Launch of Disorientation exhibition, a body of work stems from artist Josh Sutton’s experience of travelling, studying and volunteering in the MENA region.
Josh Sutton’s formal art training came to an end in 1985 having completed an art foundation course at Bradford & Ilkley Community College, after which he proceeded to make it up as he went along. This makes him either an adept self-starter, or a bit of a slacker - you decide.
You can meet the artist Josh Sutton during this event.
Palestinian embroidery, or “Tatreez”, is a vital cultural practice that embodies the history, identity, and resilience of the Palestinian people. Recognised by UNESCO as an Intangible Cultural Heritage, Tatreez dates back over 3,000 years to the Canaanite era and has evolved into a profound symbol of Palestinian heritage and resistance.
Exhibition of Palestinian posters reveals the many facets of this vital campaigning tool for Palestine. Palestinian artists, including those who laid the foundations for Palestinian modern art, respond to the war on Gaza in meaningful, expressive poster art never before exhibited in London. The anonymous activist group Protest Stencil hacked London bus shelters with its eye-popping "subvertising" posters, while the decolonization collective Visualizing Palestine lay bare the cruel history and present-day facts behind the genocide in Gaza and the occupation of the West Bank.
Art was and still is perceived as a threat to Israeli authorities. In the West Bank and Gaza in the 1970s and 1980s, there were no official galleries, and artists showed their work in schools, churches, and town halls. The popularity of these exhibitions among ordinary Palestinians also drew an unexpected audience — the IDF. Artists have always been a front in cultural resistance. Forced to apply for permits to exhibit work, painters and sculptors found their artwork censored. Israeli soldiers even conducted studio visits.
This event, presented by Theatre for Everybody (Gaza) and Az Theatre (London), is a public conversation live from P21 Gallery and online, that presents testimonies, videos, live interventions, giving accounts of the return of the people of Gaza to their homes, both from the displaced tent encampments and from the prisons and torture centres in Israel. These will also include accounts of the consequences of the end of the ceasefire and of the escalation of the genocide in Gaza and the West Bank.
Launch of "Puppets" Invisible Strings exhibition, which explores the vulnerability of the human condition in an age marked by psychological fragility. In this exhibition, Shihab creates a visual trauma using artistic elements to forcefully engage the audience, making them feel the invisible strings that control them, and encouraging them to break free. Through a unique blend of abstraction and realism, Shihab’s work confronts emotional shocks that provoke deeper reflection.
Palestinian embroidery, or “Tatreez”, is a vital cultural practice that embodies the history, identity, and resilience of the Palestinian people. Recognised by UNESCO as an Intangible Cultural Heritage, Tatreez dates back over 3,000 years to the Canaanite era and has evolved into a profound symbol of Palestinian heritage and resistance.
This ‘Public Conversation’ event will be led by Jamal Al Rozzi, CEO of a major Palestinian rehabilitation organisation. There will be contributors from activists and experts in Palestine and around the world. Hear what wisdom and invention Palestinian culture has demonstrated in its response to the attempt by the Israeli state to disable so many of its people, understand the development of psycho-social support as a resistance strategy, especially important because the disabilities are consciously inflicted by other human beings.
Palestinian embroidery, or “Tatreez”, is a vital cultural practice that embodies the history, identity, and resilience of the Palestinian people. Recognised by UNESCO as an Intangible Cultural Heritage, Tatreez dates back over 3,000 years to the Canaanite era and has evolved into a profound symbol of Palestinian heritage and resistance.
Palestinian embroidery, or “Tatreez”, is a vital cultural practice that embodies the history, identity, and resilience of the Palestinian people. Recognised by UNESCO as an Intangible Cultural Heritage, Tatreez dates back over 3,000 years to the Canaanite era and has evolved into a profound symbol of Palestinian heritage and resistance.
Palestinian embroidery, or “Tatreez”, is a vital cultural practice that embodies the history, identity, and resilience of the Palestinian people. Recognised by UNESCO as an Intangible Cultural Heritage, Tatreez dates back over 3,000 years to the Canaanite era and has evolved into a profound symbol of Palestinian heritage and resistance.
Under military occupation, Palestinian farmers face intensifying and catastrophic challenges across the territory. The Israeli military assault has weaponised hunger hunger, systematically targeted food and water infrastructure, destroyed farmland and contaminated soils in Gaza. In the West Bank, land confiscations, settler attacks and restrictions on movement and trade have all accelerated at an unprecedented rate.
