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Palestinian Works: Portraits Of Common Ground

  • March 24, 2014
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Yousef Abdallah, bagpipe player / By Marco Pinarelli
Yousef Abdallah, bagpipe player / By Marco Pinarelli
Merward Abdullah, associate design director for M&C Saachi company / By Marco Pinarelli
Merward Abdullah, associate design director for M&C Saachi company / By Marco Pinarelli
Muhammad Mahmoud Kaiss, photographer / By Marco Pinarelli
Muhammad Mahmoud Kaiss, photographer / By Marco Pinarelli
Rana and Nadia, volunteers at Chatila Palestinian Camp / By Marco Pinarelli
Rana and Nadia, volunteers at Chatila Palestinian Camp / By Marco Pinarelli
Rabie Al Masri, founder and president of the Palestinian Rugby League / By Marco Pinarelli
Rabie Al Masri, founder and president of the Palestinian Rugby League / By Marco Pinarelli
Ahmad Al Joumah, bee keeper and social worker / By Marco Pinarelli
Ahmad Al Joumah, bee keeper and social worker / By Marco Pinarelli
Johnny Anton Farah, designer / By Marco Pinarelli
Johnny Anton Farah, designer / By Marco Pinarelli
Nadia Abu Sharkh, mechanical engineer / By Marco Pinarelli
Nadia Abu Sharkh, mechanical engineer / By Marco Pinarelli
Amneh Nazal, farm worker / By Marco Pinarelli
Amneh Nazal, farm worker / By Marco Pinarelli

After decades of viewing the “Palestinian question” through foreign media, Marco Pinarelli traveled to Lebanon to try to bridge the distance he still felt from the people whose fate was, as he writes, “a bestseller” on the media market. There, he realized that distance was largely illusory, and so made these portraits of Palestinians working in Lebanon, first published in Le Monde, “to add some weight to the other side of the story.”

Your portraits center each subject in the middle of a particular workspace. Why did you choose this composition style?

I am working on investigating how visuals available on the media, both stills and films, are leading and misleading, both to the audience viewing them and the subjects they portray. The classic use of a wide angle lens and dramatic black and white are often used to portray Palestinians. I wanted to do the same thing but turn it around completely, using an advertising aesthetic, which is is a provocation for both audiences and Palestinians. These people are posing for me, but to me they’re still more real than much of the reportage I’m used to seeing in the media marketplace.

How was this work received?

Showing this work in the camps led me to the sad conclusion that we become the way people portray us. For many, victimism is like a disease and the virus comes from the media. If they keep telling you that your life is miserable and violent, you’ll end up behaving that way.

Where will your investigations take you next?

I’ll keep working on this line, because reality is a lot more complex and diverse than how it’s shown in the media; the Middle East is much richer than what emerges from its channels.

For more info – Palestinian Works

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Jennifer MacKenzie

Poet, writer and teacher Jennifer MacKenzie grew up on Bloomcrest Dr. in Bloomfield Hills, MI, which inspired her to wonder about places with patterns other than floral. Following her education at Wesleyan University's College of Letters and the University of Iowa's Writers Workshop, she followed a zig-zag course that included a pilgrimage across the top of Spain and a long sojourn in Syria in pursuit of the language of Muhammad al-Maghout and Moudthaffar al-Nawwab. While in Damascus she completed the books of poems "Distant City" and "My Not-My Soldier" (forthcoming from Fence Books) and edited the magazine Syria Today. Her poems and essays can be found in numerous journals including the Kenyon Review online, Guernica, Quarterly West, and Lungfull. She currently lives in New York.

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