The drawer is culturally attached to the concept of secrecy and privacy, the location where one locks personal documents, intimate objects, and cherished secrets.Continue Reading

Palestinian artists of the second half of the twentieth century, when interviewed, sometimes speak of being the first to do this or that, or that theirs was the first Palestinian one-artist exhibition, etc. The trauma of the Nakba caused an absence in knowledge. Closer study reveals that, despite this perceived chasm in the continuity of...Continue Reading

  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...Continue Reading

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 cultural feedback as he was also elected to membership of the Artists Committee. He was twenty...Continue Reading

Abed Abdi’s art is chiefly rooted in the autonomous sphere constituted by the language of Arabic literature and the Arabic press. In 1964 he left for art studies in Dresden, where he created many drawings which were published in the Arabic press, portraying refugees in a geographically unidentified space. In Untitled (1968), a caravan of...Continue Reading

Abed Abdi and Gershon Knispel Photographs: Nikola Abdo, Rafik Bachri, Amin Bashir, Yaron Kaminski, Gidon Gitai, Salam Munir Diab, Al-Ittihad Archive and others. Curator: Tal Ben-Zvi The exhibition “Story of a Monument: Land Day Sakhneen 1976-2006” is centered on the Sakhneen monument commemorating Land Day, as a space of struggle, remembrance and identity of the...Continue Reading