Everything will be alright
Looking back at the 5th Mediterranean Biennale while remaining acutely aware of its current significance
Amidst the backdrop of the Biden administration's perceived lack of strong leadership and the faltering progress of the Abraham Accord agreements, crafted to normalise ties between Israel and various Arab nations, signed during the latter part of 2020, a narrative unfolds. These agreements, comprising both a broad declaration and individual pacts with the United Arab Emirates, Bahrain, and Morocco, stand against a cultural milieu marked by a scarcity of understanding and tolerance within Muslim and Arab societies. Here, tolerance often translates into forgiveness and the notion of Islam as a religion of peace is met with scepticism. Moreover, entrenched within Islamic beliefs is the conviction that the recognition of Palestine necessitates the dismantling of Israel, often through coercive means. A pivotal stance is assumed within this complex tapestry of geopolitics and ideology.
The 5th Mediterranean Biennale explores profound questions about the nature of home, society, and humanity in the aftermath of violence and suffering, specifically referencing events post-October 7, 2023. It contemplates how individuals and institutions can rise from darkness, what values will guide future generations, and where strength can be found to rebuild amidst chaos and insecurity.
The exhibition "Anybody Home?" at the 5th Mediterranean Biennale addresses these themes by questioning the traditional concept of home as a safe and stable refuge. It highlights the disruption of peace and normalcy, transforming the home into a site of trauma rather than comfort. The art on display encourages reflection on loss, pain, and hope, emphasising the importance of empathy, help, and understanding.
WIZO Academy of Design and Education, Haifa
WIZO Academy of Design and Education, Haifa
The Mediterranean Biennale, established in 2010, aims to foster multicultural cooperation and dialogue through art, promoting peace and mutual trust in the Middle East and Mediterranean region. The biennale seeks to bridge cultural gaps and encourage coexistence by focusing on shared human experiences and values. It provides a platform for artistic expression that transcends political and regional conflicts, striving to create a better future through cultural exchange and dialogue. The biennale emphasises the relevance of art in contemporary society, its role in fostering understanding, and its potential to unite diverse communities.
Having received an invitation to partake in the Mediterranean Biennale 2024, I found myself embracing three distinct roles: that of an artist, a journalist, and, perhaps most significantly, as a member of society navigating the intricate dynamics of co-existence with war. It is this latter perspective, fraught with challenges yet ripe with insights, that forms the cornerstone of the review I present here.
In the preparations of the 5th Mediterranean Biennale, curated by the dynamic duo of Belu-Simion Fainaru and Avital Bar-shay, the art world was rocked to its core by the recent Israeli-Palestinian conflict. Belu-Simion Fainaru, the Israeli sculptor and media artist hailing from Bucharest, and Avital Bar-shay, the passionate forward-looking Israeli artist, were struck with profound anguish at the horrors unleashed on October 7, 2023. This dark chapter in history marked an unprecedented escalation, as Hamas and other militant factions from the Gaza Strip breached Israeli territory, echoing the turmoil of the 1948 Arab-Israeli War. The toll was catastrophic, with 1,154 Israelis perishing and 782 left wounded, a haunting reminder of the brutality that spared not even the unarmed civilians. Hamas cleansed, because this is the term that defines the attack, 20 Jewish communities.
The war that erupted served as both the spark and the driving force behind this biennale. Due to security restrictions enforced by the Israeli military forces, the two artists/curators, along with their technicians, found themselves confined within the university. Amidst the Wizo Haifa Academy of Design and Education, they set up the main exhibition space, their efforts underscored by the incessant sound of alarms and their own overwhelming emotional distress. In a candid conversation with Belu, he revealed that they had considered canceling this year's edition. However, they ultimately recognised that the mission of art is to reflect its time. This realisation provided them with such a strong motivation that, as they recounted to me, they worked tirelessly, almost as if driven by an unstoppable force, to handle both the artistic and administrative aspects of the event.
