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imagined space that simultaneously coexists as memory and dream and as an explicit and practical proposal for return. Farah 's move joins a long list of community, private, artistic and legal projects initiated and initiators by the people of Kfar Bar’am in order to fight the displacement of the village' s remains and promote to return to it.
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model that he built for the future development of the village, he reconstructs the route of the village and the relationship between the buildings and the agricultural lands, and locates the future residential area around the historical village center, so that the remnants of the old village exist within and as part of the new village.
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Later, from the aerial photographs and the testimonies he collected, Farah reconstructs the village structure - an intimate core of houses built close to each other, mostly around a common courtyard, with plots of land owned by the residents scattered around the village at different distances. In the
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As part of his temporary invitation to work for the exhibition (2007), he was asked to return and reveal the inscription on the wall. The study raises questions such as the issue of the labor force in Israel in general and especially in the field of construction, and the fact that it is impossible to
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Another feature of Farah's work is the cross-referencing between what is in the case and what is intentionally created. For example, in "Shelter 5-1" (2007), Farah was asked to take refuge in the building and prepare him for daily use. After the evacuation of the place and during its cleaning, one of
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The agricultural lands and the industrial buildings appear in the model in the second and third circles around the built-up circle of the village. According to the proposal in the village nucleus it is suggested to place the community and cultural center of the new village. Despite the circumstances
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Many of his works, photograph, print and sculpture which deal with the history of the village and attempts to resettle it. He is an artist but, also engaged in architecture and design at the same time, between 1996 and 2008 he worked on the "New Kufer Bir'im" project, and designed the exhibition of
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In his co-operated work with artist Dina Shoham, Block (2002), the two artists appear in their work restraints, facing each other and building gray blocks, each around himself, like a fence or a wall that is rising around them. The two walls become two buildings that bury and imprison the artists.
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In the exhibition, he brought photographs of different times and types together - a kind of re-activation of the works through cross-language cross-word making and a matchmaking of photographs placed side by side as an unresolved puzzle. Despite his meticulous aesthetics, Farah's works transverse
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Farah deals with the idea of the biography of the place as a distorted, irregular and detached narrative, which no retrospective look can reconstruct or correct. "Disrupted" (2003) series, in which he created a biographical mosaic of geographically disintegrated spaces that lies between the
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The name of the Kufer Bir'im was added to his signature as a second family name, in order to tie his identity to the village of his family, whose residents were expelled from it in 1948. The affair of the displaced people of Akrit and Bir'im was discussed extensively in the government, the
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Bar'am is a fundamental experience for Farah, he testified that "I often start out as a simple cube, reminiscent of my grandfather's house." In his work, "A Model for Repair" (2010), Farah builds Bar’am on its ruins by models, etchings, various actions, video works and photographs, creating an
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In this work, Farah analyzes the remains of the historic village and proposes planning for the future development of the place, attesting to a certain utopian dimension in his work and his perception. In the first stage of the work - mapping - Farah observes
British and Israeli aerial
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In his solo exhibition "Concerns (חששות)" (2014), a flower presented as photographs taken randomly, documenting his daily life, events and scenes from the social and material environment in his life, thus forming a kind of personal visual biography of the artist.
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of the limiting reality, Farah's proposal marks a concrete possibility both for the construction of a village and for a political settlement in which refugees will return to the places from which they were ejected or to other places to which they would return.
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the walls revealed the inscription "Palestine" apparently written by a
Palestinian worker who was present at the site. In the framework of the work he painted the wall and painted it white while simultaneously documenting the process of doing all its stages.
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In the early photo work of a flower, there is a typical point of view: it is low, as foot-level of observer, trying to trace the place from which material and information were taken or to reveal hidden content or deviate from the agreed logic.
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photographs made for intelligence and military purposes and extracts the movement of the village, as well as its continuation, from a statement that "I see a photograph of life, I see the life there was and the life that can be."
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In later photographs, the perspective expanded - it embraces an outside or an inside of space, looking horizontally or diagonally, in a way that draws inspiration from the catalog or police photography genre.
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question as local narratives, so that the dissonance between the walls that are visible on the video and the relaxed conversation that is heard in the background is felt more strongly.
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categories and undermine the boundaries between media, bodywork and performance, conceptual documentation and photography.
