Font Size

SCREEN

Cpanel

Les œuvres d'art visuel de Abed Abdi




Au bas de la rue qui relie

Au bas de la rue qui relie

AVNER GILADI *« Dans la ville basse au Mont Carmel - la bien nommée Shari’al-jabal (rue du Mont) - se trouve une cour magique. Quiconque franchit son portail à l’impression de remonter le temps jusqu’au Haïfa du début du siècle dernier. Dans le jardinet, des citronniers, des néfliers, un cactus fleuri, et quelques sculptures éparpillées, à demi cachées, comme sorties de terre elles aussi.   Dans l’un des coins de la cour, une chambre toute simple, où le visiteur trouve ‘Abed ‘Abedi, entouré de ses créations, tirant sur sa cigarette, faisant des ronds de fumée et proposant à son invité de l’earl grey avec un brin de romarin. L’image est si naturelle, si har-monieuse, qu’on pense...

"Secrets, tiroirs et identités: Hommage à ma sœur Lutfia, le camp de réfugiés de Yarmouk"

À l'occasion du Mois de la culture arabe, une exposition solo de Abed Abdi aura lieu au Centre culturel judéo-arabe (Beit Hagefen) à Haïfa.L'exposition intitulée «Secrets, tiroirs et identités: Hommage à ma sœur Lutfia, camp de réfugiés de Yarmouk", est organisée par le Dr Ayelet Zohar, ouvrira le 17 mai 2013. Abdi exposera un nouveau travail, y compris la série de tiroirs.

Abed Abdi: An Essential Episode in the History of Israeli Art

By: Dr Smadar Sheffi, Gallery, "Haaretz", 08/10/2010

 Abed Abdi's retrospective at the gallery of Umm al - Fahm shows his important contribution to the visual culture of the Palestinians in Israel.

Abed Abdi's Solo exhibition at the gallery of Umm al - Fahm is a comprehensive retrospective of the artist who for decades was well known to non - Jews in Israel, but almost never exhibited in the mainstream Israeli art scene. In recent years he was exhibited in several exhibitions curated by the curator of the current exhibition, Tal Ben Zvi (including the exhibition "Men in the Sun" at the Herzliya Museum last year).

 

Abdi has made an important contribution to the visual culture of the Palestinian public in Israel. Since the early '70s he was the main graphic artist and illustrator in "Al – Ittihad," the Communists Party daily newspaper in Arabic, and in the literary journal "Al - Jadid ", and created illustrations and book covers of many writers, including Emile Habibi, Salman Natour and Samih al-Qasim.

 

Abdi also created with Gershon Knispel the monument to commemorate Land Day in Sakhnin, and monuments in Shfaram, Kafr Kana and Kfar Manda, outdoor sculptures, election posters for the Israeli Communist Party, and banners marking political events and various commemoration days.

 

All of these are presented in the exhibition (source or documentation), that noticeably shows similarity to the works of the Israeli Jewish social realist artists, among them Ruth Schloss, Shimon Tsabar (whom it was interesting to see an exhibition of his relegated works), Moshe Gat, Shraga Weil at certain times and Dani Karavan's works from the 50's.

 

The exhibition also includes paintings created by Abdi, especially since the 80s, that raises affinities to artists as Asad Azi or Ahmad Canaan and shows their impact on each other. Recurrent themes are refugees, exile, Nakba and the proletarian struggle.

 

The roots of Abdi's style, and of the rest of Israeli artists of social realism, is rooted in the art of the first half of the last century, especially in Central Europe and the Soviet Union. Beyond Soviet socialist realism, it is particularly influenced by Kathe Kollwitz and Ernst Harlech, German artists who worked within social sensitivity and the hope of changing the world with the rise of communism, socialist Italian artists (for example, Renato Gottoso) and echoes of Mexican art (Diego Rivera, Jose Clemente Orozco and David Alfaro Siqueiros).

 

The circular motion of expression formulas originating in the West, adopted as Protest art style in places with different cultural heritage, is not unique to Israel. There are many similarities between the art of Communist China, Vietnam (formerly North Vietnam) and in various countries in Africa and the works of Abdi, like women whose large eyes produce sadness, waving fists up high, doves of peace, and imagery from Christian iconography that echoes them again and again.

 

By: Dr Smadar Sheffi, Gallery, "Haaretz", 08/10/2010

 Abed Abdi's retrospective at the gallery of Umm al - Fahm shows his important contribution to the visual culture of the Palestinians in Israel.

Abed Abdi's Solo exhibition at the gallery of Umm al - Fahm is a comprehensive retrospective of the artist who for decades was well known to non - Jews in Israel, but almost never exhibited in the mainstream Israeli art scene. In recent years he was exhibited in several exhibitions curated by the curator of the current exhibition, Tal Ben Zvi (including the exhibition "Men in the Sun" at the Herzliya Museum last year).