This emotional state of mind has prompted the selection of works that reflect this distress. The lack of sleep, panic attacks, constant insecurity, and loss of homes and lives among those devastated by the invasion have weighed heavily. The fatigue of being on the defensive and the reality of the invasion that ravaged more than 20 kibbutzim around the Gaza Strip have raised many questions regarding the theme and curatorial approach. Violence was everywhere, broadcasted and shared on social media. The horrors at the Re'im music festival alone are enough to paralyse one's thoughts about the future. Or Fainaru, the son of Belu Fainaru, who is also a participating artist in the main exhibition of the biennale, could have been killed at that festival. He wanted to attend but stayed home due to a mundane change in his schedule. He shared with me some footage from the mass killing at the festival. At around 6:30 am, just as the sun began to rise, rockets were spotted streaking across the sky. By 7:00 am, the wail of a siren shattered the morning calm, signalling an imminent rocket attack. Festivalgoers scrambled to find safety, but their panic was soon met with greater danger. Armed militants, clad in military gear and arriving on motorcycles, trucks, and powered paragliders, swiftly surrounded the festival grounds. They unleashed a barrage of gunfire on those attempting to flee. Desperate attendees sought refuge in nearby shelters, bushes, and orchards, but the militants showed no mercy, killing many who tried to hide. Others who reached the road and parking area found themselves ensnared in a traffic jam, easy targets for the attackers. The scene grew even more horrific as the militants brutally executed some of the wounded at point-blank range while they crouched helplessly on the ground.
I was gripped by the savage attack, which resulted in the largest number of casualties among several massacres targeting Israeli civilians in villages near the Gaza Strip. This occurred alongside those at the moshavim of Netiv HaAsara, Be'eri, Kfar Aza, Nir Oz, and Holit. The precise locations and well-being of the hostages remain undisclosed to the public. The tragic incident at the festival marked the most significant act of terror in Israel's chronicles and stood as the deadliest massacre of Israeli civilians to date.
This edition of the biennale carries a profound significance, sparked by the violence endured by the Israeli people, which deeply affects their senses and emotions, often leaving them paralysed. These emotions are hard to articulate and rationalise, even from a political standpoint. It is impossible to be detached or dogmatic in the face of such horrors. The works displayed at the biennale bring this to the forefront, illustrating how it feels and how the senses are coping.
The image painted so far is the backdrop of the most recent Mediterranean Biennale, which included works by the likes of AES+F, Elmgreen & Dragset, Carlos Amorales, Guy Ben-Ner, Moshe Gershuni, Ori Gersht, Jenny Holzer, Meirav Heiman, Pavel Wolberg, Yigal Tumarkin, Ziva Yalin, Ciprian Murresan, Alex Mirutziu, Shahar Marcus & Nezaket Ekici, Belu-Simon Fainaru, Adel Abdessemed, Jannis Kounellis, Meinrad Schade, Angelika Sher, Hannah Abu-Hussein, Lela Ahmadzai, Avital Bar-shay, Burak Delier, Almagul Menlibayeva, Or Fainaru, Hacer Kiroglu, Boaz Kaizman, and Marina Zaikina.
In this condensed presentation, I delve into seminal works that underpin the notion of a state of emergency, alongside artworks that vividly illustrate strategies for dealing with and perhaps “resolving” the scourge of war. At its core lies the imperative of attaining a clear vision, starting with the crucial task of discerning the origins of suffering. Only by understanding its roots can we hope to offer effective remedies. Yet, to this point, the elusive nature of the affliction remains, thwarting our attempts to administer a cure.
Wall of emotions
On the first floor of the building, there's a wall called the "Wall of Emotions," where students of Haifa Academy of Design and Education can express their feelings through writing and painting, especially after the events of October 7. It serves as a safe space for students to deal with various emotions like pain, grief, anger, or frustration. The act of registering emotions helps students connect, cope, and release their feelings. This initiative provides healing and processing for students following trauma. Art on the wall, including Blu-Simion Fainaru’s creation, contributes to creating a positive atmosphere, aiming to uplift spirits and promote collective healing and hope.
Guy Ben-Ner - Soundtrack
In the realm of Israeli art, Guy Ben-Ner stands tall as a trailblazing video artist, renowned for his distinct approach characterised by the use of what seems to be rudimentary home video equipment, imparting a raw and authentic quality to his films. His creations often feature his inner circle—family and friends—immersed in surreal scenarios set against the backdrop of their everyday lives.
