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<\/p>\nAbout work <\/span>What Do We Know About Solidarity? – (Im)Possible examples from the past<\/span><\/h3>\nThis work is an intervention in public space composed of fragments from historical examples of solidary actions. Our starting point was Benjamin’s second thesis <\/span>On the Concept of History<\/span><\/em>: \u201cTo articulate what is past does not mean to recognize \u2019how it really was\u2019. It means to take control of a memory, as it flashes in a moment of danger.\u201d<\/span><\/p>\nToday we are witnessing frequent calls to solidarity. Has solidarity become a phrase and (or) a symbolic act of the public? We don\u2019t have an answer to this question. We want to point out some historical examples of solidarity, to learn and to open up (or create) a space for thinking about the possibility of solidary acts today.<\/p>\n
Mural<\/h3>\n
The mural is composed of revolutionary struggle symbols that are connected with Palestinian and Yugoslav heritage. Our idea was to show the possibility of solidary social struggle, that should overcome racial, national, religious, gender and sexual divisions. Firstly, we see three hands, two of which are embroidering verses on the textile and one that represents a resistance<\/span> fist. Traditional embroidery is an important symbol of struggle and resistance in Palestine, especially during the Israeli occupation. The embroidery represents a motif that is connecting hands – otherwise separated by the composition \u2013 using the textile (the flag) with embroidered verses in English and Arabic. Verses come from \u201eDead Proletarians\u2019 Song\u201c by Branko \u0106opi\u0107. The text in Arabic was designed and written by Mohammad Omar<\/a>.<\/span><\/p>\nWall Newspapers<\/span><\/h3>\nWall Newspapers that were produced for this exhibition were conceived as a short guide to three, for us, important acts (attempts) of solidarity: participation of Yugoslavs in International Brigades during the Spanish Civil War, refugee camp in El Shatt, and a protest in Belgrade after the assassination of Patrice Lumumba.<\/span><\/p>\n <\/p>\n
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\r\n <\/div><\/figure>\r\n <\/div>\n\nThis year\u2019s edition of the biennale gathers few dozen of Palestinian and international artists gathered under the same topic of \u201eSolidarity\u201c. KURS\u2019 intervention was implemented as a part of<\/span> The Lasting Effect<\/span><\/a> exhibition that was also the last part of the Mamarat (Paths)<\/a> residency, organized by Ramallah municipality. The exhibition was curated by Reem Fada. Other artists that participated in the exhibition, beside the KURS, were: Khalil Rabah, Jawad Malhi, Sandi Hilal, MTL Collective, Jasmina Wojcik, Daniel Toca, Jose Luis Benavides, Joanna Rajkowska.<\/span><\/p>\n
Today we are witnessing frequent calls to solidarity. Has solidarity become a phrase and (or) a symbolic act of the public? We don\u2019t have an answer to this question. We want to point out some historical examples of solidarity, to learn and to open up (or create) a space for thinking about the possibility of solidary acts today.<\/p>\n
Mural<\/h3>\n
The mural is composed of revolutionary struggle symbols that are connected with Palestinian and Yugoslav heritage. Our idea was to show the possibility of solidary social struggle, that should overcome racial, national, religious, gender and sexual divisions. Firstly, we see three hands, two of which are embroidering verses on the textile and one that represents a resistance<\/span> fist. Traditional embroidery is an important symbol of struggle and resistance in Palestine, especially during the Israeli occupation. The embroidery represents a motif that is connecting hands – otherwise separated by the composition \u2013 using the textile (the flag) with embroidered verses in English and Arabic. Verses come from \u201eDead Proletarians\u2019 Song\u201c by Branko \u0106opi\u0107. The text in Arabic was designed and written by Mohammad Omar<\/a>.<\/span><\/p>\n Wall Newspapers that were produced for this exhibition were conceived as a short guide to three, for us, important acts (attempts) of solidarity: participation of Yugoslavs in International Brigades during the Spanish Civil War, refugee camp in El Shatt, and a protest in Belgrade after the assassination of Patrice Lumumba.<\/span><\/p>\n <\/p>\n This year\u2019s edition of the biennale gathers few dozen of Palestinian and international artists gathered under the same topic of \u201eSolidarity\u201c. KURS\u2019 intervention was implemented as a part of<\/span> The Lasting Effect<\/span><\/a> exhibition that was also the last part of the Mamarat (Paths)<\/a> residency, organized by Ramallah municipality. The exhibition was curated by Reem Fada. Other artists that participated in the exhibition, beside the KURS, were: Khalil Rabah, Jawad Malhi, Sandi Hilal, MTL Collective, Jasmina Wojcik, Daniel Toca, Jose Luis Benavides, Joanna Rajkowska.<\/span><\/p>\nWall Newspapers<\/span><\/h3>\n
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