 

Abdi has made an important contribution to the visual culture of the Palestinian public in Israel. Since the early '70s he was the main graphic artist and illustrator in "Al – Ittihad," the Communists Party daily newspaper in Arabic, and in the literary journal "Al - Jadid ", and created illustrations and book covers of many writers, including Emile Habibi, Salman Natour and Samih al-Qasim.

 

Abdi also created with Gershon Knispel the monument to commemorate Land Day in Sakhnin, and monuments in Shfaram, Kafr Kana and Kfar Manda, outdoor sculptures, election posters for the Israeli Communist Party, and banners marking political events and various commemoration days.

 

All of these are presented in the exhibition (source or documentation), that noticeably shows similarity to the works of the Israeli Jewish social realist artists, among them Ruth Schloss, Shimon Tsabar (whom it was interesting to see an exhibition of his relegated works), Moshe Gat, Shraga Weil at certain times and Dani Karavan's works from the 50's.

 

The exhibition also includes paintings created by Abdi, especially since the 80s, that raises affinities to artists as Asad Azi or Ahmad Canaan and shows their impact on each other. Recurrent themes are refugees, exile, Nakba and the proletarian struggle.

 

The roots of Abdi's style, and of the rest of Israeli artists of social realism, is rooted in the art of the first half of the last century, especially in Central Europe and the Soviet Union. Beyond Soviet socialist realism, it is particularly influenced by Kathe Kollwitz and Ernst Harlech, German artists who worked within social sensitivity and the hope of changing the world with the rise of communism, socialist Italian artists (for example, Renato Gottoso) and echoes of Mexican art (Diego Rivera, Jose Clemente Orozco and David Alfaro Siqueiros).

 

The circular motion of expression formulas originating in the West, adopted as Protest art style in places with different cultural heritage, is not unique to Israel. There are many similarities between the art of Communist China, Vietnam (formerly North Vietnam) and in various countries in Africa and the works of Abdi, like women whose large eyes produce sadness, waving fists up high, doves of peace, and imagery from Christian iconography that echoes them again and again.

 

Refugees ness in Holy Clothes

 

Refugees ness in Holy Clothes

 

Abdi was born in 1942 in Haifa. At the beginning of the War of Independence, he fled his home with his mother and brother while his father remained in Haifa. After wandering in refugee camps, the family reunited in 1951. Abdi was active in the Israeli Communist Party at a young age and got acquainted with the artists of Jewish social realism. In 1962 Abdi was the first Arab artist accepted to the Israeli Society of Painters and Sculptors, and in 1964 he went to study art in Dresden, East Germany. There he met Lea Grundig, a Jewish communist artist who fled Germany after a long imprisonment by the Nazis, came to Israel in the early 40's and lived here until 1948, when she returned to Dresden. She is considered as one of Kollwitz's significant students, and among the missions she undertook for Communist art where travels to China and Cambodia.

 

Circuitry of style transitions from Germany before World War II, through East Germany that became the focus of study of arts in the Communist world from the 50's to the collapse of the regime there, are cultural narrative that can also be thought of in terms of continued European cultural colonialism in the past, that is to say a process that its irony is acute and bitter. Curator Ben Zvi highlights in her article communist ideology as the common denominator that basis the relationship between Grundig and Abdi. But this does not detract from the fact that Abdi, as Communist artists from different parts of the world, has adopted formal and symbolic patterns that have not emerged from this tradition.

 

Abdi returned to Haifa after spending seven years and for about a decade, until 1982, was a graphical editor and illustrated books and covers of books. Printing arts take central place in his art works, something that shows again the effect of his study in East Germany and the continued long tradition of printmaking, etching and crafting, which were central in Europe. One of the first prizes he won in Israel was The Hermann Struck Etching Prize.

 

"Refugees in the space" a print on paper from 1968, is one the staring works in the exhibition. Shown in it a refugee women wearing traditional outfits appearing more like "Biblical" clothes, as in the Christian style women with scarves hanging open over their visible faces. Sadness is transmitted through the deep engraving lines, and the arrangement in space creates a slightly detached line up, sought is a harsh group, it does not evoke a sense of might. A more prominent Christian iconography in "Judit in Arab dress", a woodcut from 1970, that looks like a portrait of the Madonna.

 

 

 

Hope for the Return of the Savior

 

Hope for the Return of the Savior

 

Unlike his works for newspapers and magazines, his art paintings reflect a less public intent, and they are particularly interesting. The painting "Father on the background of displacement from Haifa (22 April 1948)" from 1988, was hanged in front of the gallery in Umm al - Fahm – as a declaration of the power of individual and group and the Nakba at the time of forming identity. With ships at sea, urban architecture and architecture that appears more rural, human mass and the figure of a woman alone on a bench, Abdi creates an overall picture of sweeping motion and dissolution, while his father's huge figure towering as an axis, as main pillar in center of the painting. The father's eyes are focused in an uncertain place, but of the many figures in this painting he is the only character whose face is distinct.