One of his most intriguing pieces, "Soundtrack," serves as a prime example of his unconventional storytelling prowess. In this work, Ben-Ner ingeniously weaves together elements from Steven Spielberg's "War of the Worlds" (2005) with footage captured in his own humble kitchen in Tel Aviv. Instead of manipulating the original soundtrack, he opts to overlay it atop mundane scenes unfolding in his domestic realm. In a world where household appliances like vacuums and mixers mimic the thunderous roar of bomb blasts, reality blurs into fiction. From the intimacy of a home to the chaos of the city streets, the line between the two fades away. Every sound, every movement, carries a weight of tragic significance. A fly buzzing near an egg triggers a reflexive fear far greater than the actual threat it poses, reminding us that much of the danger we face is of our own creation. The constant feeling of being trapped in our own minds pervades our existence. What should be terrifying, like falling bombs, becomes oddly familiar, almost comforting, like falling candy. The camera's movements mirror those of a cinematic world, blurring the boundaries between reality and fiction even further. Shards of glass, from the tabletop to the ground, serve as a recurring motif, a symbol of fragmentation and destruction. Amidst this chaos, a boy reassures a girl, submerged in a pool of glass shards, that she's safe in her own space.Through this juxtaposition of the banal and the fantastical, Ben-Ner invites us to reconsider the boundaries of storytelling through the depersonalisation of action and the theatre of despair, and through the nature of cinematic reality. In his hands, the mundane becomes magical, and the everyday takes on new dimensions of meaning and absurdity, offering a fresh perspective on the human condition and the narratives that shape our lives.
Meirav Heiman - Living room- kitchen-bedroom- children's room
Israeli artist Meirav Heiman's video piece "Living room, kitchen, bedroom, children’s room," delves into the complex dynamics of family life, depicting the challenges and power struggles within domestic environments. Through the use of skilled acrobatic dancers, Heiman highlights the delicate balance required for individuals to maintain harmony in their households. Mundane activities like sharing meals or watching TV are transformed into acrobatic displays, showcasing the physical and emotional effort necessary for familial stability. The seemingly ordinary actions of a family navigating daily life take on a surreal quality, challenging traditional notions of normalcy. Heiman's film prompts viewers to reconsider the roles and functions of everyday objects, inviting them to question conventional domestic conventions amidst the chaos and uncertainty depicted.
Angelika Sher - ACDCII
Angelika Sher, born in Lithuania in 1969 and now based in Israel, explores the interplay between human presence and space. Initially, her photography showcased characteristics of her homeland: cold light, compact rooms, and complex compositions reflecting reality. Over time, her work evolved to reflect her personal identity journey. In her series from 2008-2009, she focuses on children, capturing childhood innocence contrasted with the complexities of adult society and memory. The images evoke a sense of loss and existential anxiety, particularly in parental experiences. One striking photo, "ACDCII," depicts children trapped in a greenhouse, symbolising protection turned threatening and distant. Sher's work navigates the tension between intentionality and spontaneity, revealing moments of revelation amidst calculated compositions.
AS+F - Allegoria Sacra
AS+F is a Russian artist group based in Berlin and New York since 1987. Their diverse work spans photography, video, computer art, painting, sculpture, and installation, showcased at major global art exhibitions. Their acclaimed “Allegoria Sacra” video, premiered at the Moscow Biennale, draws inspiration from Giovanni Bellini's enigmatic Renaissance art, exploring multicultural and global themes through apocalyptic scenes. Set in a futuristic passenger terminal, the video portrays diverse characters engaging in violent, decadent acts, reflecting complex socio-political issues and post-colonial transformations. Enhanced with digital effects, the video disrupts narrative flow, emphasising symbolic connections. Accompanied by classical music, the work delves into themes of transhumanism, climate change, and Western fantasies.
Avital Bar-shay - Red Wedding
In 2023, Avital Bar-shay created "Red Wedding," a 20-second single-channel video. It portrays a couple in anticipation of their wedding, their images gradually overtaken by red, symbolising danger and tragedy. Born in Israel, Avital’s work captures the abrupt and violent endings experienced by many couples on their special day.
Adel Abdessemed - Un cri court
Born in 1971 in Constantine, Algeria, Adel Abdessemed‘s artistic journey spans across Paris, London, and Berlin. Initially trained in Algeria, he left amidst turmoil in 1994, continuing his studies in Lyon, France, and exploring the art scenes of the United States and Europe. Abdasmed's diverse creations, encompassing sculpture, video, painting, and more, delve into societal, cultural, and political themes. Rejecting hope for truth, he seeks to intertwine senses, bodies, and the uncontrollable in his works. One such piece, "An cri court," showcases an Algerian orchestra conductor's anguish, channeling it into a powerful video that transcends cultural boundaries, echoing Freud's call to befriend the unconscious.
