{"id":15850,"date":"2025-10-03T12:59:48","date_gmt":"2025-10-03T11:59:48","guid":{"rendered":"https:\/\/www.instantsvideo.com\/blog\/?post_type=portfolio&p=15850"},"modified":"2025-10-03T13:02:28","modified_gmt":"2025-10-03T12:02:28","slug":"the-palestinian-gazelle","status":"publish","type":"portfolio","link":"https:\/\/www.instantsvideo.com\/blog\/video\/the-palestinian-gazelle\/","title":{"rendered":"The Palestinian Gazelle"},"content":{"rendered":"\n

En cr\u00e9ant\u00a0The Palestinian Gazelle<\/em>,<\/strong>\u00a0j’ai cherch\u00e9 \u00e0 souligner comment les forces coloniales non seulement contr\u00f4lent les r\u00e9cits humains, mais aussi manipulent les discours \u00e9cologiques. \u00c0 travers des vid\u00e9os, des sculptures et des m\u00e9dias mixtes, j’ai trac\u00e9 les voyages de la gazelle \u00e0 travers un paysage divis\u00e9 et militaris\u00e9, d\u00e9fiant les points de contr\u00f4le, les fronti\u00e8res et les cl\u00f4tures. \u00c0 travers ces terrains, je voulais saisir l’absurdit\u00e9 des fronti\u00e8res impos\u00e9es sur une terre qui coulait librement. L’acte de courir est devenu une m\u00e9taphore visuelle de la r\u00e9sistance : un refus d’accepter la fragmentation et une revalorisation de la continuit\u00e9 naturelle de la terre, remettant \u00e0 la fois en question\u00a0la d\u00e9gradation de l’environnement<\/em>\u00a0et la\u00a0politique de l’apartheid \u00e9cologique<\/em>\u00a0qui cherche \u00e0 compartimenter et \u00e0 contr\u00f4ler le mouvement. Ma sculpture \u00e0 grande \u00e9chelle de la gazelle amput\u00e9e est une repr\u00e9sentation d\u00e9lib\u00e9r\u00e9e de cette r\u00e9silience. Malgr\u00e9 son membre manquant, la gazelle est fi\u00e8re – non pas comme une cr\u00e9ature pitoyable, mais comme un survivant – un reflet d’une identit\u00e9 perturb\u00e9e mais ininterrompue. Il repr\u00e9sente un paysage qui, comme la gazelle, a \u00e9t\u00e9 coup\u00e9 et revendiqu\u00e9, tout en continuant \u00e0 durer. En mettant l’accent sur le corps mutil\u00e9 mais durable de la gazelle, je voulais aborder les questions plus larges du\u00a0traumatisme environnemental<\/em>\u00a0– o\u00f9 la terre et ses habitants portent les cicatrices visibles et invisibles des conflits. L’utilisation de la gazelle dans mon travail est une fa\u00e7on de r\u00e9affirmer sa v\u00e9ritable identit\u00e9 – une identit\u00e9 profond\u00e9ment enchev\u00eatr\u00e9e avec l’histoire et l’\u00e9cologie de la Palestine. Je suis fascin\u00e9 par la fa\u00e7on dont l’image de l’animal appara\u00eet dans la litt\u00e9rature, la po\u00e9sie et la musique arabes en tant que symbole d’aspiration et de connexion \u00e0 la terre. C’est une image qui appartient \u00e0 une \u00e9poque avant les fronti\u00e8res et le fil de fer barbel\u00e9, o\u00f9 la terre \u00e9tait enti\u00e8re. Dans mon travail, j’ai l’intention de rendre visible la tension entre ce qu’\u00e9tait la terre, ce qu’elle \u00e9tait forc\u00e9e d’\u00eatre, et ce qu’elle pourrait \u00eatre si elle \u00e9tait lib\u00e9r\u00e9e de ces contraintes. En pla\u00e7ant la gazelle dans des paysages qui s’\u00e9tendent du nord au sud de la Palestine historique, j’invite les spectateurs \u00e0 r\u00e9inventer la terre telle qu’elle \u00e9tait autrefois continue, enti\u00e8re et r\u00e9siliente. Je veux que les gens voient non seulement la beaut\u00e9 physique de la gazelle, mais aussi l’histoire \u00e9cologique et politique qu’elle raconte. Il ne s’agit pas seulement d’un animal, c’est une archive vivante d’une terre assi\u00e9g\u00e9e, d’une cr\u00e9ature prise entre survie et perte, et un rappel que, m\u00eame face aux tentatives d’amputer son histoire, elle perdure. The Palestinian Gazelle,<\/em>J’esp\u00e8re aborder non seulement l’effacement politique d’un peuple, mais aussi les impacts environnementaux et \u00e9cologiques de ces r\u00e9cits. Le projet est ma fa\u00e7on de r\u00e9cup\u00e9rer le paysage et d’affirmer une forme de\u00a0justice \u00e9cologique<\/em>\u00a0qui insiste sur l’indiss\u00e9parabilit\u00e9 de la terre, de l’identit\u00e9 et du monde naturel. Pour moi, le voyage de la gazelle est une histoire de continuit\u00e9 interrompue mais ininterrompue – un embl\u00e8me de l’endurance \u00e9cologique et culturelle qui refuse de se limiter aux d\u00e9finitions \u00e9troites impos\u00e9es par les r\u00e9cits coloniaux.<\/p>\n\n\n\n

