In memory of Lutfiyeh Abdi Badwan (1924-2020)
Born in Haifa (Palestine) and died in Yarmouk refugee camp, Damascus (Syria).
في ذكرى لطفيّة عابدي بدوان (1924-2020)
ولدت في حيفا (فلسطين) وتوفيت في مخيم اليرموك للاجئين بدمشق (سوريا)
In his image of Lutfia, Abdi has conglomerated the varying layers of knowledge and representation of this show into one final piece: the substance of the painting is made like a tent wall, using pierced tarpaulin which is attached to the wall with ropes; the photographic image marks Lutfia’s “Being there”, the indexical mark 10 of her actual presence, the person who she is, Abdi’s sister, and her absence from Haifa in general, and Abdi’s life in particular, for the past 67 years. Lutfia also stands between the intimate, family portrait, and simultaneously, she performs the notion of “refugee” or an “absentee”, according to the legal terminology.
The painting itself uses references to past works with the usage of jute fabric, caffiyah fabric, and a three-dimensional object that signifies a package, a bundle, in reference to the person who runs away at times of danger, trying to collect as much as possible of personal belongings and precious objects.
She is also endowed with decorative woven fabric and personal talismans for protection. All in all, Lutfia’s image serves as a pivotal point of indication and a cross reference to the majority of works presented at Abdi’s solo show.
Abdi has not given up on his elderly and ailing sister, although he cannot see her or meet her. Hence, his most personal story, becomes the metonymy of the Palestinian state of affairs, of past, present and future.
By Dr. Ayelet Zohar
Haifa Feb. 2013
تلخيًصا، تشّكل صورة لطفّية كمعَلموُ ملهم لأغلبية الأعمال المعروضة في المعرض. لم يتنازل عابدي اليوم أيًضا عن شقيقته الكبرى والمريضة، رغم أنه لايستطيع أن يلتقيبها أ و يراها. وهكذا، فإّن القّصة الشخصية للرّسام هي مجاز للوضع الفلسطينّي في الماضي، الحاضر ورّبما في المستقبل، أيضا