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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 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-phenomenon. As a consequence of his intellectual and spiritual accumulation of experiences and the interaction between them, it would be more appropriate for me to go beyond the conventional tools of critique. In the special case of Abdi, an artist who has been creating for fifty years on a journey of artistic work, struggle and artistic commitment in the face of a life filled with suffering, hardship and challenges, I shall attempt to reconstruct the harmony between his ideology and practice, the congruence between art and struggle in his overall conceptual fabric. Since he started out, Abdi’s brush has attracted my attention. He offered a unique approach.

When I asked him for a print for the cover of my second collection of poems, Poems of the Roads, in 1964, he assented with loving enthusiasm. He recognized the harmony in our work: an array that is immersed in the national and human pain of the Palestinian people, and a poem inundated with that pain.

His illustration constituted a sharp, deep and beautiful expression of the burning lyrical character of the poems of the time. We worked together at the Al-Ittihad newspaper and the Al-Jadid journal. We marched shoulder to shoulder in demonstrations. Together we endured the heavy burden of  oppression. And within us, ideological, spiritual and creational solidarity struck roots. It always seemed that the painting was supported by the poem and vice versa.

From the very beginning there was a close relationship and interaction between the works of Abed Abdi, Ismail Shammout and Gershon Knispel, and those of the wonderful muralist Siqueiros. It was only natural since they were all knights in the creative company that maintains ideological commitment and is not satisfied with esthetic values, but goes beyond it to offer both the beautiful and the beneficial. Perhaps this is an opportunity to mention that there were some who tried to distort the meaning and essence of commitment in art by claiming that it constituted dependence upon a political party, a government, an institution or politics. Those who thus contend are those who come from a lame, dubious and dependent political position. In artistic creation, commitment is a voluntary position and is made out of choice deriving from a profound perception of Man’s unity and existence, and the  dialectics between reality, life and development.

Hence, the committed artist is of necessity more progressive, his spiritual world is more beautiful, and his objectives loftier than those of the  uncommitted, artist, the collaborator, opportunist and hypocrite.

Abed Abdi’s experience has passed through three stages thus far. Its beginnings were in rigid, sharp Social Realism, which was followed by a period of symbolism and observation of the artist as both an individual and a committed man. The third stage is that of adventure, artistic experimentalism and entry into fields that are currently more vital as a result of an accretion of conclusions and insights and the strong artistic longing for new revelations and discoveries.

Abdi’s extensive use of black and white in his work from the 1960s captured my attention. Because of my admiration for his work and our friendship, I encouraged him to enter the world of colors. It was as if we shared common ideas, and it was not long before his studio was covered with all the colors of the rainbow. This was not a calculated quantum leap but rather a product of gradual and scholarly work on colors in accordance with the findings of his experience and the demands of the artistic work.

The publishing of Abdi’s new, comprehensive catalogue gives me great joy. Until then, I shall continue to enjoy his work hung on the walls of my home, for Abed Abdi is family and it is only natural that his works be part of my home.

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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...

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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...

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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...

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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...

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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...

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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...

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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…...

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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...

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