Caramblogage

This IGAF (Is Goodness a Fashion) series explores, from a non-expert point of view, the social, economic and narrative ramifications I see developing from the COVID-19 crisis, worries, but also hopes for a future that the current shock to the system may result in. It's a pity that random things happen when random people interact. That a person might be exposed to unexpected, or unpleasant sights when they leave the house. That we might see trash, homeless people, the effects of gentrification, closed stores in polluted streets, trees withered by mercurial weather, people in environmental suits, afraid of the diseases lurking within the safe confines of those suits. The world divided into those who have to face the streets, the Outside, and those who are safe Inside. It's a pity that these still interact. Our measure as a species that claims moral, ethical and intellectual hegemony over this planet will be two-fold as we deal with the COVID-19 crisis: On the one hand, socie...

Remember this word. It is the name of a country. Today is the 70th anniversary of the day they call the Nakba. They do not celebrate this day, but their neighbours do, hiding behind a tall fence made of concrete. See also: https://caramk.blogspot.de/2015/12/memus-israeli-separation-barrier.html

The many names given to this fence demonstrate the complex semantic relationship between the object itself, the subjects of its effect and those observing and affecting the interplay between them. It is alternatively a separation or security fence or wall in Hebrew. It is the Wall of Apartheid in Arabic. The BBC’s list of acceptable terms lists it, alternately, as “barrier”, “separation barrier” or “West Bank Barrier” to “avoid the political connotations” of the above terms. Its building, continuing presence and oppression attracted a number of artists from around the globe, who began expressing themselves on it almost as soon as the first segment was erected in 2003, with Banksy beginning to paint on the wall in 2005, calling it “the ultimate activity holiday destination for graffiti writers”. Nigel Perry, writing for Electronic Intifada, an independent online news publication that focuses on Palestinian issues, relates an anecdote about a design critic, Nathan Edelson, who ...

“ Dear reader permit me to present myself… I, God forbids from the word “I”… My name is 7anzalah , My father’s name is not necessary, My mother… her name is Nakbah and my younger sister’s name is Fatimah… My foot’s size, I don’t know… because I am always barefooted… Date of birth: I was born on June 5th 1967… Nationality” I am not a Palestinian, not Jordanian, not a Kuwaiti, not a Lebanese, not an Egyptian, not anybody… etc… In brief I don’t have an identity and I don’t intend to get nationalized… Simply I am an Arab and that is all… “   The figure of Handhala has become a fixture in the visual semantics of the Palestinian protest movement, in spite of his initial refusal to be nationalised.  Created by the caricaturist Najib Al-Ali (1938—1987) in 1969, the figure represents a 10-year old boy who refuses to grow up until he can return home. He turns his back on the world and clasps his hands behind his back, refuses an outside solution to the conflict th...

After a long, self-imposed hiatus on writing and publishing any news on this blog, current events lead me back to this space. Racking my brain what I would write about, and after many unpublished attempts at expressing what happens in a mind that is slowly putting itself back together again, it is research that leads to this post, the first in a series of hopefully many to come. Over the last three years, I have written a lot about social uprisings, personal reflections on societal change and a whole load of nonsense- I stand by it fully- reflecting my state of mind at the time. This year, 2014, has been full of activity and action. It has been, from my personal perception, one of the most special years of my life, due to a number of personal and professional developments, regressions and decisions. Never mind this year and the past, welcome, dear reader to the here and now, enriched by those memories and framed by the experiences of the abovementioned years. "If graffiti ...

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! You can find it here. Click the like button and see what happens.

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 —————————————————————————————————— VERNISSAGE September 30 th 2011 | 18:00 Theater Aufbau Kreuzberg Prinzenstraße 85 F  —————————————————————————————————— LINKS: — Selim Harbi:  http://slooma.com/ — OMRAS:  http://omras.net/ — TAK :  http://theater-aufbau-kreu zberg.de/ —————————————————————————...

It's work in rapid progress. Moving from one name to the next and the design progresses with it. Pictures soon. Opening on the 30th. Here.

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. The picture used here is by...