Or Fainaru-Not here not there
In "Not here not there," a brief single-channel video by Or Fainaru, a talented artist born in 1997 and hailing from Haifa, Israel, the theme of aggression takes center stage. Fainaru delves into the complex concept of aggression, which encompasses various phenomena, notably violence – defined as the utilisation of physical force to cause harm to others, animals, or property. Within this artistic exploration, violence emerges as the most potent and destructive manifestation of aggression. Fainaru ingeniously intertwines this theme with a series of frames depicting basic actions of fish cleaning, from the act of killing the fish to gutting and preparing it for consumption. However, Fainaru's approach to editing the video is far from conventional; it eschews linearity in favour of a rhythmic and sharp arrangement, complemented by an intense and piquant sound design.
Michael Elmgreen + Ingar Dragset-The End is Always Closer
In "The End is Always Closer," Michael Elmgreen, born in Copenhagen, Denmark, and Ingar Dragset, originally from Trondheim, Norway but now residing in Berlin, Germany, present a digital countdown starting at 11:11. This mocks the Modern Apocalypse belief that the world would end at 11:11 on December 21, 2012, according to the Mayan calendar. The date symbolises a time bomb set to detonate the end of capitalism. The artwork prompts reflection on the cultural significance of this moment and the uncertainty that follows. The artists highlight the fragility of life and the need to cherish everyday experiences, while acknowledging the constant threat of catastrophe. Their work explores themes of peace, conspiracy, and the contrast between affluent societies and global instability.
Belu-Simion Fainaru - Dreams and Wishes
Belu-Simion Fainaru, hailing from Bucharest, Romania, in 1959, found his artistic calling in Israel. Through various mediums such as sculpture, photography, and installations, he delves deep into the socio-political landscape, exploring themes of personal and national identity, faith, and the role of art in contemporary society. His works, exhibited internationally, including prestigious events like the Venice Biennale, serve as poignant reflections on the human condition.
In 2023, a remarkable creation emerged from the artistic endeavours of Belu Fainaru: "Dreams and Wishes." This poignant video piece was crafted through collaborative workshops held in locales like Kibbutz Karmia, where refugees grappling with the aftermath of evacuations gathered. Within these sessions, individuals found solace in exploring their post-trauma realities, fostering healing and igniting hope. Fainaru's work, a tapestry woven from promises, aspirations, and the enduring flame of hope, beautifully encapsulates the resilience of the human spirit in the face of adversity. Among the participants, Avital bravely articulates her yearning for peaceful slumber, a desire deeply scarred by the haunting memories of the October 7th tragedy. Each participant pens down their dreams, passing them on as tokens of collective resilience. Fainaru's message, "It will be ok," radiates a steadfast optimism towards the future, while others echo sentiments of yearning for freedom, a swift return home, and a fervent plea for peace to blanket the land. Yet, amidst these hopeful whispers, there exists a darker undertone, captured poignantly in the words, "I want to sleep as peacefully as if I were anaesthetized," a sobering reminder of the lingering shadows cast by past traumas.
In "Dreams and Wishes," Fainaru orchestrates a symphony of human emotions, inviting viewers to ponder the transformative power of collective aspirations in shaping a brighter future. Through his art, he challenges us to confront the complexities of our existence and embrace the possibilities of tomorrow, no matter how daunting the journey may seem.
Belu-Simion Fainaru - 7 of October
The piece titled "7 of October," inspired by the notion of lost time, portrays a watch whose hands move in reverse, challenging conventional notions of time. This imaginative twist on reality is a recurring theme in Fainaru’s body of work, highlighting the fluid and elusive nature of time. The artwork prompts reflection on the subjective experience of time, influenced by personal and environmental factors. Positioned between past and present, the viewer is confronted with a longing to return to a bygone moment, fraught with both personal and national significance. Drawing inspiration from Marcel Frost's exploration of lost time, the installation invites viewers on a journey through the passage of time, where what once seemed forward may soon reverse, and the tangible becomes a memory. Ultimately, the piece speaks to the ambiguity of time, suggesting that its end may also mark a new beginning.
Jenny Holzer-Sensibility
Jenny Holtzer, born 1950 in Ohio, USA, is a conceptual artist exploring semantics and opposites to challenge conventional truths rooted in culture. Since the late 1970s, she has used various forms of text to examine societal values and beliefs. Her works, including street posters, electronic signs, and light installations, engage with political and propaganda themes in public spaces. One of her notable series, "Sensibility," features sentences from her survival series (1983-85), presented rapidly on screens to evoke urgency and contradiction. The work prompts reflection on personal responses to political, social, and psychological environments. "Protect me from what I want" is a key text from this series.
