• بشار الحروب في معرضه «شاشة صامتة» .. حين تتلون الــمـأسـاة بالأمـل وتبـقى عيــون «الجثـاميـن» مفـتـوحـة !
  • بشار الحروب: «شاشة صامتة» في الحرب
  • بشار الحروب: هياكل بشرية في انتظار المجهول
  • Silent Screen by Jonathan Harris
  • بشار الحروب التقى الغرائبية في مخيّم الزعتري
  • بشار الحروب في «اللامكان» ..
  • Gold: Susanne Slavick
  • Nowhere: ByAndrew Ellis Johnson
  • Ghost in Residence: The Disappearances of Bashar Alhroub
  • The ghosts of Bashar Alhroub
  • "طبيعة العقل" لبشار الحروب .. معرض متعدد الوجوه وغير هائم على وجهه!
  • طبيعة العقل) .. معرض يصور فيه الفنان نفسه لايصال فكرته- رويترز
  • Nature of Mind Solo Exhibition, Bashar Alhroub
  • برنامج مبدعون- نلفزيون فلسطين٢٠١١
  • بين فن العرب وفن العالم! بشار الحروب مع الدكتور محمد قواص في برنامج علامات استفهام- ANP TV
  • Review of Points of Departure, ICA, London Aesthetica Magazine
  • بشار الحروب يستعد لـ«الطريق تأخذني وأنا أري- الحياة اللندنية
  • Movement Magazine "Un art Politique, art video ", Issue 69, May/June 2013, France
  • Alienation: a personal response
  • feature at 3 sat channel - Germany
  • Carte Blanche - Spatial Reflections - Charlotte Bank IKono TV
  • حصد الجائزة الأولى في بينالي الفن الاسيوي
  • فلسطين تحصد الجائزة الأولى في بينالي الفن الآسيوي بعمل "خارج الإطار" لبشار الحروب
  • Palestinian Grand Prize winning artist on his work
  • ‎بشّار الحروب... مصيدة الألم الفلسطيني/ جريدة الاخبار اللبنانية
  • ART CONTEMPOAIN, Territoire Libere, LaTribune&Moi, Venderdi 27 mai 2011
  • „Here & Now” - dziennik podróży, obieg 22.07.2011
  • "Reflective Consciousness" Exhibition Catalog
  • بشار الحروب فنان تشكيلي بمفردات بصرية عالمية وتقنيات متنوعة- هيام حسن ، القدس العربي،٢٠١٠
  • شرقيات بشّار!- نجوان درويش ٢٠٠٥
  • Exactly like the beginnings of color, Self’s Monologues … A view of Bashar Al-Hroub’s works
  • Reconsidering the Value of Palstinian Art & Its Journey Into the Art Market Part II
  • Longing to belong - By Jyoti Kalsi
  • بشار الحروب فنان اللغة البصرية :" اخلق عملية ربط بين اعمالي المتنوعة التي تشكل موزاييكا اسمه بشار "
  • Bashar Hroub, by Simon Morley
  • Bashar Alhroub makes observations.
  • Exactly like the beginnings of color, Self’s Monologues … A view of Bashar Al-Hroub’s works


    by Ismat As’a

    Through the usual moments of making art, we find ourselves being taken to places we fully understand, while, in special cases, we can live these moment within “composition merits” that are meant “to be” by the artist. The artist leads us there through the special overlapping composition terminology connections, and that are bind to the vision itself. Whether the artist is taking us through “the rule of the color” or “the rule of the line”, or even if it is being done through a state of rule that comes in a “state of shape”, this visual language combines both sides of the creativity artist/viewer equation. Yet, this is just another element that can never be lost of the artistic self’s sight, or in more precise words “the process as a whole”, even if that isn’t tangible, nor exposed in a cheap simplicity, especially when this has to do with an artistically naïve eye –only in terms of artistic taste. This issue has to do with a deeper level of the term of “Noise”; in a special metaphor of that audio noise that lives inside us, all around the hours of our days.

    Black holes... another metaphor

    Taking this artistic metaphor as a base, there are many clues that can be extracted from any process of understanding, even if they were in there simplified forms, for they indicate shifts that have to do with the sciences of space and astronomy in terms of the phenomenon of universe/composition related black holes, that are taken from the merits of composition given by the artist, that can’t be missed by any sight nor any vision. These merits lead us to the worlds of the phenomena existing in the depth of our universe, so as to meet the depth of our hearts as human beings. As a result of these metaphors, we can see that wide universeliving deep inside the artist, and we can –metaphorically- put our hands on the size of the silence coming in the shape of –black holes-with their full colors, so that we can recognize the theme later on, since it is a special vision of some unspoken words, appearing to us in the form of a composition. This composition stand before us covered with (all what can be said, or what can be). Then we will see that “color- intellectual” richness, through the differences between the links combining the phenomena generated inside the artist, and his ability to (keep) these –astronomic-pillars that are surrounded and made in circles occupying a specific space of painting, with the dialogue resulting from it, even if most of it was no more than silent gestures with a loud color and shape noise. It could be that the artist is sending these cries as if they were artistic cries of distress that Bashar masters very much, knowing in advance that these cries are nothing but “therapeutic visions” mastered by the artist in a special manner, applied on the rebellious artistic taste, through the action of watching imposed by the artist by making his audience follow the elements of motion. Bashar does all that through the formations of his artistic works-that their non existing ending point is similar to their non existing starting point-as if they were-once again, another odd insistence on repeating a composition example that keeps crawling into the viewer’s artistic taste. The artist’s aim here is obvious now-the clarity of black holes- occupying spaces deep inside us as human beings living in this –hot- area. Thus, these holes became ready to increase day after day, reminding us all the time with the seriousness of the post-ego problems that the artist is trying to tackle. Though the artist has always been quite despite the loud monologue cries that lived in his mind and thinking, we find that that quietness is resounding, most of the time, as a “call for prayer” in a “worshiping” moment that is so similar to the artistic tasting process. Through that process, we can see the “therapeutic” potentials mentioned above, which are always predicted by arts, especially when blackness-like the one we are covered with, is being lived every day. Note that the artist tried in his works here to establish a color balance for the blackness idea mentioned above. The artist then wanted to establish a wide “white”color composition so that he can start an equation of a different kind, that can result in that safe peace that we feel through the action of watching.

     

    http://virtualgallery.birzeit.edu/tour/exhibition?id=460510