I'm slightly exhausted (though generally ebullient) to announce that the Palestine exhibition has gained a web presence! It will develop over the course of the next few weeks as we push towards the November Programme, so watch that space!
English Version of what we've been saying in German:
Since 1948 three generations of Palestinians have endured the bitter taste of enforced exile. 40% of these refugees are under 15 years old. The exhibition PalästiNah — Inherited Hope documents the twisted normality of their everyday life.
The pictures on display were taken by Palestinian refugee children, Maya and Nadia Graßmann and Selim Harbi. They document the current situation in Rashidiya, Sabra and Shatila.
This event is supported by OMRAS, the Organisation for Human Rights in Arab Countries.
Art Direction: Caram Kapp
With special thanks to Johannes Moll
September 30th 2011 | 18:00
Theater Aufbau Kreuzberg Prinzenstraße 85 F
While I have a lot of admiration for both the comic book and the movie, V is a step back in my opinion. V is a symbol for anarchy and bringing down a corrupt system through any means necessary.
Yes, V is an inspiration to everyone in that he will go to any length, and risk any collateral damage to achieve his goal of liberation. He will bomb, play music, usurp the media and established structures to further his aims. Some of this is a good idea, other methods result in unexpected results. A good way to destabilise above structures and send a shock through the public conscience and awareness of the effectiveness of the oil that keeps the gears going somehow.
What is worrying about V is that, a path s opened through such action, which may lead to a fundamental shift in society and the way it is governed, or governs itself. The underlying ideals justify the action and society is left to get on after the ultimate sacrifice is made …
Above, you can see the working title and result of real life events:
A couple of weeks ago, I was approached by a couple of great people with an idea that needed to be developped into a concept. The idea was an exhibition about Palestinian life and childhood as a refugee in Lebanon.
In addition to this, we shall be staging a programme revolving around the theme in November, featuring dance, poetry, video and of course the photos.
Selim Harbi you may know. He had a starring role in the Haus der Kulturen exhibition in which we presented pictures from the revolutions in Tunisia and Egypt.
Nadia and Maya Grassmann were in Lebanon in 2009, where they gave children analogue cameras to play with. We will be showing their perspective on childhood as a palestinian refugee.
The photo exhibition will be launching on the 30th of September at the Teather Aufbau Kreuzberg during their opening day do. Details to follow, as is a less sketchy version of events.
------------------------------------------------------ Process -----------------------------------------
My webpage is a constant source of entertainment and finger-training for me.
Upon realising that it served me best as a calling card, that is what caramk.com has become.
This one is definitely a work in progress. Oh and look! It tweets. Nonsense. With vigour. The webpage that is.
UPDATE I don't like it. Back to the drawing board.
UPDATE II: The layout wasn't bothering me as much as the colour combination. Hence:
now with added circles!
UPDATE III: This will keep me happy for now.
Now to optimise prime.
Still with added circles and blingy things (I've recieved some complaints about them, but for now they just feel right) and a few hidden functions within, this will rest for now. Also hooray for social integrationalisms!
That was fun. Good night.
PS: It does say illustrator somewhere on that page…
I've been talking about this one for months, haven't I?
One of the difficulties with this project is explaining the fun it is live. Usually, I'll say something like:"You know, it's like one of those umumum kids' books that have a head and a middle and feet and then umumum you flip through it and make up figures. It's about fear. Oh, and it has explanations in the back."
That's where friends (Thanks Jovita!) and cameras come in. In stead of going through the verbal motions again and again, they made it possible to record the experience that is the Little Book of Fears, thus providing the viewer with a nonverbal and direct explanation that works better than most words I have hitherto come up with to explain this.
It is also my first foray into stop-motion shot in natural light, which was a joy to make, from the shoot to the selection of the individual frames that would make up the film to the final hectic edit. I wanted it to be slightly jarring. …