Ziva Jelin-Landscape paintings
Ziva Jelin, born in 1962, resides and crafts her art in Kibbutz Be'eri, Israel. She's a versatile artist, delving into photography, painting, and installations. Her artistic journey began at the Beit Berl Art Hamidrasha, followed by graduation from Bar-Ilan University’s IDF Interdisciplinary Department of Interpretation and Culture. Since 1994, Jelin has overseen a gallery at Kibbutz Be'eri, serving as a beacon for contemporary art in the region.
Jelin's exhibitions feature pieces from various series, including Boulevard, Panorama, and Landscape paintings. Her work captures the essence of Kibbutz Be'eri, portraying it with meticulous realism against a backdrop of ominous black skies and shrinking horizons. There's a haunting quality to her art, as if the pastoral setting of the kibbutz is cloaked in foreboding. The red background, resembling flowing paint or tears, adds an unsettling layer to the scenes, evoking a sense of danger and loss.
In Jelin's world, there are no human figures—only abandoned landscapes and silent narratives. Viewing her paintings feels like peering through a crimson filter, heightening the sense of unease. The use of red signifies not only danger and war but also serves as a poignant reminder of the events that have scarred the region, notably marked by bullet holes appearing on canvases post-October 7 incidents.
Between 2015 and 2018, Jelin's paintings reflect a struggle with reality, encapsulated by the interplay of black registration and the cascading red hues. It's a visual journey of processing, coping, remembering, and ultimately trying to erase the painful and traumatic aspects of existence. Through her art, Jelin invites viewers to confront the complexities of life in the kibbutz and the enduring struggle for peace amidst adversity.
Hannah Abu-Hussein-Mkahaleh
Hannan Abu-Hussein, born in Umm al-Fahm, Israel, in 1972, resides and works in Jerusalem. She identifies herself as an artist, a woman, and a Palestinian feminist. Through various mediums like installations and video, she delves into themes of sexuality, sexual freedom, and the portrayal of women in Palestinian society. Her works also tackle personal expression, religion, capitalism, sexual exploitation, love, personal freedom, and gender equality, challenging the conservative Arab-Muslim tradition. One of her video pieces, titled "Mkahaleh," captures Abu-Hussein's makeup ritual, symbolising feminine identity. As she applies makeup, tears well up, blending with the traditional black eye makeup, evoking a poignant commentary on societal beauty standards and the struggles of women in Arab culture.
Yigal Tumarkin - Untitled
Yigal Tumarkin's journey commenced in the year 1933 amidst the historic cityscape of Dresden, Germany. However, his early years were marred by the upheavals of World War II. Following the conflict's end, he embarked on a transformative voyage to Israel alongside his mother, seeking solace and stability in a land scarred by its own tumultuous history.
Life in Israel proved to be no less challenging for the young Tumarkin. Amidst the backdrop of a nascent nation grappling with its identity, he encountered numerous obstacles on his path to self-discovery. From navigating the complexities of a blended family after his mother remarried to navigating the educational landscape of various schools, each hurdle served as a crucible for his resilience and determination. It was during his formative years at a vocational school that Tumarkin's artistic talents began to blossom. Immersed in the world of craftsmanship and creativity, he honed his skills, laying the groundwork for his future endeavors in sculpture. Yet, it was not until after his release from military service that he fully committed himself to the pursuit of art.
Under the mentorship of seasoned artists like Rudi Lehmann, Tumarkin delved deep into the realm of sculpture, exploring its myriad forms and expressions. It was a period marked by intense introspection and artistic experimentation, as he grappled with the fundamental questions of form, composition, and meaning. A pivotal juncture in Tumarkin's artistic odyssey came with his sojourn to Germany, where he immersed himself in the vibrant cultural milieu of the Bartold Brecht Theatre. Surrounded by the avant-garde currents of European art, he found inspiration in the revolutionary spirit of the times, laying the groundwork for his own artistic manifesto.
Journeying through the Netherlands and France, Tumarkin absorbed the zeitgeist of the protest and pop art movements sweeping across the continent. It was a period of artistic awakening, as he forged connections with like-minded creatives and explored new avenues of expression.