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The background soundtrack of the work includes a conversation between the two artists who reflect on the
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389:מודל לתיקון- חנא פרח כפר ברעם (A Model for Tikkun - Hana Farah Kfar Bar'am) (Written in Hebrew)
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Hanna Farah was born in village of
Alijiah in 1960, to a Palestinian family who displaced from
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2003 – Israeli Object - A Matter of Time, Artists’ House, Jerusalem; Science Museum, Haifa
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2003 – Black/White, Beit
Hagefen, Haifa; Artists’ House, Jerusalem; Science Museum, Haifa
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2003 – Young
Graduates/Veteran Graduates, The New Gallery, WIZO College of Design, Haifa
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2008 – Prizes in Art and Design from the
Ministry of Science' Culture and Sport, 2007,
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2009 – Landsc®ape: Representation
Matrixes, Petach Tikva Museum of Art, Petach Tikva
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2007 – Prize to
Encourage Creativity, The Ministry of Education, Culture and Sport
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2003 – The
Situation Now - the book, 40 authors’ and artists’ perspective on the
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2008 – The
Jerusalem show, Al Ma'mal Foundation for Contemporary Art, Jerusalem
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2011 – Towards Return of Palestinian Refugees, Zochrot Gallery, Tel Aviv- Jaffa
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2008 – Correspondence Contemporary Arab Artists, Revealing another Reality,
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2010– Stop Making Sense, Oslo, Oslo Kunstforening/Oslo Fine Art Society
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Kfar Bi’ram and the city of Tel Aviv-Yafo, where the Farah lives now.
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1998 – The Shadow, The Ministry of Culture and Education, Jerusalem
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2007 – Wanderings in the Print Space, The Print Workshop, Jerusalem
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2006 – Biographies, Six Solo Exhibitions, Hagar Art Gallery, Jaffa
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2007 – See Not\ Fear Not, Umm el- Fahem Art Gallery, Umm el- Fahem
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2003 – Officespace: Art on Site 2, 16 Ha Arba’ah Street, Tel Aviv
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2005 – Play- Ground, ‘Beit Hagefen’ The Arab-Jewish Center, Haifa
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2009 – The Thousand and One Nights, Postmasters Gallery, NYC, NY
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2003 – Platform Against the War, Jaffa Cultural Center, Jaffa
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2007 – Temporally, The Israeli Center for Digital Art, Holon
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2004 – Utopia, ‘Beit Hagefen’ The Arab-Jewish Center, Haifa
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2007 – Desert Generation, The Kibbutz Art Gallery, Tel Aviv
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Biographies: Six solo exhibitions at the Hagar Art Gallery
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2001 – Improvisation, The Escola Design Gallery, Tel Aviv
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2003 – current events in Israel, Kinneret Publication
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2000 – Israeli Design, Ganei Hata’arucha , Tel Aviv
50:. He received a Bachelor of Science in 2001, and a
30:visual artist, builder, and architect. He lives in
176:2009 – Espace culturel Memoire de I'Avenir, Paris
157:2003 – Pais Lottery grant for Kufer Birim Project
124:disconnect the political from the public sphere.
16:Palestinian visual artist, builder, and architect
215:2006 – Mini Israel, The Israel Museum, Jerusalem
173:2009 – For the tree of the field is man's life,
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188:2008 – The Museum for Islamic Art, Jerusalem
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368:חששות (Foot Notes; Exhibition Catalogue)
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321:"Landsc(R)ape: Representation Matrixes"
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444:20th-century Palestinian male artists
429:21st-century Palestinian male artists
347:. The Israeli Center for Digital Art.
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365:Hila Lulu Lin, Hanna Farah (2014).
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449:20th-century Palestinian artists
439:Palestinian installation artists
434:21st-century Palestinian artists
344:Temporally; Exhibition Catalogue
291:Ben Zvi, Tal (Curator) (2006).
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371:. Ein Harod: Museum of Art.
325:Art Palestine International
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197:2008 – Haifa Museum of Art
52:bachelor of architecture
42:Early life and education
34:, and in the village of
20:Hanna Farah-Kufer Bir'im
424:Palestinian architects
75:Supreme Court and the
69:Tel Aviv Museum of Art
419:Artists from Tel Aviv
295:. Hagar Association.
67:Hila Lulu Lin at the
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414:1960 births
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403:Categories
259:References
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71:(2005).
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26:, is a
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