In creating\u00a0The Palestinian Gazelle,<\/strong>\u00a0I aimed to highlight how colonial forces not only control human narratives but also manipulate ecological ones. Through video, sculpture, and mixed media, I traced the journeys of the gazelle across a divided and militarized landscape, defying checkpoints, borders, and fences. Running through these terrains, I wanted to capture the absurdity of imposed boundaries on a land that once flowed freely. The act of running became a visual metaphor for resistance: a refusal to accept fragmentation and a reclamation of the land\u2019s natural continuity, challenging both\u00a0environmental degradation\u00a0and the\u00a0politics of ecological apartheid\u00a0that seek to compartmentalize and control movement. My large-scale sculpture of the amputated gazelle is a deliberate representation of this resilience. Despite its missing limb, the gazelle stands proud \u2014 not as a pitiful creature, but as a survivor\u2014a reflection of a disrupted yet unbroken identity. It represents a landscape that, like the gazelle, has been cut apart and claimed, yet continues to endure. By emphasizing the mutilated yet enduring body of the gazelle, I wanted to address the broader issues of\u00a0environmental trauma\u00a0\u2014 where the land and its inhabitants bear the visible and invisible scars of conflict. The use of the gazelle in my work is a way of reasserting its true identity \u2014 one that is deeply entwined with the history and ecology of Palestine. I am fascinated by how the animal\u2019s image appears throughout Arab literature, poetry, and music as a symbol of longing and connection to the land. It is an image that belongs to a time before borders and barbed wire, when the land was whole. In my work, I aim to make visible the tension between what the land was, what it is forced to be, and what it could be if freed from these constraints. By placing the gazelle in landscapes that span from the north to the south of historic Palestine, I invite viewers to reimagine the land as it once was \u2014 continuous, whole, and resilient. I want people to see not just the physical beauty of the gazelle but the broader ecological and political story it tells. This is not just an animal; it is a living archive of a land under siege, a creature caught between survival and loss, and a reminder that even in the face of attempts to amputate its history, it endures. Through\u00a0The Palestinian Gazelle,\u00a0I hope to address not only the political erasure of a people but also the environmental and ecological impacts of these narratives. The project is my way of reclaiming the landscape and asserting a form of\u00a0ecological justice\u00a0that insists on the inseparability of land, identity, and the natural world. For me, the gazelle\u2019s journey is a story of interrupted yet unbroken continuity \u2014 an emblem of ecological and cultural endurance that refuses to be confined to the narrow definitions imposed by colonial narratives.<\/em><\/p>\n\n\n\n