 

The Extreme ratio between the relative size of the characters and the centered staging recalls in mind a medieval European painting, when the main character is that of a saint. Christian iconography repeats in many of Abdi works, and is interesting precisely because of his professed communist position, that embodies also an attitude that rejects religion. Ben Zvi links between Abdi's image of the savior to the image of Elijah the prophet or the Al-Khader, in his Muslim name, whom the artist met through his mother tales that appeared in Salman Natour's story.

 

"Female Demonstrator", Charcoal on paper from 1985, depicts a woman holding close to her lap a picture of a face of a man. She appears as in the traditional descriptions of the holy Veronika, after wiping the sweat with her veil from the face of Jesus bearing the cross, appeared on his Jesus face features of his own face. In Arts she is represented holding the fabric with the face of the Savior, proof of his concreteness and hope for his return. Abdi uses this formula as the face of the female demonstrator introduces the memory of Byzantine art with prior art.

 

In the Catalog accompanying the exhibition appears a photo of a mosaic work created by Abdi the same year for the Al- Saida Church in Haifa, with Maria looking down compassionately upon the incomings, with her hand on her chest. Impact of early modernism, especially Picasso and communist artists he influenced, is particularly strong in this work and in other works, of various media types, where there is considerable memory for the "Way of the Red Flag " huge moral of the east German Gerhard Bondtzin . The moral that was done on the outer wall of the Palace of Culture in Dresden and was declared a protected art work, painted in 1969, while Abdi's duration in the city.

 

Pathos, power and drama are clearly represented in his public works, especially the Monuments in Sakhnin and Shefa Amr.

His works over the past decade are largely characterized by abstraction and occupation in weights of form and color, as Abdi is out for a new journey that its autonomous art language occupies more space than referencing to the text that characterized his work in the past. In the Picture "My mother, H'airia" from 2009 a Portrait of his mother appears in what doubtfully looks like an abstract image, or doubtfully a schematization of a picture stand.

 

From the Retrospective raises almost complete unity of a life and art. In this respect, it is not only touching but also represents an essential, less known, period in the history of Israeli Art.

originally appeared here

 

Translated form Herbrew by vland Ltd's translation service

récents commentaires en anglais

Abed Abdi: Reviewed by Tal Ben Zvi

Abed Abdi: Reviewed by Tal Ben Zvi

by Tal Ben Zvi Extract from the book "Abed Abdi, 50 years of Creativity" Palestinian art created within Israel’s 1948 borders possesses unique characteristics deriving from its being part of the visual culture of the Pa...

Readmore..

The Wandering Museum in the Works of Abed Abdi

The Wandering Museum in the Works of Abed Abdi

by Amir A. Abdi In 1962 my father held his first exhibition in Tel Aviv initiated by left-wing activists such as Gila Balas and her husband Shimon along with the poet Issam Al-Abassi and others. This event provided great...

Readmore..

Tal Ben Zvi: Abed Abdi -

Tal Ben Zvi: Abed Abdi - "Wa ma nasina"

"Wa ma nasaina" (“We have not forgotten”) exhibition is a personal journey in time, memory andhistory of Palestinians, which constituting an integral part of the life of artist Abed Abdi, who was bornin Haifa.   Th...

Readmore..

Abed Abdi - An Artist - Phenomenon

Abed Abdi - An Artist - Phenomenon

by Samih Al Qasim I am unable to address Abed Abdi’s catalogue from the purely technical and professional composition aspect. The historical profundity of Abdi’s  experience places him in the category of artist-phen...

Readmore..

Abed Abdi: An Essential Episode in the History of Israeli Art

Abed Abdi: An Essential Episode in the History of Israeli Art

By: Dr Smadar Sheffi, Gallery, "Haaretz", 08/10/2010  Abed Abdi's retrospective at the gallery of Umm al - Fahm shows his important contribution to the visual culture of the Palestinians in Israel. Abed Abdi's Solo...

Readmore..

Abed Abdi: Retrospective Exhibition

Abed Abdi: Retrospective Exhibition

by Sa’id Abu-Shaqra,  This comprehensive retrospective exhibition of the works of Abed Abdi is the third of its kind to be held at the Umm el-Fahm Art Gallery since its establishment, following the exhibitions of th...

Readmore..

We Were As Dreamers

We Were As Dreamers

by Gershon Knispel Each of us summarized the completion of the monument in Sakhnin in his own way. I wrote: “With my friend and colleague Abed Abdi I erected this monument to ‘drive out the evil spirit’ and leave traces…...

Readmore..

Arab-Israeli in Haifa uses art to help Palestinian refugee sister

Arab-Israeli in Haifa uses art to help Palestinian refugee sister

By Gideon Levy and Alex Levac | Haaretz, Twilight Zone The struggle to save Lutfia, an 84 year-old Palestinian refugee, is being conducted by her brother Abed Abdi, a respected Palestinian artist who resides in Haifa. &n...

Readmore..

Nouvelles œuvres d'art de Abed Abdi

Vous êtes ici : Home index Reviews Abed Abdi: An Essential Episode in the History of Israeli Art