My sister Lutfiyeh شقيقتي لطفية

details:

Techniquephotograph, bulrap sack and acrylic on terpaulin streched vith ropes
Size300 x 70 cm
Year2013
Locationlatest
CatalogueHomage to Lutfiyeh exhibition catalog
تصوير وكيس خيش اكريليك على قماش عربي مشدود بحبال

My sister Lutfiyeh شقيقتي لطفية

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

في رسم لطفّية، دمج الفّنان عدة طبقات من الوعي والتمثيل، التي تستحضر في هذا المعرض ضمن عمل تلخيصّي. خلفّية اللوحة أشبه بطرف خيمة، خرقة مثقوبة مثبتة بجدار بواسطة حبال؛ الشكل التصويري يرمز إلى حضور لطفية من خلال الداّل المرجعي لحضورها الحقيقَي- هوّيتها كشقيقة لعابدي، وغيابها عن حيفا عموًما،وعن حياة عابدي خصو ًصا، على امتداد السنوات الخمس والستين الأخيرة
 
لطفية، المموضعة بين البورتريه العائلي الحميمّي وصور أولئك النساء اللاتي سلب منهّن اسمهّن، مكانهّن وهوّيتهّن، تمنح بظهورها حضوًر المفاهيم  مثل“لاجئة” و ”غائبة” وفًقا  للغة القانون. اللوحة نفسها تستخدم التذكير بأعمال من الماضي من خلال استخدام قماش الخيش، الكوفية وغرض ثلاثيا الأبعاد  يرمزإلى الَحْمل كتذكير بصورة الشخص الهارب في فترة خوف، فيحزم أغراضة الشخصية الأساسية  للغاية، الأهّم  والأغلى في صّرة يحملها معه. كذلك،  فإن لطفية مزّينة  بنسيج مطَّرز وبتمائم شخصية لحمايتها.
 

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

 
 
الدكتورة ايليت زوهار
قيمة المعرض- الى لطفية

Other Artworks In This Gallery

Gallery: Latest Artworks 2010 until today
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  • In the times of the “hidden” corona

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  • The Apparent and the Hidden

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  • On the Beit Galim promenade in Haifa

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  • A family under siege in Jabalia camp

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  • Curtain

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  • House in Hungarian countryside

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  • Inspired by the place – Wadi Al-Salib

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  • The Face of my Grandfather

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  • Arrest in East Jerusalem

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  • Icarus in Csokako

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  • Tent in the open, yesterday and today

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  • In The Shadow of The Aggression (2)

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  • Remains of the Chair, Tribute to Van Gogh

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  • UNRWA relief bag (v. 2)

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  • Lady, pigeon and nets

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  • House roofs of Csokako

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  • Closed Space in Wadini Al Nisnas Haifa

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  • Stormy weather in Csokako

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  • My sister Lutfiyeh شقيقتي لطفية

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