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Manal Mahamid<\/strong> (1976) est un artiste palestinien multidisciplinaire bas\u00e9 \u00e0 Haifa et \u00e0 Dublin depuis 2020. N\u00e9 \u00e0 Moawia, un village palestinien, Mahamid a d\u00e9velopp\u00e9 un ensemble vari\u00e9 de travaux qui couvrent la sculpture, la vid\u00e9o, l’installation, la peinture et la photographie.\u00a0Elle a obtenu sa ma\u00eetrise en beaux-arts \u00e0 l’Universit\u00e9 de Haifa en 2006, gr\u00e2ce \u00e0 une bourse d’excellence de l’universit\u00e9. En 2010, elle a obtenu un dipl\u00f4me en mus\u00e9ologie et cururation de l’Universit\u00e9 de Tel-Aviv. En 2024, elle a termin\u00e9 une ma\u00eetrise en politique culturelle et de gestion des arts de l’University College de Dublin (UCD).\u00a0Le travail de Mahamid a \u00e9t\u00e9 reconnu avec de nombreuses \u00e9loges, y compris en \u00e9tant pr\u00e9s\u00e9lectionn\u00e9 pour l’A.M. Prix du jeune artiste de l’ann\u00e9e Qattan en 2002. Elle a re\u00e7u le prix de l’artiste r\u00e9sidente de la Fondation Delfina en 2007 dans le cadre de la Biennale de Riwaq, une collaboration entre la Fondation Delfina et l’A.M. Fondation Qattan.\u00a0Son art a \u00e9t\u00e9 pr\u00e9sent\u00e9 dans plus de 50 expositions collectives dans le monde entier, avec des expositions remarquables \u00e0 Londres, Chicago, Le Caire, Dusseldorf, Haifa, Ramallah, Um El Fahim et Jericho. Elle a \u00e9galement particip\u00e9 au Festival international de Qalandiya en 2014 et 2016, organis\u00e9 par l’Association arabe de la culture \u00e0 Haifa. Ses\u00a0expositions solo comprennent\u00a0The Tale of a Gazelle<\/em>\u00a0(2016),\u00a0Work in Progress<\/em>, et sa derni\u00e8re exposition\u00a0Lines of Flight<\/em>\u00a0in Waterford<\/p>\n\n\n\n

Manal Mahamid<\/strong><\/em> (1976) is a conceptual multidisciplinary Palestinian artist based in Haifa and Dublin since 2020. Born in Moawia, a Palestinian village, Mahamid has developed a diverse body of work that spans sculpture, video, installation, painting, and photography.\u00a0She earned her Master\u2019s in Fine Arts at the University of Haifa in 2006, thanks to a scholarship of Excellence from the university. In 2010, she obtained a degree in Museology and Curation from the University of Tel Aviv. In 2024, she completed a Master\u2019s in Culture Policy and Arts Management from University College Dublin (UCD).\u00a0Mahamid\u2019s work has been recognized with numerous accolades, including being shortlisted for the A.M. Qattan Young Artist of the Year Award in 2002. She received the Delfina Foundation\u2019s Resident Artist Award in 2007 as part of the Riwaq Biennale, a collaboration between the Delfina Foundation and the A.M. Qattan Foundation.\u00a0Her art has been showcased in over 50 group exhibitions worldwide, with notable exhibitions in London, Chicago, Cairo, Dusseldorf, Haifa, Ramallah, Um El Fahim, and Jericho. She also participated in the Qalandiya International Festival in 2014 and 2016, organized by the Arab Culture Association in Haifa. Her\u00a0solo exhibitions include\u00a0The Tale of a Gazelle(2016),\u00a0Work in Progress, and her most recent exhibition\u00a0Lines of Flight\u00a0in Waterford<\/em><\/p>\n","protected":false},"featured_media":15851,"menu_order":0,"template":"","portfolio-category":[539],"portfolio-tag":[],"class_list":["post-15850","portfolio","type-portfolio","status-publish","has-post-thumbnail","hentry","portfolio-category-adpei-15-30-oct-2025"],"_links":{"self":[{"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/portfolio\/15850","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/portfolio"}],"about":[{"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/types\/portfolio"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/media\/15851"}],"wp:attachment":[{"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/media?parent=15850"}],"wp:term":[{"taxonomy":"portfolio-category","embeddable":true,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/portfolio-category?post=15850"},{"taxonomy":"portfolio-tag","embeddable":true,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/portfolio-tag?post=15850"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}