis
Refugees Detained in Thessonaliki’s Diavata Camp Await Asylum
Centerpiece

The Untold Story of Zakaria Zubeidi

15 OCTOBER 2021 • By Ramzy Baroud
The Untold Story of Zakaria Zubeidi
Interviews

Interview With Prisoner X, Accused by the Bashar Al-Assad Regime of Terrorism

15 OCTOBER 2021 • By Jordan Elgrably
Interview With Prisoner X, Accused by the Bashar Al-Assad Regime of Terrorism
Film Reviews

Will Love Triumph in the Midst of Gaza’s 14-Year Siege?

11 OCTOBER 2021 • By Jordan Elgrably
Will Love Triumph in the Midst of Gaza’s 14-Year Siege?
Essays

Why Resistance Is Foundational to Kurdish Literature

15 SEPTEMBER 2021 • By Ava Homa
Why Resistance Is Foundational to Kurdish Literature
Weekly

Summer of ‘21 Reading—Notes from the Editors

25 JULY 2021 • By TMR
Summer of ‘21 Reading—Notes from the Editors
Essays

Gaza, You and Me

14 JULY 2021 • By Abdallah Salha
Gaza, You and Me
Book Reviews

ISIS and the Absurdity of War in the Age of Twitter

4 JULY 2021 • By Jessica Proett
ISIS and the Absurdity of War in the Age of Twitter
Essays

Syria’s Ruling Elite— A Master Class in Wasta

14 JUNE 2021 • By Lawrence Joffe
Syria’s Ruling Elite— A Master Class in Wasta
Weekly

The Maps of Our Destruction: Two Novels on Syria

30 MAY 2021 • By Rana Asfour
The Maps of Our Destruction: Two Novels on Syria
Book Reviews

The Triumph of Love and the Palestinian Revolution

16 MAY 2021 • By Fouad Mami
Essays

Is Tel Aviv’s Neve Tzedek, Too, Occupied Territory?

14 MAY 2021 • By Taylor Miller, TMR
Is Tel Aviv’s Neve Tzedek, Too, Occupied Territory?
Essays

Between Thorns and Thistles in Bil’in

14 MAY 2021 • By Francisco Letelier
Between Thorns and Thistles in Bil’in
Essays

We Are All at the Border Now

14 MAY 2021 • By Todd Miller
We Are All at the Border Now
Essays

From Damascus to Birmingham, a Selected Glossary

14 MAY 2021 • By Frances Zaid
From Damascus to Birmingham, a Selected Glossary
Weekly

Beirut Brings a Fragmented Family Together in “The Arsonists’ City”

9 MAY 2021 • By Rana Asfour
Weekly

“I Advance in Defeat”, the Poems of Najwan Darwish

28 MARCH 2021 • By Patrick James Dunagan
“I Advance in Defeat”, the Poems of Najwan Darwish
TMR 7 • Truth?

Poetry Against the State

14 MARCH 2021 • By Gil Anidjar
Poetry Against the State
Poetry

A visual poem from Hala Alyan: Gaza

14 MARCH 2021 • By TMR
A visual poem from Hala Alyan: Gaza
Columns

Memory and the Assassination of Lokman Slim

14 MARCH 2021 • By Claire Launchbury
Memory and the Assassination of Lokman Slim
Poetry

The Freedom You Want

14 MARCH 2021 • By Mohja Kahf
The Freedom You Want
TMR 6 • Revolutions

The Revolution Sees its Shadow 10 Years Later

14 FEBRUARY 2021 • By Mischa Geracoulis
The Revolution Sees its Shadow 10 Years Later
TMR 6 • Revolutions

Ten Years of Hope and Blood

14 FEBRUARY 2021 • By Robert Solé
Ten Years of Hope and Blood
TMR 5 • Water

Watch Water Films & Donate to Water Organizations

16 JANUARY 2021 • By TMR
Watch Water Films & Donate to Water Organizations
Film Reviews

Muhammad Malas, Syria’s Auteur, is the subject of a Film Biography

10 JANUARY 2021 • By Rana Asfour
Muhammad Malas, Syria’s Auteur, is the subject of a Film Biography
Book Reviews

The Howling of the Dog: Adania Shibli’s “Minor Detail”

30 DECEMBER 2020 • By Layla AlAmmar
The Howling of the Dog: Adania Shibli’s “Minor Detail”
TMR 4 • Small & Indie Presses

Children of the Ghetto, My Name Is Adam

14 DECEMBER 2020 • By Elias Khoury
Children of the Ghetto, My Name Is Adam
TMR 4 • Small & Indie Presses

Trembling Landscapes: Between Reality and Fiction: Eleven Artists from the Middle East*

14 DECEMBER 2020 • By Nat Muller
Trembling Landscapes: Between Reality and Fiction: Eleven Artists from the Middle East*
TMR 4 • Small & Indie Presses

Freedom is femininity: Faraj Bayrakdar

14 DECEMBER 2020 • By Faraj Bayrakdar
Freedom is femininity: Faraj Bayrakdar
Centerpiece

The Road to Jerusalem, Then and Now

15 NOVEMBER 2020 • By Raja Shehadeh
The Road to Jerusalem, Then and Now
World Picks

Interlink Proposes 4 New Arab Novels

22 SEPTEMBER 2020 • By TMR
Interlink Proposes 4 New Arab Novels

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