2007

Anonymous. UNRWA school, South Lebanon, 1960s. Hashem el Madani

Tate

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Curatorial notes

Curator: Akram Zaatari presents us with a moving image originating from Hashem el Madani's studio: "Anonymous. UNRWA school, South Lebanon, 1960s." Editor: The stark black and white tones lend it an immediate air of solemnity, don't you think? It feels very raw. Curator: Indeed. Note the composition, particularly how the subject is centered, emphasizing his direct gaze. The backdrop is simple, almost austere. Editor: The subject's gaze speaks volumes, hinting at the displacement and resilience experienced by Palestinian refugees within the UNRWA school system. What historical narratives does it engage? Curator: The framing, with its emphasis on vertical lines, creates a sense of confinement, reflecting perhaps the restrictions placed upon these individuals. Editor: Yes, and seeing this work today, it confronts the contemporary discourse around refugees, challenging us to reconsider current power dynamics. Curator: A powerful reminder, indeed, that the formal elements amplify the photograph's historical and ongoing resonance. Editor: It leaves one contemplating the lasting impact of displacement on individual lives and collective identity.

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tateabout 1 year ago

http://www.tate.org.uk/art/artworks/zaatari-anonymous-unrwa-school-south-lebanon-1960s-hashem-el-madani-p79414

tateabout 1 year ago

This work is one of a series of black and white silver gelatin photographs of varying sizes that are collectively titled Objects of study/The archive of studio Shehrazade/Hashem el Madani/Studio Practices. All of the photographs were taken by the Lebanese commercial photographer Hashem el Madani between 1948 and 1982 and compiled into the present group, 117 of which are in Tate’s collection, by the Lebanese artist Akram Zaatari. All of the photographs include people, either alone, in pairs or in small groups, and most were taken in Madani’s studio, although some were shot outside and in his subjects’ homes. The series features men and women and covers a wide age range from babies to elderly people. Almost all of the sitters assume poses deliberately for the camera, sometimes accompanied by props or costumes, and most gaze directly towards the lens. Many of the pictures show subjects interacting in various ways, including embracing, kissing and acting out scenes, such as a mock wrestling match. The photographs are mostly tightly cropped, with the sitter or sitters filling most of the frame, although in some cases the figures are positioned further away from the camera, for instance when shown sitting at a table or standing behind a chair. The photographs tend to have sparse backgrounds, often dominated by a blank posterior wall. They are mounted on white paper, displayed in plain white frames and signed on the back by Madani. Many of them have been organised into categories by Zaatari – such as a group featuring men dressed as Syrian resistance fighters and a collection depicting newly married couples – while the rest are presented individually. Zaatari has stated that although he prefers these groups to be displayed together, this is not a requirement (Akram Zaatari, email to Rachel Taylor, 24 April 2008, Tate Acquisition file).

Anonymous. UNRWA school, South Lebanon, 1960s. Hashem el Madani

Akram Zaatari

Tate

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