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rheim alkadhi | ريم القاضي

Archive 2007-2010

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Gaza in the context of photographic disintegration.

January 3, 2009 by ///

 


Entrance to the Restaurant of Peace.

To begin with, my photographic skills were lacking.  At the time, I shot straight into the sun and didn’t really have a sense of composition. Scanned today from fast-fading slides, the result has an overexposed quality I do not like, and about which I can do very little.  
 
 


Standing on the restaurant’s balcony, overlooking the shore.

Every image in this set harbors a cloudy lower section (do you see it?).  I imagine the developing process went shoddy; the ‘clouds’ are the same in each picture, as if damage was sustained during the drying process, or maybe during the 17 years in storage.

 


View from the beach: the same scene as before, but from a lower angle.

The sand in this picture seems to camouflage the haze.  Still, I dislike the saturated colors and overexposure – it appears artificial and stylized, which can communicate a forced sentimentality.
 

  

Two women walk across the foreground — a rusted ship, the wreckage of two cars, and two other people are visible in the background. 

Layers of historical narrative are at once expanded and collapsed by the depth of field.  I think this is the most successful picture of the set. Unacknowledged histories can be compiled with the aid of snapshots like this one, I offer. 

 


Walking along the scrap-metal-strewn sands, a young boy looks at the camera. 

I cannot imagine such an abrupt turn of direction, so much so that I think this image may have been horizontally flipped.  It is also likely that I was not expecting such intimate proximity after keeping such a distance.   

 


The painted wall punctuates our exit from the Restaurant of Peace.

Oil or moisture on the lens?  I admit to weeping in the refugee camps of Gaza.  I was there with my companions in 1991 and we had reached the literal limit, the end of the road, the proverbial sea.  But I do not recall my tears smearing the glass or dripping on the film itself.  

 

 

 

 

 

 

 

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  • Archive 2007-2010

    • She walked away.
    • Disproportion is being built.
    • Inner ear complex (with private chamber).
    • Auto mechanic with car.
    • The weather is ruined.
    • The mud theatre.
    • I don’t want to breathe.
    • The project and the departure.
    • Experimental observatory.
    • Mosque architecture on forest outskirts.
    • The forest.
    • Introducing the undertaker.
    • The back of the photo.
    • Concrete road blocks.
    • Tour of the camp.
    • Woman in winter wetlands, Diwaniyah.
    • Grid with line.
    • Following you.
    • The passage, as bent by night.
    • He lived as a woman.
    • We are led to where the buried heart stirs dust.
    • Lucky today.
    • Society of estranged lovers.
    • Young women sleep here.
    • Words are used for profit.
    • Base reality.
    • She steadies herself after a shock.
    • A’amiriya, it was morning.
    • Raw materials.
    • Perspectival experiment.
    • So and so street, at such and such a time.
    • The hand of a woman dressed as a man.
    • Explosion from the perspective of a bird.
    • Concealed wall texts.
    • Aesthetic theory.
    • Desire is a place name.
    • Word search.
    • The night and your withdrawal.
    • Body restless, climate a question.
    • Tactics of the observer.
    • Among them, young women dressed as men.
    • Measuring a grain of rice.
    • Harvest (cotton).
    • I slept in my master’s house (printmaking workshop).
    • Hand puppet.
    • Signs of conflict.
    • Reviving the unconscious body.
    • Desire is asymmetrical.
    • Here at the center of the universe.
    • A remarkable day.
  • Inventory Continues

    • A Remarkable Day
    • Excavation Today
    • Bodies Walk in Opposite Directions
    • The Mouth Last Seen
    • Critique of Poetic Delay
    • Table of Contents
    • News Story
    • The Hungers of Lovers
    • Portrait of Gaza as a Young Girl
    • Exhibitionist’s Hunger Satisfied by “Senseless Crime”
    • The Six-Minus-Two Express
    • Exhibition Today
    • Love Inside the Ministry of Poverty
    • Scale Model
    • View From the Ground and Again While Standing
    • Future Music
    • Baghdad Garden Revisited
    • Girl Seated on Iraqi Textile
    • Tired
    • Things Are Out of Place!
    • Signs of Love
    • Military State, Military Conscience
    • The Word and Its Meaning
    • On the Outskirts, a Hidden Pocket
    • Young Woman Dressed as a Man
    • Contemplation of Action
    • Inside at the Woman Club
    • Corporeal Labyrinth
    • The Spectacle
    • The Audience
    • Deceased Again
    • Sublime Ahistorical Experience
    • Her Housework, Her Cows, Her Dog
    • March of the Body
    • Incident in a Date Palm Forest
    • Pigment (Recipe)
    • Laser Tattoo Removal
    • Arab Mirror
    • (A Cough Emits From the Loudspeakers)
    • “Average 45 Sticks”
    • Spontaneous Dance in a Baghdad Garden
    • Birds Feed Me the Elements of Intonation
    • Goat
    • Perspectival Pyramid
    • Long Live the Artists at Three O’Clock
    • Comment Trouvez-Vous l’Oeil de Cette Femme Arabe!!
    • Portrait of a Book
    • Occupied / Unoccupied
    • I Live Between Two Shoulders
    • At a Very Tame Gathering of Guests
    • Baghdad’s Garden Visited by New England
    • Experimental Workshop [Flier]
    • Experimental Dance
    • Visual Comparison
    • Retinal Scans from the Pre/Occupied
    • A Lark’s View of West Baghdad

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