A Heart From Jenin

To see my film, go to: https://vimeo.com/93415169

A Heart From Jenin, 2006

This is the story of Ahmed’s heart. Ahmed was a Palestinian boy who lived in Jenin in the West Bank. In November, 2005, the 12-year old Ahmed was shot by an Israeli sniper. He was in a coma when he was taken to the hospital in Haifa, Israel, where he died later. Ahmed’s parents decided to donate their son’s heart to Israel. Ahmed’s mother says that the donation was made in the spirit of ‘Salam’ (peace) with Israel “We are sending a message to the whole world that we love peace. We donated six of Ahmed’s organs to the hospital. It’s in the possession of the hospital to donate, regardless of whether the receiver is Jewish, Muslim, Druze or Christian.” A 12-year old girl Samah, received Ahmed’s heart. The film is also about her living in Peq’in, Israel. She sometimes takes charge of the camera and film. She calls Ahmeds father and mother in Jenin. Samah’s father says that Ahmed’s family can regard his daughter as their own and they sometimes meet. The gift of the heart drills a hole in the wall – when it’s recieved.

(click to watch the film)

The border between the two countries of the families is an eight meter high wall. The conflict is difficult and the occupation impacts life in Palestine. Jenin camp was founded in 1948 when many palestinians – like Ahmeds grandparents – fled from Haifa, now the Israeli side of the wall.
I had returned to Jenin Refugee Camp in November 2005, to see how it had been rebuilt from the demolition in 2002 (see Jenin).  I met the parents of Ahmed who had just been shot dead. To me, these two families act in a way that illuminates how conflicts can be solved, by making contact.

Exhibitions

THE INSTALLATION HAS BEEN SHOWN AT:
2006 – BildMuseet Umea www.crusading.se
2006 – Fotografins Hus, Stockholm
2007 – LänsMuseet Västernorrland and Jacob’s church Stockholm
2007 – 2008 – Malmoe Museer, Malmoe
2008 – World Culture Museum, Gothenburg www.varldskulturmuseet.se

Screenings and Seminars

SCREENING + SEMINAR: Lens Politica – Film and Media Art Festival 19.-23.11.2008
Helsinki www.lenspolitica.net MKC, Fittja Stockholm, okt 2008
School of Global Studies, Göteborg, sept 2008 Kulturverkstan, Göteborg, sept 2008
Center for peace Research/Border Poetics group at Institute for Culture og Litterature, Tromsoe Norway, Aug 2008.
FN-Sambandet, Verdenteatret, Tromsoe, Norway. www.fn.no/distriktskontor/nord/internasjonalt_seminar Key Note Speaker at the conference: Sensitive Peace Research, Tampere Peace Research Institute, Univerity of Tampere 16-18 April

Photos from the exhibitions (click on images to enlarge)

 

World Culture Museum, Göteborg

The wallpaper is made of 300 photos of the demolition of the Jenin camp, 2002 (see Jenin) Jenin is – as a shadow – written left to right on one wall  and in Arabic; right to left, on the other wall.

Fotografins hus Malmö

The installation consist of: -a shorter version of the film: 30mins -a wall paper: 2 X 6 meter showing 300 photos from Jenin camp, the destruction in April 2002 -a map showing borders, built wall and planned wall -a print of the heart and a drawing of the history: 50 X 70cm

See: http://this.is/Jenin

 

About A heart from Jenin, text by Jan-Erik Lundström, head of Bildmuseet, Umeå.

(2006)

