When we look at art in Palestine, it's unique history has led to recurring themes that do not necessarily represent all Palestinian art, but have inevitably dominated as a theme and influence. This often culminates in pieces that depict struggling, resistance and at times, desperation.
But how has art changed in the region? Works previously represented largely nationalistic themes as a result of the circumstances Palestinians found themselves in, whilst now we see considerable expansion into bolder conceptual pieces that question the direction of Palestinian identity in a post Öslo world. Does art still run parallel with politics or are Palestinian artists no longer confined to the standard symbolism that became almost the trademarks of their craft, such as the olive tree? Past works such as Ismail Shammout's 'Where to..?' (1953) use traditional oils to depict very literally, the 'refugee experience' that so many Palestinians of the time could relate to, drawing emotion from the audience. Fast forward to the 21st century and we see conceptualism engulfing Palestinian art at an astonishing pace. Has the art world embraced Palestine or has Palestine finally embraced the international art world and seen contemporary art's potential to question social and political narratives in the region?
Artists such as Jumana Abboud explore with great depth, the challenges facing modern Palestine through metaphors that allow the viewer to find their own interpretation of the difficult subjects at hand, offering a 21st century observation of the struggle and its continuity. Encouraging discussion in this manner has become increasingly important in a time when politics lacks a unified direction and artists are making statements that have the power to influence the public. Abboud's 'The Pomegranate' is a short film in which the seeds of the pomegranate are being carefully placed back inside the skin, showcasing the difficulty of such a task. It allows the viewer to question the commonly discussed theme of 'return' and all the intricacies that surround the subject in a land as complex as Palestine whilst retaining the all important symbolism that means so much to it's people.
Other modern artists such as Khalil Rabah explore prospects for the future in a cynical yet humourous manner. Examples of this include his 'United States of Palestine airlines' piece which involved the alleged office of an airline representing his conception of the 'United States of Palestine'. The many potential interpretations of this piece are in my mind, a mirror of the political climate, where some see recent developments as encouraging and retain visions of hope whilst many others remain apathetic, turning to cynicism and dark humour in the face of the challenges.
But what does the future hold for Palestinian art? Will we see continued conceptual metaphors dismantling the many questions that Palestinians face through a relatively new platform? How will this interact with the politics of the time such as the current ongoing 'peace negotiations'? It's an exciting time and all we can say is that we eagerly await Palestine's upcoming contributions to the art world.
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