Living with Drones tells a story about the sounds of war, in particular the use of drones, and their devastating, traumatic impact on the residents of Gaza. By tying together first-person stories from Gaza with wartime diaries from story-sharers, this show weaves a compelling, nuanced narrative about the use of drone technology on human lives and the international legal and human rights questions such a consistent bombardment raises.
Living with Drones tells a story about the sounds of war, in particular the use of drones, and their devastating, traumatic impact on the residents of Gaza. By tying together first-person stories from Gaza with wartime diaries from story-sharers, this show weaves a compelling, nuanced narrative about the use of drone technology on human lives and the international legal and human rights questions such a consistent bombardment raises.
Join us for the launch of the “Collateral Damage”, an exhibition of a body of artworks by journalist artist Abdelfatah Bouakaz. A visual statement by Abdelfatah on his inner pain, helplessness and oppression. And it’s a visual presentation on the war on Gaza, a powerful medium to convey the profound impact of the genocide. Through the use of colours, textures, and forms, Bouakaz is depicting the harsh realities and emotional toll of war.
This event is a part of the Theatre for Everybody and Az Theatre's PALESTINE: REPAIR & RETURN project which seeks to create links between 'skill and knowledge' communities outside Palestine with projects and people in Palestine. The project takes the form of a series of events where thinkers, practitioners and artists come together through public conversation. We will hear the voices of people in Palestine managing water supplies, seeking sources of good water and concerned with this vital natural resource.
Meet Miko Peled and listen to him talk about, “Genocide and Denial: What’s Next in the Struggle to Free Palestine” at Palestine Museum US, exhibit 'Art of Palestine,' at P21 Gallery, London, UK..
Miko Peled is the founder and head of the newly formed Palestine House of Freedom, Dar Alhurriya, in Washington DC, USA.
Peled is a writer and activist, author of The “General’s Son, Journey of an Israeli in Palestine,” and “Injustice, the story of the Holy Land Foundation Five.”
Palestinian embroidery, known as Tatreez, is a vibrant expression of creativity and cultural heritage. Each stitch tells a story, with patterns and colours reflecting the history, geography, and identity of the Palestinians.
This event will present voices and stories from Palestine about how Palestinians are managing to continue learning and teaching, how communities are resisting attempts at ‘scholasticide’ and the destruction of schools and universities. They will be joined by educators and learning communities from the UK and elsewhere. We are asking how we can work together with Palestinians to keep learning and teaching activities alive.
Palestinian embroidery, known as Tatreez, is a vibrant expression of creativity and cultural heritage. Each stitch tells a story, with patterns and colours reflecting the history, geography, and identity of the Palestinians.
The event presents an opportunity to hear the inspiring personal stories of bereaved Palestinians and Israelis who choose reconciliation over retaliation.
Bassam Aramin, PCFF Spokesperson.
An artistic workshop aimed at children and young people to help develop their creative expression through poetry and embroidery.
Life After the Fall/حياة ما بعد السقوط (Kasim Abid, 2008)
In 2003, in the immediate aftermath of the fall of Saddam Hussein’s regime, a London-based Iraqi director returns to his country for the first time in 30 years. Over the next 5 years, he intermittently films his large multi-generational Baghdad family. The result is a film both intimate and epic, juxtaposing the rhythms and concerns of everyday life with the massive upheavals of history.
At the Freedom Theater in Jenin refugee camp, the next Palestinian Intifada is brewing. A group of brave theater actors risk their lives every day to fulfill a dream they are not willing to abandon: to show their play in New York.
The BAYT بيت (Arabic for home) exhibition will be launched on 18 January 2019 at the P21 Gallery in London. The exhibition is part of an intercultural and interfaith project that will be on a tour around the UK for the next three years; it is a marriage between East and West, where the Abrahamic faiths entwine in harmony.
I AM BRITISH PETROLEUM: KING OF EXPLOITATION, KING OF INJUSTICE is an interdisciplinary exhibition of work by artists both in Iraq and in the diaspora, inclusive of all ethnicities found within Iraq. The exhibition will focus on uncovering the realities and consequences of BP’s intervention in Iraq. Alongside the exhibited pieces, workshops, panel events and interviews will be taking place across the two weeks.
The Israeli Government tries to legitimate their murder, occupation and apartheid against Palestinians by promoting ‘Brand Israel’. This paints Israel as a peaceful, democratic and progressive state. An important part of this lie involves selling Israel as a cultural hub, paying established foreign artists to perform in the country while sending Israeli artists abroad.