Cecilia Parsberg’s artistic practice have often brought her towards the hazardous and complex but important and necessary political undertaking in speaking about the other, the marginalized or underprivileged of society (engaging both sexual, social and political displacement and suppression in her work), or the underdogs in a political conflict such as the Palestinians; generating challenging works of art, blending documentation and activism, where often the artist herself is present as witness, investigator, mediator, supporter. Over the last few years, Parsberg has maintained a particular focus on Palestine, the living conditions of Palestinians and life on the occupied West Bank and the Gaza strip, resulting in several projects such as the videos I can see the House or To Rachel, with the story of the killing of the young American activist Rachel, run over by an Israeli tank or the action East or West, Home is Best. One of Parsberg’s visits, in April 2002, coincided with the brutal Israeli army invasion of the village and refugee camp Jenin on the West Bank, during which Jenin was more or less almost completely demolished and many Palestinians killed, the numbers uncertain since Israel blocked any inpendent investigation. Parsberg was able to enter Jenin in the early aftermath of the invasion, managing one of the few documentations of its kind of the extent of the destruction of Jenin. This material became the website www.this.is/jenin, a rich archive of images and written testimonies on the fate of Jenin. The photographs on display in the present exhibition are sourced from this body of photographs, supplanting the website notion of an open source archive with offering the opportunity to re-focus and engage more specifically with individual images and their stories. It does not however change the overall sense of perverse, meaningless, and unbounded mayhem. In the exhibition space, the Jenin photographs are juxtaposed with the video A Heart from Jenin, the artist’s return to a largely rebuilt Jenin in November 2005, three years after the Israeli attack on Jenin. Rebuilt yes, but hardships in Jenin continue.

A Heart from Jenin’s key narrative is the extra ordinary story of Ahmed, a 13-year old Palestinian boy who is shot to death by Israeli soldiers, and becomes clear that the boy will not survive, decides to allow the child’s organs to be donated. The 26 minutes long video traces the actual event of the boy’s casualty through conversations/interviews with the near family, with people from the neighbourhood but also with writers, university professors – one from Israel – and intellectuals, enabling a broader picture of life on the West bank. But it is the gesture of the parents, the donation, which defines the film. For as it turns out, the boy, when pronounced dead, becomes the donor of five organs. His heart is given to a 12-year old Israeli girl from Haifa, who has for years been waiting for a heart transplant and whose life now is saved. The tragic and horrible killing of Ahmed brings out, through the parents’ act of allowing donation, a gesture of reconciliation, of appeasement. Especially that the heart is not a metaphor; the heart of Ahmed lives on in the body of the Israeli girl – as beautifully illustrated in the drawing by Cecilia Parsberg on the journeys and meanings of a heart, presented in the exhibition. Their parents are quoted as saying: “we want them [Ahmed’s parents] to consider our daughter as their daughter”. From those bestowed the most pain come the most human of gestures.

 

Map

Jenin is situated in the North of the West Bank. The refugee camp, which is today a part of the city, is inhabited by 13,000 people of whom over 42% under the age of 15. The Camp was built by refugees from Haifa after the 1948 war, and is one of the most frequently targeted areas throughout the history of the Israeli occupation. A large number of suicide bombers came from there. In April 2002 the Jenin Refugee Camp was totally destroyed by the Israeli occupation forces. There is very limited documentary material about this event as Jenin was under siege, and we were only a few photographers who managed to find a way into the city. The United Nations was not let in by the Israelis until a week later. I, and my writer friend Ana Valdés, have uploaded all my photos and her texts onto the site http://this.is/Jenin Two months later Israel started the construction of the wall which stretches from North of Jenin and continues to the south encircling the West Bank. (see: http://this.is/TheWall)

 

Jacobs church, Stockholm

YOU

YOU Laminated colour photograph 92 X 204cm. O Videoloop

YOU was an exhibition at Göteborgs Konstförening, Sweden May 1998, arranged and funded by Ebba and Gustaf Ljunggren

 

Other works in the exhibition:

I love myself and I understand you think I’m difficult.Photo: 90 X 237cm.

I can see you but you can’t see me. Photo: 90 X 242cm.
It’s either the woman in the image speaking or the viewer. Women are often subject for critical view regarding looks and sex, and either she becomes a victim and act as such, or she answers back and challenge that gaze.

I know you’re out fucking others, but I’m not. Photo: 20 X 30cm.
I’m out fucking others, but you’re not.Photo: 220 X 20cm.

Wrestling Video. Video cover for Wrestling

Someone else’s fear

Someone else’s fear

This project was made 2005, before the evacuation of the settlements in GazaStrip
The Israeli child who made this drawing lives in the settlement Katif (Qatif) on Palestinian occupied territories, Gaza Strip.
The child’s drawing was made in a school project where the Israeli children should draw the wall surrounding the settlement (see the drawing above).
This child has ”drilled” a hole in the wall with her/his gaze and we see on this drawing what the child imagines is outside the wall.