Upon his return to Israel, Tumarkin infused his creations with the ethos of dissent and defiance that had come to define his artistic vision. Utilizing a diverse array of materials, from iron to found objects, he crafted sculptures that served as potent critiques of Israeli society's power structures and entrenched violence.
His works, characterized by their expressive intensity and cultural resonance, found resonance both at home and abroad. From the bustling streets of Tel Aviv to the galleries of Paris, Tumarkin's sculptures captivated audiences with their raw emotional power and unflinching social commentary. Among his most iconic creations were installations featuring an array of replicated heads, strewn across exhibition spaces like silent sentinels of individuality and resistance. Each head, with its haunting visage and silent scream, served as a testament to Tumarkin's unwavering commitment to truth and freedom of expression. In the annals of contemporary art, Yigal Tumarkin's legacy endures as a testament to the transformative power of creativity and the enduring quest for human dignity in the face of adversity.
Ciprian Muresan-Dog Luv
The video "Dog Luv" by Ciprian Muresan, inspired by a text by Saviana Stanescu, unfolds as a captivating narrative retelling the history of evil through a unique lens: a gathering of imposing dog puppets. As the scene opens, the assembled canines engage in a profound dialogue, recognizing that to comprehend humanity, one must delve into its darkest depths. Through animated discourse, they traverse epochs, from ancient Greece to the contemporary era, delving into mankind's penchant for cruelty, torture, and execution. Set against the backdrop of a dimly lit stage, the play employs puppets to evoke a spectrum of emotions, revealing the complexities and contradictions inherent in human nature, while the dogs themselves grapple with defining the boundaries of inhumanity.
Carlos Amorales -Interim
Carlos Amorales, a Mexican-born artist born in 1970, currently divides his time between New Mexico and Amsterdam. His artistic endeavors encompass a broad spectrum of mediums, ranging from video and animation to painting and sculpture. Drawing deeply from the wellspring of Mexican popular culture, Amorales infuses his creations with a vibrant energy that captivates audiences worldwide.
In his thought-provoking piece titled "Interim," Amorales delves into the rich tapestry of Mexican free wrestling, a cultural phenomenon renowned for its blend of athleticism, spectacle, and tradition. Here, he pays homage to the enigmatic figure of Superbarrio and his creator, Marcos Ramos, a towering presence in the realm of Mexican political activism. Through meticulous craftsmanship and an acute sense of symbolism, Amorales brings to life the essence of this iconic duo, exploring the interplay between myth and reality, heroism and activism.
Central to "Interim" is the portrayal of two wrestlers, their faces concealed behind identical masks—a visual metaphor for the duality of identity and the struggle for self-definition. As they grapple for supremacy within the confines of the frame, Amorales invites viewers to contemplate the deeper implications of their confrontation. Beyond the physicality of the bout lies a narrative of fear, resilience, and the eternal quest for self-discovery.
Through "Interim," Amorales provides a lens through which to examine not only the personal struggles of the individual but also the broader societal narratives that shape our understanding of identity and belonging. By intertwining elements of Mexican folklore with contemporary commentary, he invites viewers on a journey of introspection, challenging them to confront the complexities of their own cultural heritage and the forces that shape their sense of self.
Hacer Kiroglu-Untitled
Hacer Kiroğlu, a versatile artist, draws from psychology to explore the depths of human consciousness in her performance art. Inspired by Csikszentmihalyi's concept of intense focus leading to transcendence, she crafts meticulously choreographed performances that blur the lines between reality and obsession. In her work "Untitled" from 2009, mundane actions like cleaning take on a haunting significance, reflecting themes of self-harm and madness. Through relentless repetition and rhythmic exploration, Kiroğlu challenges societal norms and delves into the essence of human existence, inviting viewers to ponder the boundaries of the mind and body.
In the midst of the chaotic Israeli-Palestinian conflict, art emerges as a potent tool for capturing the essence of human existence and uncovering truths. Through various artistic forms, silenced voices amid the violence resonate, providing windows into the everyday experiences of those impacted by the ongoing war. The 5th Mediterranean Biennale stands as a conduit, surpassing geographical and cultural barriers to cultivate empathy, a crucial element in nurturing comprehension and addressing wounds. As we strive for peace and justice, it's imperative not to turn away from the horrors of war but confront them through the perspectives of artists who bear witness to it or have been uprooted by its consequences.