You can find map and the evacuation plan of Gaza on:
http://www.mideastweb.org/mgaza.htm
http://www.mideastweb.org/israel_disengagement_map_2005.htm

The Dominatrix

 

The Dominatrix, 2 back-projection video screens, sound and 6 double spacehoppers.

Moderna Muséet, Stockholm, Sweden 06-08 1998. An installation produced for the exhibition AVATAR for Riksutställningar (the Swedish council’s organisation for touring exhibitions, national and international). AVATAR included: Åsa Andersson, Peter Hagdahl, CM von Hausswollff, Mariko Mori, Soda, Cecilia Parsberg. It was first shown at Moderna Museet in Stockholm and then at 9 other places in Scandinavia during 1998-99. A catalogue was made.

The piece consists of two back-projection screens and the five space hoppers around. Screen 1 shows an interview with a Dominatrix (she is not doing sex but dominating in other ways, see interview of the project). Screen 2 shows a session with the Dominatrix, filmed with two cameras. The session is edited as two circles with camera 1 & 2 in each, syncronized.


The two circles (from the video session)  reappear in the double-space hoppers placed around the screens. The circles are also reflected in the sound – the music of bells played in the session.

The Spacehoppers were designed for two people sitting back to back, jumping the space hopper together. to negotiate and jump together while holding the rubber-handles.

Double spacehopper. Blue balls made of rubber and plastic with black rubber handels. Length:120com. Height: 70cm.

 

 

The interview was printed and handed out to the visitors.

 

Sado masochism is an extreme way of expressing the power-relation between two persons. In the catalogue I present a negotiation form that is used in SM, by exchanging words and a few changes in the text, it could be applicable to any work situation.
The Dominatrix says in the inteview: ”For me, SM means a consensual agreed upon exchange of power. I find it an interesting statement living in a society where a lot of abuse is happening at home, at work and in the politics.”

Wrestling

Wrestling, 1998.

Click here to see the film  (5:24mins.) John and Mary met through a contact add some years ago. John is a retired pilot in the US Airforce and Mary is a Masseur. Every Sunday they meet up with their friends to wrestle.

This is a filmed wrestling contest between a man and a woman. The are both technically skilled wrestlers and often participate in official competitions. Today, as every Sunday, they practice together with their friends. The couple enjoy this match. In order to win, one of them has to take a deadly grip of the other and the other to give up. What makes their match special is that they wrestle naked and they are in this way official that they have a love-relationship. One can see that there is a caring of each other, a tenderness and a vulnerability, as in lovemaking.

In the sports there are rules and the goal is to win. In relationships there are also rules or rather precepts and norms, but the idea is to reach a win-win situation where mutual interests and needs meet; we care for one another.

The society is a community of relationships. There is sometimes a fine line between win and win-win in a relationship.



I can see the house / To Rachel

I can see the house (2 mins by Cecilia Parsberg) and To Rachel (20mins) a collaboration with Erik Pauser.
View both films here: https://vimeo.com/93608273

 

During March 2003 we filmed and photographed in the Occupied Palestinian Territories. In Rafah, Gaza strip, we met the ISM activist and US citizen Rachel Corrie. We stayed in the same house for a few nights. The house was close to the Egypt border and in the zone where Israel destroy houses to make a no-mans-land. They had bulldozered 600 houses. The families get ten minutes to pack their belongings when the bulldozer comes, they have nowhere to go, it is a desperate situation. Rachel was killed by the Israeli Defence Force while carrying out a non-violent protest against the house demolitions. USA has not yet carried out an official investigation of her death.

When we came home from Palestine we felt it was necessary to clarify some facts and mediate what we had witnessed. The two films I can see the house and To Rachel are about her and the situation in Rafah. The films are the first in a series of works: films, web sites, published texts, series of photos and installations. We are interested in the question how we connect ourselves here with what is happening there.

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